Christopher Nolan's Interstellar, Paul Thomas Anderson’s Inherent Vice, Jean-Luc Godard’s Goodbye to Language, Andrey Zvyagintsev, Paul Schrader on enhancing, Peter von Bagh, Foxcatcher, The Imitation Game, The Babadook, Locarno assurance, Venice insurance, Toronto assurance.
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Additional resources for Film Comment (November/December 2014)
The left camera remains on Davidson and we continue to watch him, at the same time as we see the husband point a gun at Ivitch’s head. The two images, each the off-screen space of the other, appear superimposed, unless we alternate closing one eye then the other to watch each image separately. Without a cut, in a leftward pan we follow Ivitch back into the shot with Davidson and the two images converge and become one again, restoring the 3-D effect. This cinematic invention will be repeated later in the film.
This cinematic invention will be repeated later in the film. It is simultaneously a new kind of sequence shot and a new kind of montage (a marriage of Bazin and Eisenstein). At a minimum, it reminds us how little we know about what 3-D cinema can do and what it might make possible if treated playfully and experimentally. But Goodbye to Language also rehearses another Godard thesis about the intimate link between technology and political power. Davidson tells his students over newsreel imagery that Hitler was democratically elected the same year that television was invented and notes the prescient mid-century predictions of French philosopher Jacques Ellul (his face on the book cover of a recent intellectual biography is displayed to us on an iPhone).
We did a screening in a big cinema in Paris to decide which version to go with. This was March 18 [two months before the film’s debut at Cannes]. He had not seen the 3-D at all until then! I brought a 3-D version with stereo sound, a 2-D version in HD, and Jean-Luc’s HDCAM rough cut with time code. His tape edit was amazing, and I thought maybe we should stay with the rough cut. Jean-Luc is not afraid if a film is rough. I asked him but he said: “No, we are here to see the 3-D. ” PAUL DALLAS is a Brooklyn-based writer and film programmer.