Iris Ng‘s airy, soft-hued lensing (no-nonsense digital for the interview sequences, elegantly bleached Super 8…) lend[s] the proceedings a wintry grace.” - Variety

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Stories We Tell

2012, Documentary, 108 mins
National Film Board of Canada
Director: Sarah Polley
Best CDN Film - Toronto Film Critics Association
Best Documentary - LA Film Critics Association, NY Film Critics Circle, Canadian Screen Awards
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Oscar-nominated writer/director Sarah Polley playfully excavates layers of myth and memory to reveal the truth at the core of a family of storytellers.

Toxic Beauty

2019, Documentary, 90 mins
White Pine Pictures, CBC
Director: Phyllis Ellis
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With exclusive access to scientists, lawyers, advocates, regulators, politicians, a dynamic whistle blower, survivors and women who have lost their lives, Toxic Beauty follows the class action lawsuit against J&J and the plaintiffs, personal stories of women fighting for justice in a race against time.

Making A Murderer

2015, 10-part Documentary Series
Netflix, Synthesis Films
Winner of 4 Primetime Emmy Awards
including Outstanding Documentary Series
Directors: Laura Ricciardi and Moira Demos
Director of Photography (Ep.10)
Additional Cinematography (Ep.1-9)

Filmed over a 10-year period, Steven Avery, a DNA exoneree who, while in the midst of exposing corruption in local law enforcement, finds himself the prime suspect in a grisly new crime.


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Sarah Polley

Director, Stories We Tell

Iris Ng is meticulous, collaborative, creative and makes the process of making a film an absolute joy. Her ability to to be a rigorous perfectionist in her work at the same time as maintaining a calm, organized atmosphere on set is awe inspiring. She consistently thinks outside the box, finding creative solutions to practical problems that never feel like compromises. She spends a lot of energy grasping the particular vision of the filmmakers she works with, but I found, in the process of making the film, Stories We Tell, that I chose to lean on her more and more as her creative voice was often much more articulate than my own. We had a happy crew and ended up with a  film we were all proud of because of her.

Oliver Husain

Director, Moth Maze

I’ll have to think more about it, but the first thing that comes to mind is that Iris listens very carefully to the initial idea and understands it exceptionally fast, often better than I understand it myself yet. She gets the singular aesthetic quality of the film to be realized, or its potential, and then all her suggestions for technical solutions are close to that specific idea, the core of the film. And she pushes the process to get even closer to it. She doesn’t rely too much on examples and references to other films / classic images / etc. Instead, she comes up with the visual style for the project from the given situation, through tests and discussions. It shows her unique aesthetic intelligence and vast technical knowledge. And she never holds back – if the right technical solution means that she’ll be attached to the camera moving 3/4 inches for six hours (for the stop motion animation Moth Maze), she’ll just do it.


Stories We Tell

“Iris Ng’s airy, soft-hued lensing (no-nonsense digital for the interview sequences, elegantly bleached Super 8 for the reconstructions) lend[s] the proceedings a wintry grace.”

Stories We Tell

|   August 30, 2012, by Guy Lodge
After Abuse, the Possibility of “A Better Man”

“Sarah Polley (the actress and director of the documentary “Stories We Tell”) is the executive producer of “A Better Man”; the cinematographer is Iris Ng; Khan co-directed the film, along with Lawrence Jackman. That so many women are in charge of the movie is all the more remarkable given that their storytelling has a therapeutic dimension for Khan.”

After Abuse, the Possibility of “A Better Man”

|   November 19, 2017, by Doreen St. Félix
Women to Watch: Iris Ng

“It’s easy to forget that remembering is a visualization too—sometimes the images are vivid enough to make us sure, and foggy enough to make us suspect. The way Ng confronts that hazy recollection is what seems to resonate the most with audiences.”

Women to Watch: Iris Ng

|   April 18, 2016, by Sara Black McCulloch

Feature Length

Toxic Beauty

White Pine Pictures / CBC
Phyllis Ellis


WG Film
Frederik Gertten


Sandi Tan

Making A Murderer Part 2

Documentary Series (shared credit)
Synthesis Films / Netflix
Moira Demos, Laura Ricciardi

The Country

CBC doc channel
Phyllis Ellis

Migrant Dreams

Tiger Spirit / TVO
Min Sook Lee

A Better Man

Intervention Productions / NFB
Attiya Khan, Lawrence Jackman

Girls’ Night Out

White Pine Pictures / CBC
Phyllis Ellis

American Masters: Loretta Lynn

YAP Films / PBS
Vikram Jayanti

Stories We Tell

National Film Board of Canada
Sarah Polley

The Ghosts In Our Machine

Documentary (shared credit)
Ghosts Media Inc.
Liz Marshall

League of Exotique Dancers

Storyline Entertainment
Rama Rau

Upcoming (selected)


Email Iris

Iris Ng

Director of Photography
U.S.A. O-1 Visa Holder

Iris Ng is recognized as a versatile cinematographer, who lends her patience, creativity, intuition, and skill to bring a director’s vision to the screen. For over a decade, Iris has collaborated with award-winning directors Sarah Polley, Min Sook Lee, Fredrik Gertten, Vikram Jayanti, Michelle Latimer, and Martha Burns on a variety of documentaries while shooting a wide variety of films for artists such as Chris Curreri, Oliver Husain, Bambitchell, and Richard Fung.

Iris was intrigued at an early age by the photos and Super 8 movies that were created and preserved by the image-makers in her family. That discovery – that it is possible to capture the essence of a moment – has become a lifelong influence in her creative work.

After obtaining her BFA in Film Production from York University, she has honed her craft shooting over sixty projects in many facets of the industry, from narrative, art and documentary films to commercials, music videos and episodic television. In the process, she has had the opportunity to work in Asia, Africa, Europe, and across North America.

Iris brings a visual arts background to the projects she works on – which allows her to approach the work abstractly and conceptually, before tapping into the technical skills required to bring a director’s vision to screen. Iris is known for her intuition and patience balanced by strong technique.

She is equally comfortable working in the latest digital formats as well as 35mm, 16mm and Super 8 film, according to the needs of the story or concept. While her work has been screened in festivals and installations around the world, Iris’ goal continues to be to capture the essence of the moment in the medium, regardless of the size of the project.