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Lenses built for filmmaking: marked in T-stops (the light that actually reaches the sensor), with geared focus and iris rings for a follow focus, long focus throws and a matched front diameter for matte boxes. Anamorphic lenses squeeze a wider view onto the sensor for the widescreen look.
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Match the mount first (PL for cinema bodies, or your camera's own mount), then the image circle: a Super 35 lens vignettes on a full-frame sensor. Within a set, cine primes share a front diameter and gear positions, so a matte box and follow focus stay put between lens changes. T-stops are honest light figures, so two T2.1 lenses expose alike. Anamorphic lenses add oval bokeh and horizontal flares; the squeeze factor (1.33×, 1.5×, 1.8×, 2×) sets how wide the final image is.