1. The Man Who Wasn’t There (2001)

    Directed by: Ethan Coen, Joel Coen
    Cinematography: Roger Deakins, ASC, BSC
    Cameras: Arriflex 535B, Cooke S4 lenses
    Format: 35mm (Kodak Vision 320T 5277 / bleach bypassed to black & white)
    Mode: Spherical
    Aspect Ratio: 1.85:1

  2. Inside Llewyn Davis (2013)

    Directed by: Ethan Coen, Joel Coen
    Cinematography: Bruno Delbonel ASC, AFC
    Cameras: Arricam LT, Cooke S4 Lenses, Arricam ST, Cooke S4 Lenses
    Format: 35mm (Kodak Vision3 500T 5219)
    Mode: spherical
    Aspect Ratio: 1.85:1


  3. Let’s hope there’s a future for motion picture film!

  4. Adam Arkapaw shooting True Detective on 35mm film with Panavision Cameras and PVintage lenses. 

  5. Paul Thomas Anderson shooting The Master on a Panavision System 65 camera. 

  6. “It was going back to the way we used to do it,” he says. “We forget how the elegant simplicity of film allows you to shoot from the heart. You use your gut, your light meter and your eye instead of being a slave to a monitor. I think that’s very freeing in terms of being able to pursue your artistic goals without the hindrance of a lot of scientific accoutrements.”

    Russ Alsobrook, ASC on shooting Tammy on 35mm film. (via Kodak)

  7. Paradise: Hope (Paradies: Hoffnung)

    Directed by: Ulrich Seidl
    Cinematography: Edward Lachman (ASC) & Wolfgang Thaler (AAC)
    Cameras: Arri
    Format: 16mm (Kodak Vision3 200T/500T)
    Mode: Spherical (super16)
    Aspect ratio: 1.85:1

    Available as an art book.

  8. Mommy (2014)

    What do you think about the new Xavier Dolan movie’s aspect ratio?

    He previously chose 1:37.1 on Laurence Anyways but this looks even more unusual: it was shot on 35mm film and then he cropped the image to 1:1. It’s like looking at a classic medium format - 6x6 - photograph (or an Instagram photo), but is it enough for the big screen? Don’t you miss something? It would be great to hear your thoughts!

    Dolan about his choice: 

    The perfect square in which it consists framed faces with such simplicity, and seemed like the ideal structure for “portrait” shots. No distraction, no affectations are possible in such constricted space. The character is our main subject, inescapably at the center of our attention. Our eyes cannot miss him, her. 1:1 is, besides, the ratio of album covers in the CD industry, and of all of these jackets that have imprinted our imaginaries over time. The Die & Steve Mix 4ever being a leitmotif for us, the use of 1:1 found an additional echo. It is also, to be frank, my DOP André Turpin’s favorite ratio which he had, apparently, dreamed of using his entire life without ever daring to do so. (…) after having now spent a year with him busting my balls at about just every shot, regretting our infamous ratio, I’ve learned two things: André loves cinemascope and I, for one, have absolutely no regrets in this. (via FilmStage)

    And just for the record: Mommy received rave reviews in Cannes.

  9. Amazing series of videos on 's Vimeo channel. This is about Robert Richardson’s style (known for Quentin Tarantino & Martin Scorsese films). 

  10. Dion Beebe shooting Edge of Tomorrow on 35mm anamorphic film with Panavision Platinum cameras and G series lenses.