1.19:1, so even more narrow then 4:3. It’s basically the anamorphic gate on 35mm stock, but without actually using anamorphic lenses. It sounds pretty cool: they shot on actual b&w stock, and used red filters to mimic even older types of film.

no problem. It would’ve been a pretty big deal if they had abandoned Seraing. Although apparently some parts are set in a different part of Wallonia.

Are you sure? As far as I know they at least shot this in and around Seraing (Belgium), as they usually do.

I preferred the second film’s delirious weirdness, so I’m quite optimistic.

I follow a bunch of critics whose writing and analysis I like, including D’Angelo and Pinkerton. The nice thing is that they usually never agree on anything, so I always get very different perspectives on movies that pique my interest.

For what it’s worth, Nick Pinkerton liked it very much.

Because they can get Vadim Rizov to write the review. Having someone with such a detailed understanding of this particular genre give his analysis is valuable to those of us who have no affinity to it. After all, these movies are big hits and connect to several political and societal movements and hence warrant some de…

As someone who didn’t like Son of Saul much, I must say I am very curious to see Nemes’ obvious technical skill applied to the very intriguing historical setting that is the final moments of the Austrain-Hungarian empire.

This site has always reviewed as many theatrical releases as possible, and they’re still doing that. The movie is a wide release, so there’s no reason not to write about it.

The faked single take really doesn’t suit the choreography of the musical number, though. Also, the sound mixing was very bad. Very surprising, considering the keen sense of editing Chazelle displayed in Whiplash.

I poked around and found an article that spoils everything.

The Coens claim they always intended it as an anthology film, though. I know there was some reporting about it being planned as a tv series, but I can’t find an official source ever saying that.

It is something Bong Joon-ho claimed. Basically Netflix gave him complete freedom over Okja, except that they insisted he should shoot digitally. Here’s the relevant quote:

I mean, if her name recognition allows Kelly Reichardt to get her movies funded...

Her work in Certain Women (for example) is excellent, and she’s decidedly not playing a teen in that one. Of course, plenty of other films prove the same point, but—

Shot in 65mm black and white

Great review. It surely makes me wish I liked this movie more. I sadly couldn’t vibe with most of it.

So many sad stories in film preservation

parts of the film’s original cut were lost, hence the still photos