In 2012, writer/director Paul Thomas Anderson generated a wave of palpable excitement among cinephiles by shooting and releasing “The Master” in 70mm, a high-resolution analog format that hadn’t been used on a major release since Kenneth Branagh’s “Hamlet” over 15 years earlier. At the very moment most theaters were transitioning to digital-only projection, Anderson incited a wave of celluloid fetishism that led to 70mm and 35mm releases of movies by Quentin Tarantino, Brady Corbet (“The Brutalist”) and Christopher Nolan, with Nolan doubling down on the pleasures of large format film with IMAX 70mm presentations of films like “Interstellar” and “Oppenheimer.”
With his latest film, “One Battle After Another,” Anderson has revived another dormant format by not only shooting in VistaVision, but actually projecting in VistaVision (albeit on a limited number of screens) — something that hasn’t happened for a major studio release since Marlon Brando’s “One Eyed Jacks” over 60 years ago.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source m.imdb.com ’
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