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Néstor Almendros

Néstor Almendros

Cinematographer, also actor · Died March 4, 1992, aged 61 · Barcelona, Barcelona, Catalonia, Spain

Néstor Almendros Cuyás (30 October 1930 – 4 March 1992) was a Spanish cinematographer. One of the most highly appraised contemporary cinematographers, "Almendros was an artist of deep integrity, who believed the most beautiful light was natural light...he will always be remembered as a cinematographer of absolute truth...a true master of light". Néstor Almendros Cuyás was born in Barcelona, Spain, but at 18 moved to Cuba to join his exiled anti-Francisco Franco father. In Havana, he wrote film reviews. Then he went on to study in Rome at the Centro Sperimentale di Cinematografia. He directed six shorts in Cuba and two in New York City. After the 1959 Cuban Revolution, he returned and made several documentaries for the Castro regime. But after two of his shorts (Gente en la playa and La tumba francesa) were banned, he moved to Paris. Starting in 1964, he became the favorite collaborator of French New Wave director Éric Rohmer. In the early seventies he also started working with François Truffaut, Barbet Schroeder and other directors. Almendros began his Hollywood career with Days of Heaven (1978), written and directed by Terrence Malick, who admired Almendros' work on The Wild Child (1970). Almendros was impressed by Malick's knowledge of photography and his willingness to use little studio lighting. The film's cinematography was modeled after silent films, which often used natural light. In 1979, Almendros won the Academy Award for Best Cinematography for Days of Heaven. Almendros received three further Academy Award nominations for his work on Kramer vs. Kramer (1979), The Blue Lagoon (1980) and Sophie's Choice (1982), making him the most nominated Spanish person in Academy history as of the 93rd Academy Awards in 2021. Almendros was the cinematographer for the John Lennon documentary, Imagine: John Lennon (1988), directed by Andrew Solt. In his later years, Almendros co-directed two documentaries about the human rights situation in Cuba: Mauvaise Conduite (1984) (Improper Conduct) about the persecution of gay people in Cuba; and Nadie escuchaba (Nobody Was Listening), about the alleged arrest, imprisonment and torture of former comrades of Fidel Castro. He also shot several prestigious advertisements for Giorgio Armani (directed by Martin Scorsese), Calvin Klein (directed by Richard Avedon) and Freixenet. Human Rights Watch International has named an award after him by establishing the Nestor Almendros Award for Courage in Filmmaking and it is given every year at the Human Rights Watch International Film Festival. In 1980, Almendros won the César Award for François Truffaut's The Last Metro. In 1992, Néstor Almendros died of AIDS-related lymphoma in New York City at the age of 61. Source: Article "Néstor Almendros" from Wikipedia in English, licensed under CC-BY-SA 3.0.

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Biography from TMDB.

Born
October 30, 1930
Died
March 4, 1992 (aged 61)
From
Barcelona, Barcelona, Catalonia, Spain
Works as
Cinematographer, also actor
Titles
34 on MovieCove · 62 credits in all
Links
IMDb (opens in a new tab)TMDB (opens in a new tab)Wikidata (opens in a new tab)

Known for

TMDB popularity, last 37 days to Oct 26Down 16% in 30 days

What are Néstor Almendros' films like?

Across their 33 MovieCove titles with a thematic analysis, their films lean Bonds and Self.

Genres

Comedy12 titlesTypical Midcredits score: 88th percentile, at or above their average across these genres
: browse their Comedy movies
Drama12 titlesTypical Midcredits score: 88th percentile, at or above their average across these genres
: browse their Drama movies
Crime3 titlesTypical Midcredits score: 36th percentile
: browse their Crime movies
Biography2 titlesTypical Midcredits score: 90th percentile, at or above their average across these genres
: browse their Biography movies
Documentary2 titlesTypical Midcredits score: 93rd percentile, at or above their average across these genres
: browse their Documentary movies

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight
Bonds
34%
Self
27%
Morality
13%
Survival
10%
Society
9%
Power
6%
Ideas
3%
Romantic love13 titles, browse their movies with this themeMarriage6 titles, browse their movies with this themeSelf-worth6 titles, browse their movies with this themeFamily bonds5 titles, browse their movies with this themeComing of age4 titles, browse their movies with this themeObsession3 titles, browse their movies with this themeDeception4 titles, browse their movies with this themeIdentity3 titles, browse their movies with this theme

What they feel like to watch

their average across 33 films
ToneFeelDemandtheir average · filled zone: the category
Serious: How heavy the subject matter and outlook get. Browse their serious movies.
Tone · Weight
lightdark

A split, not a type: Light 14 · Serious 11 · Dark 8

Stylized: How far its world departs from everyday reality. Browse their stylized movies.
Tone · Style
naturalisticheightened

A split, not a type: Grounded 18 · Stylized 11 · Heightened 4

Charged: How hard the emotional peaks hit while you watch. Browse their charged movies.
Feel · Intensity
gentleintense

Gentle 11 · Charged 17 · Intense 5

Steady: How much it swings between very different feelings. Browse their steady movies.
Feel · Swings
steadyswings

Steady 20 · Shifting 12 · Whiplash 1

Some laughs: How much of the runtime is played for laughs. Browse their some laughs movies.
Feel · Humor
noneconstant

A split, not a type: Straight-faced 18 · Some laughs 13 · Funny 2

Slow burn: How fast it moves from scene to scene. Browse their slow burn movies.
Demand · Pace
slowrelentless

Slow burn 22 · Even-paced 11 · Relentless 0

Engaged: How much focus it asks of you — look away and lose the thread? Browse their engaged movies.
Demand · Attention
casualfull focus

Casual 14 · Engaged 17 · Full focus 2

Affecting: How much it costs you emotionally; whether you need recovery time. Browse their affecting movies.
Demand · Emotional cost
easyheavy

Easy watch 9 · Affecting 15 · Heavy 9

Open-ended: How much is left for you to interpret. Browse their open-ended movies.
Demand · Resolution
resolvedambiguous

Resolved 14 · Open-ended 14 · Ambiguous 5

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Melancholic
19
Tense
15
Contemplative
12
Warm
10
Bittersweet
12
Other
22

How their films linger

Bittersweet20 titles, browse their movies with this aftertasteThought-provoking11 titles, browse their movies with this aftertasteHaunting10 titles, browse their movies with this aftertasteHopeful8 titles, browse their movies with this aftertasteFeel-good4 titles, browse their movies with this aftertasteWistful5 titles, browse their movies with this aftertaste

How their films end · 4 with a twist

  • Happy5
  • Bittersweet18
  • Tragic4
  • Ambiguous6

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Néstor Almendros' films?

As of October 24, 2026, 26 of their 34 MovieCove titles stream on a subscription or free service, most on The Criterion Channel (13).

Also on these channels

Subscription and free streaming for Néstor Almendros' titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

62 credits, 34 with a MovieCove page; 6 appearances as themselves are hidden until asked for.

  • Billy Bathgate(1991)

    Cinematographer

    Midcredits score: 33rd percentile of all films

  • Made in Milan (not in the MovieCove catalog yet)(1990)

    Cinematographer

  • New York Stories(1989)

    Cinematographer

    Midcredits score: 56th percentile of all films

  • Imagine: John Lennon(1988)

    Cinematographer

    Midcredits score: 97th percentile of all films

  • Nadine(1987)

    Cinematographer

    Midcredits score: 23rd percentile of all films

  • Nobody Listened (not in the MovieCove catalog yet)(1987)

    Director

  • Heartburn(1986)

    Cinematographer

    Midcredits score: 43rd percentile of all films

  • Places in the Heart(1984)

    Cinematographer

    Midcredits score: 89th percentile of all films

  • Improper Conduct (not in the MovieCove catalog yet)(1984)

    Director · Writer

  • Confidentially Yours(1983)

    Cinematographer

    Midcredits score: 88th percentile of all films

  • Pauline at the Beach(1983)

    Cinematographer

    Midcredits score: 88th percentile of all films

  • Sophie's Choice(1982)

    Cinematographer

    Midcredits score: 92nd percentile of all films

  • Still of the Night(1982)

    Cinematographer

    Midcredits score: 36th percentile of all films

  • The Last Metro(1980)

    Cinematographer

    Midcredits score: 91st percentile of all films

  • The Blue Lagoon(1980)

    Cinematographer

    Midcredits score: 33rd percentile of all films

  • Kramer vs. Kramer(1979)

    Cinematographer

    Midcredits score: 98th percentile of all films

  • Love on the Run(1979)

    Cinematographer

    Midcredits score: 84th percentile of all films

  • Le Beau Mec (not in the MovieCove catalog yet)(1979)

    Cinematographer

  • Koko: A Talking Gorilla (not in the MovieCove catalog yet)(1978)

    Cinematographer

  • Perceval le Gallois(1978)

    Cinematographer

    Midcredits score: 79th percentile of all films

  • Goin' South(1978)

    Cinematographer

    Midcredits score: 46th percentile of all films

  • Days of Heaven(1978)

    Cinematographer

    Midcredits score: 96th percentile of all films

  • The Green Room (not in the MovieCove catalog yet)(1978)

    Cinematographer · Actor

  • En répétant Perceval (not in the MovieCove catalog yet)(1978)

    Actor

  • Madame Rosa(1977)

    Cinematographer

    Midcredits score: 85th percentile of all films

  • The Man Who Loved Women(1977)

    Camera Operator · Cinematographer

    Midcredits score: 90th percentile of all films

  • Change of Sex (not in the MovieCove catalog yet)(1977)

    Cinematographer

  • Entire Days in the Trees (not in the MovieCove catalog yet)(1977)

    Cinematographer

  • The Marquise of O(1976)

    Cinematographer

    Midcredits score: 82nd percentile of all films

  • Mistress(1976)

    Cinematographer

    Midcredits score: 62nd percentile of all films

  • The Story of Adele H(1975)

    Cinematographer

    Midcredits score: 87th percentile of all films

  • My Little Loves (not in the MovieCove catalog yet)(1974)

    Cinematographer

  • Cockfighter(1974)

    Cinematographer

    Midcredits score: 75th percentile of all films

  • General Idi Amin Dada: A Self Portrait(1974)

    Cinematographer

    Midcredits score: 89th percentile of all films

  • The Mouth Agape(1974)

    Cinematographer

    Midcredits score: 86th percentile of all films

  • Love in the Afternoon(1972)

    Cinematographer

    Midcredits score: 95th percentile of all films

  • The Valley (not in the MovieCove catalog yet)(1972)

    Cinematographer

  • Two English Girls(1971)

    Cinematographer

    Midcredits score: 86th percentile of all films

  • Make-up (not in the MovieCove catalog yet)(1971)

    Cinematographer

  • Pork with Sweet Potatoes (not in the MovieCove catalog yet)(1971)

    Cinematographer

  • Sing Sing (not in the MovieCove catalog yet)(1971)

    Cinematographer

  • Claire's Knee(1970)

    Cinematographer

    Midcredits score: 91st percentile of all films

  • Bed & Board(1970)

    Cinematographer

    Midcredits score: 92nd percentile of all films

  • The Wild Child(1970)

    Cinematographer

    Midcredits score: 92nd percentile of all films

  • More(1969)

    Art Direction · Cinematographer

    Midcredits score: 58th percentile of all films

  • My Night at Maud's(1969)

    Cinematographer

    Midcredits score: 97th percentile of all films

  • The Gun Runner (not in the MovieCove catalog yet)(1969)

    Cinematographer

  • Retour d'Henri Langlois à Paris (not in the MovieCove catalog yet)(1968)

    Camera Operator

  • The Wild Racers(1968)

    Cinematographer

    Midcredits score: 3rd percentile of all films

  • A Farmer in Montfaucon (not in the MovieCove catalog yet)(1968)

    Cinematographer

  • The Collector(1967)

    Cinematographer · Actor

    Midcredits score: 88th percentile of all films

  • Santa Claus Has Blue Eyes (not in the MovieCove catalog yet)(1966)

    Assistant Camera

  • A Modern Coed (not in the MovieCove catalog yet)(1966)

    Cinematographer

  • Place de l'Étoile (not in the MovieCove catalog yet)(1965)

    Cinematographer

  • Six in Paris (not in the MovieCove catalog yet)(1965)

    Assistant Director · Cinematographer

  • Saint-Germain-des-Prés (not in the MovieCove catalog yet)(1965)

    Cinematographer

  • Nadja in Paris (not in the MovieCove catalog yet)(1964)

    Cinematographer

  • General Assembly (not in the MovieCove catalog yet)(1960)

    Cinematographer

  • People at the Beach (not in the MovieCove catalog yet)(1960)

    Director

  • Cooperativas Agropecuarias (not in the MovieCove catalog yet)(1959)

    Cinematographer

  • El Tomate (not in the MovieCove catalog yet)(1959)

    Cinematographer

  • A Daily Mix-up (not in the MovieCove catalog yet)(1950)

    Director · Cinematographer

Career shape

A full career of 61 titles from 1950 to 1991.

Biggest box office

Kramer vs. Kramer (1979)

$106M worldwide

Highest rated

Kramer vs. Kramer (1979)

Midcredits 98th

Film career

  • 1967Screen debut· La Collectionneuse

By role

only this rolewith another role
Acting3 of 61: 1 only acting, 2 with another roleDirecting4 of 61: 2 only directing, 2 with another roleWriting1 of 61: 0 only writing, 1 with another roleCinematography55 of 61: 49 only cinematography, 6 with another role · typical Midcredits score86thOther crew5 of 61: 2 only other crew, 3 with another role

61 titles, 7 with more than one role — cinematography and other crew overlap on 3 of them.

By decade

1950s3 · crew1960s15 · 1 acting · 15 crew1970s29 · 2 acting · 28 crew1980s12 · crew1990s2 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Néstor Almendros' films land?

Their typical MovieCove film has a Midcredits score in the 87th percentile, the median of all 34; across their 33 films with reception data, the typical film sits in the 85th percentile for acclaim.

Acclaim · how much people like their films

85thpercentile
Typical film, the median of 33

Approval · how many liked their films

86thpercentile
Typical film, the median of 33

Reach · how many have seen their films

84thpercentile
Typical film, the median of 33

Midcredits score across 34 titles, by percentile

  • 75th and up24
  • 50th to 74th3
  • 25th to 49th5
  • Below 25th2

Shape of the crowd

22 of their 34 titles are Crowd Pleasers.

  • Universally Loved6
  • Universally Panned1
  • Crowd Pleaser22
  • Broadly Agreed4
  • Mixed1

Most divisive · cinematographer

The Wild Racers (1968)

58th percentile spread · 53% rated it 4 or lower

Most loved · cinematographer

Kramer vs. Kramer (1979)

Midcredits 98th · 89% liked

Reviewers score the cinematography 74/100 in their films, across 33 reviewed titles; fans 79, detractors 57. The element that speaks to their work as a cinematographer.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Is Néstor Almendros' work okay for kids?

Across up to 18 MovieCove titles with content scores, every category sits near the median of all films.

Their medianMedian of all filmsMiddle 80% of their titles
Violence & Gore11 titles23–73 · median 37 · moderatenear the median of all filmsMedian of all films: 44
Sex & Nudity18 titles28–73 · median 38 · moderatenear the median of all filmsMedian of all films: 32
Profanity10 titles9–55 · median 31 · mildnear the median of all filmsMedian of all films: 36
Alcohol & Drugs10 titles30–42 · median 38 · moderatenear the median of all filmsMedian of all films: 33
Frightening / Intense10 titles12–63 · median 31 · mildnear the median of all filmsMedian of all films: 39

Severity 0–100 from the Content Guide. Categories with under 10 votes on a title are not counted. The band's colour is the severity of their median, named beside it.

Who does Néstor Almendros work with?

People who share at least 2 of Néstor Almendros' MovieCove titles, grouped by what they did on them; Barbet Schroeder shares the most, 9.

Directors

Writers

Actors

Composers and editors

Producers