A cinematographer with a uniquely intimate style and sensitive eye -
from scenes of peaceful realisation or ones of panic and violence, Nick puts precedence on characters and the world they inhabit.
A BIFA nominated, multi-award winning cinematographer Nick is known for Ben Sharrock's debut feature 'PIKADERO' as well as Cannes 2020 hidden gem 'LIMBO'. Other work includes; Claire Oakley's psychological drama-thriller 'MAKE UP' and the Berlinale winning 'BUTTERFLY KISSES'.
Nick has shot extensively abroad, including India, Pakistan, Turkey, Dubai, Singapore, and Africa (Kenya, Swaziland, Uganda and Zimbabwe). He enjoys working in various languages alongside many different cultures and world views; a passion for people and their unique voices is something he finds incredibly inspiring.
Starting his career as a camera assistant for the BBC, he received a Kodak Scholarship that enabled him to study and specialise in cinematography at the National Film and Television School (NFTS) under Brian's Tufano BSC and Stuart Harris tutelage.
Recent projects include director Nick Holt's BAFTA-nominated single drama 'RESPONSIBLE CHILD', the Turkish, Polish/Danish co-production 'ANATOLIAN LEOPARD', directed by Emre Kayiş. As well as the upcoming Sony Pictures telling of 'ANNE BOLEYN' directed by Lynsey Miller.
As always, he continues his work on a variety of short, experimental and documentary projects.
from Radio Times
"The film is also a treat for the eyes, shifting between the dehumanising hostel where the men have been housed and the seemingly endless purgatorial bleakness of the island itself. The result is one of the best films ever made about the refugee experience." Stephen Applebaum
from Film Inquiry
"Frightening in its portrait of sorrow yet far from pedantic in its exploration of asylum-seeking, “Limbo” is nothing short of sublime, a triumphant feat of storytelling as striking in its visuals as it is in its writing. Sharrock is unafraid to cut a deep wound, blowing lovingly into it and then cutting into it deeper, a steady, well-orchestrated cycle of small joys and gutwrenching woes." Rafaela Sales Ross
from Time Out
"It’s a credit to Sharrock that “Limbo” can hold this multiplicity, flexing to accommodate tonal changes in much the same way cinematographer Nick Cooke’s aspect ratio shifts to embrace the astounding scenery. There are shots and simple moments here that will break and remake you. Sublime." Stephen A. Russell
Make Up (2020)
from Sight and Sound
"Make Up is a mesmerising and original coming-of-age story that will leave you lost in its embrace long after the credits have rolled." Rebecca Harrison
from Screen Daily
"Oakley has crafted a story which packs an immersive sensory punch." Nikki Baughan
Responsible Child (2019)
from the Times (UK)
"told sparingly, eloquently and with such realistic dialogue and camerawork that at times it felt like a documentary." Carol Midgley
"A story like this is meant to spark debate, and it grips you tight, and leaves you struggling for breath in pure frustration and anger and pity for everyone involved."
"Whatever the show’s outcome, no one would’ve been a winner here – but this one-off special really is a heartbreaker that deserves all the recognition it’s in line to get." Tilly Pearce
Pond Life (2018)
from Sight & Sound
"Thanks to some committed, sensitive performances, Nick Cooke’s gorgeously sun-soaked cinematography and a gruffly romantic soundtrack by Richard Hawley, Pond Life happily becomes more than the sum of it’s parts." Pamela Hutchinson
The Hungry (2017)
from Hollywood Reporter
"Apart from Sheetal Sharma’s eye-catching costumes, tech credits work together to create a highly atmospheric film. DP Nick Cooke’s diffuse lighting offers the unsettling colors of the polluted dawn mist in New Delhi, or the mirrored white hall of glass, a sort of corridor of power, inside the Ahuja family complex." Deborah Young
from Screen Daily
"There is notable work from cinematographer Nick Cooke as he captures misty morning scenes, contrasting rich and poor or glides through the courses of a vast and deadly wedding banquet." Allan Hunter
Butterfly Kisses (2016)
from The Guardian
"Strong performances are the basis of this promising piece of work; Nick Cooke’s high-contrast monochrome cinematography gives it an interestingly European feel." Peter Bradshaw
“The images are intransigently acute, reflecting the disunity of Jake, who is increasingly drifting into isolation and so becomes ever more unattainable.” Kirsten Taylor
from Screen Daily
"Striking black-and-white camerawork from Nick Cooke - Cooke’s photography certainly creates an ominous atmosphere that’s a lot classier than the rough-grained Brit realist norm." Jonathan Romney
from Screen Daily
"Carefully composed throughout with a fondness for long static shots and precise framing, especially in the couple’s frequent retreats to a railway station shelter, the film is a triumph for cinematographer Nick Cooke who contributes to a sense of lives diminished by their oppressive surroundings. Gorka’s family seem to be squashed into a home that is too small for all of them. Cooke also provides some beautiful images of starry night skies, piercing sunshine and the way bright colors intrude into an otherwise drab world." Allan Hunter