If Fargo tells us one thing visually, it's that Minnesota is really cold. From the opening shot to the closing scene, we're treated to numerous shots of snow-covered roads and expansive views of nothing but snow for miles. Snow serves as the backdrop for many a scene, but the one that stands out as being particularly revealing is when Jerry Lundegaard leaves his father-in-law's office. We watch him from Wade's view, high up looking down at the tiny figure that is Jerry, trudging through the snow toward his car after royally blowing his business proposal. From this vantage point, never has Jerry seemed more alone, and we get the sense that he's been this slowly-moving dot in the snow his whole life.

The Big Lebowski
The best kinds of dream sequences are those that warp perception of reality, and Deakins accomplishes this with simplicity and elegance in the very first shot of the fantasy scene in the Coen brothers’ The Big Lebowski. Not only is the camera positioned at such depth that it makes it seem as though The Dude (Jeff Bridges) is dancing in an impossibly large room, the beam of light casting giant shadows of the lead’s flailing movements on the far wall is a beautiful blend of stylish and comedic.

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