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“... Nestor Almendros is one of the world’s most sought-after directors of cinematography. He is most closely associated with the French cinema, having shot nine of Truffaut’s films and seven of Rohmer’s, but recently his Oscar for Malick’s Days of Heaven has encouraged Americans to take a chance on this independent Spaniard who has three times been exiled – from Franco’s Spain, Batista’s Cuba and Castro’s Cuba ...”

“... this is a fiction. For the first idea (our eyes on the back of her head) the great cinematographer Nestor Almendros reminds us in his glowingly honest memoir A Man with a Camera of the trick of the 1940s lighting-man to which Thomson refers – the placing of a ‘light behind to show off the stars’ hairdos and make them stand out against the ...”

“... discloses a brightly coloured surface thick with paint. Scorsese’s episode was photographed by Nestor Almendros, who was responsible for the shots which moved Wenders in L’Enfant Sauvage: but one could hardly call Life Lessons chaste or uncoercive in style. A maestro’s sensuous tour de force, it makes Wenders look puritanical. The iris-opening ...”

“... to the impression it made. Rohmer’s cinematographer was the young and untested Néstor Almendros, who had escaped Castro’s Cuba and was therefore shunned by many left-wing intellectuals when he arrived in Paris. Rohmer, though, made friends with him and they went on to collaborate for decades. For La Collectioneuse ...”

“... significance. But while the landscape in Days of Heaven is surpassingly beautiful – Néstor Almendros deserved his Oscar for the cinematography – human things look out of place in it, whether the transient, oppressed farmhands or the farmer’s lofty Victorian house, sitting alone like some presumptuous ornament plumped in the middle of a vast ...”