Camera

ARRI

Arriflex 35 BL

The Arriflex 35 BL (Blimped Lightweight), introduced in 1972, was the first self-blimped 35mm motion picture camera quiet enough for sync-sound shooting without an external housing. Its mirror-reflex viewfinder and rugged construction made it a standard tool in European and independent filmmaking from the 1970s onward.

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Artists who use this(28)

Vittorio Storaro

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Used on Apocalypse Now, The Last Emperor, and One from the Heart

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Sven Nykvist

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Primary camera for Bergman collaborations from the mid-1970s. Used on Autumn Sonata, Fanny and Alexander

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Stanley Kubrick

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Kubrick used Arriflex cameras extensively, including for the candlelit sequences in "Barry Lyndon" (1975) with specially adapted Zeiss lenses. His use of Arriflex equipment is documented in multiple production accounts.

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Last updated March 24, 2026

Federico Fellini

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Fellini used Arriflex cameras on his productions at Cinecittà Studios; his films "8½" (1963) and "Amarcord" (1973) were shot on 35mm with Arriflex equipment.

Martin Scorsese

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Scorsese used Arriflex cameras for "Taxi Driver" (1976), "Raging Bull" (1980), and other early films. His cinematographer Michael Chapman has discussed the use of Arriflex equipment in multiple interviews.

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Spike Lee

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Lee used Arriflex cameras for "Do the Right Thing" (1989) and "Malcolm X" (1992). His cinematographer Ernest Dickerson has discussed the equipment in interviews.

Abbas Kiarostami

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Kiarostami used Arriflex cameras for his Koker Trilogy and "Taste of Cherry" (1997). His cinematographer Homayun Payvar has discussed the equipment in interviews.

Krzysztof Kieślowski

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Kieślowski used Arriflex cameras for the Three Colors Trilogy (1993-94) and "The Double Life of Véronique" (1991). His cinematographer Slawomir Idziak has discussed the equipment in interviews.

Rainer Werner Fassbinder

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Fassbinder used Arriflex cameras for his prolific output of films, including "Ali: Fear Eats the Soul" (1974) and "The Marriage of Maria Braun" (1979). The Arriflex was the standard camera for German productions of the period.

Wim Wenders

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Wenders used Arriflex cameras alongside Aaton for many of his productions; his cinematographer Robby Müller discussed their use of both systems in interviews.

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Christopher Doyle

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Used Arriflex 35 BL for In the Mood for Love (2000) and Chungking Express (1994) with director Wong Kar-wai.

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Jim Jarmusch

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Jarmusch has shot his films on 35mm and 16mm with Arriflex cameras; "Stranger Than Paradise" (1984) was shot on 16mm with an Arriflex. His commitment to film is documented in published interviews.

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Ken Loach

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Loach has used Arriflex cameras for his social realist films including "Kes" (1969) and "I, Daniel Blake" (2016). The handheld flexibility of the Arriflex suited his documentary-influenced style.

Mike Leigh

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Leigh has used Arriflex cameras for his character-driven films; the camera's flexibility accommodated his improvisation-based production method. His cinematographer Dick Pope has discussed their equipment choices.

Gus Van Sant

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Van Sant used Arriflex cameras for "Elephant" (2003) and his Death Trilogy, shooting in long Steadicam takes. His use of Arriflex equipment is documented in production interviews.

Kelly Reichardt

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Reichardt shoots on 16mm and 35mm film; "First Cow" (2019) and "Meek's Cutoff" (2010) were shot on film with Arriflex cameras. Her commitment to film is documented in published interviews.

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Zhang Yimou

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Zhang Yimou used Arriflex cameras for "Raise the Red Lantern" (1991) and "Red Sorghum" (1988). His cinematographer Zhao Fei has discussed the equipment in interviews.

Roger Deakins

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Used on The Shawshank Redemption (1994)

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Hal Ashby

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Used Arriflex 35 IIC and Panavision PSR for Harold and Maude (1971); Panavision system for Being There (1979)

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Jacques Audiard

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Used Aaton 35-III and ARRIFLEX 435 for A Prophet (2009)

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Oliver Stone

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Used ARRIFLEX 35 BL3 for Platoon (1986); mixed ARRIFLEX 16SR with Panavision Panaflex Gold for JFK (1991)

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Dick Pope

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Used Arriflex cameras extensively for character-driven films with Mike Leigh; the camera's quiet operation and flexibility accommodated the improvisation-based production method.

Ernest Dickerson

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Used Arriflex cameras for Do the Right Thing (1989) and Malcolm X (1992), developing a bold visual style with Spike Lee that drew on documentary and expressionist techniques.

Homayun Payvar

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Used Arriflex cameras for Kiarostami's Koker Trilogy and Taste of Cherry (1997).

Michael Chapman

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Shot Taxi Driver (1976) and Raging Bull (1980) on Arriflex cameras, using the 35 BL's quiet operation for intimate handheld work in both films

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Robby Müller

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Used Arriflex cameras alongside Aaton for many Wim Wenders productions, switching between the two systems depending on the shooting requirements.

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Sławomir Idziak

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Used Arriflex cameras for the Three Colors Trilogy (1993–94) and The Double Life of Véronique (1991), employing custom filters to achieve the distinctive color palettes of each film

Zhao Fei

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Shot Raise the Red Lantern (1991) and Red Sorghum (1988) on Arriflex cameras, establishing the vivid color palette that defined Zhang Yimou's early films.