sábado, 22 de julho de 2017

Nunca se Escreveu Tanto Sobre a Película — Parte 2



Elogios, palavras de apreço, os constrangimentos presentes do formato e a inevitável "ordem do dia" em torno de DUNKIRK e dos seus 70mm.

Uma lista de endereços úteis, publicados ao longo dos últimos 30 dias, sobre o actual ponto de situação do futuro, vida e morte da película.

"Film benefits from the world's greatest motion picture artists using it, but the world's greatest motion picture artists also make better movies because they use film."
Steve Bellamy, in 35mm: the format that refused to die, RedShark.

"It can be manipulated in ways that hard drives cannot—every time 35mm film is run through a projector it collects blemishes and tears, a singular history carved into its very cells, never the same film shown twice. That is, for a lack of a better word, beautiful."
Nina Wilder, in An ode to 35mm film, The Chronicle.

"I’m making my films cheaper than anybody working at the same scale on digital. There are no efficiencies to be gained there and no money to be saved..."
Christopher Nolan, citado por Zack Sharf, in Christopher Nolan, Quentin Tarantino and Paul Thomas Anderson Have A 70mm Film Support Group, IndieWire.

"'There's only one film lab in Los Angeles now and they' actually forgotten how to do certain things," Biller laments down the phoneline. It was very difficult to colour-time the print because they don't have some of their traditional equipment anymore.' So was all that trouble worth it? 'Oh, yes. The colours are richer and deeper than a digital print and the blacks are blacker.'"
Anna Biller, citada por James Croot, in The Love Witch: The Technicolour dream that almost became a logistical nightmare, Stuff Entertainment.

"Y todo esto tiene una historia detrás, ya que el soporte en el cual tú quieres trabajar te da una cualidad que no tiene el digital. Hay allí una parte matérica, orgánica, de la necesidad de coger un trozo de película, tener el tiempo en tus manos."
Antoni Pinent, entrevistado por Mónica Delgado, in El Analógico No Debe Ser un Lujo o Capricho Sino Un Modo de Entender la Fantasmagoría, desistfilm.

"You keep the film wet, you unload the camera, and you keep it damp the whole time. We shipped it back to Los Angeles from the set in France, and they processed it before drying it out, and the shot came out absolutely perfect and it's in the film. Try doing that with a digital camera!"
Christopher Nolan, citado por Jason Guerrasio, in Christopher Nolan used an old Hollywood trick to salvage footage that sank in the water while shooting 'Dunkirk', Business Insider.

"Hollywood’s embrace of digital cinema projection (DCP) – studios announced they would stop making prints in 2014 – was never about embracing technological advances in quality, it was about saving money. The amount of time, energy and expense of creating and shipping tens of thousands of 35mm prints around the world was astronomical. And when film projection disappeared, so did the union projectionists trained to insure our viewing experience was maximized."
Chris O'Falt, in Netflix Is Not the Problem: Why Bad Theatrical Presentations Are Destroying the Experience, IndieWire.

quinta-feira, 20 de julho de 2017

DUNKIRK estreia hoje em Portugal



DUNKIRK, de Christopher Nolan, rodado em película de 65 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219).

quarta-feira, 5 de julho de 2017

Sobre SPELL REEL



"The archival images in the film are digitized but, notably, not restored or preserved. Up to 40 years of neglect, decay and vinegar syndrome are foregrounded here; the rare colour footage is faded, while elsewhere figures appear and disappear amidst a wash of degradation. While this is likely an economic consideration, the presentation of the footage in this condition is also a political act, as it forces a disassociation between the archive and the presumed goal of preservation. As César notes in the ancillary publication Luta ca caba inda: time place matter voice 1967-2017 — a part oral history, part catalogue that annotates each of the individual reels digitized for the project — "the digitisation of the archive was a process of documenting our passage through that audiovisual matter."

The sensibilities of [Chris] Marker and César's mentor Harun Farocki are evident throughout SPELL REEL (...). Scenes of hands carefully manipulating film canisters and reels, or strips of film running gently through fingers, invoke Farocki's fastidious attention to minute gestures, his care for the delicate materiality of this medium that can preserve both images of the world and the inscriptions of war.
"

[Fonte: Artigo de Jesse Cumming, sobre SPELL REEL de Filipa César, na Cinema Scope, número 71 (Verão 2017).]

quinta-feira, 29 de junho de 2017

A FLICKERING TRUTH — Memórias Ignoradas


Das cinzas de uma nação fustigada por anos de conflitos armados, instabilidade política, ocupações norte-americanas, assim como pela sucessiva exaustão dos seus recursos humanos e criativos, Ibrahim Arify — enquanto director do Afghan Film Archive — procura renascer a memória do seu país por via das mais de oito mil horas de filme votadas ao abandono num decadente hangar em Cabul.

Pela lente da realizadora neo-zelandeza Pietra Brettkelly, cedo percebemos que Arify encetou numa fundamental missão, árdua e ingrata, condicionada por uma (ainda notória) complexa mentalidade afegã, mas plena em recompensas. Cada bobine reencontrada, restaurada à sua capacidade "projectável" e visualizada, revela-se uma fonte de surpresas, de pequenas delícias narrativas (visualmente, EPIC OF LOVE, de Latif Ahmadi, despertou-nos singular curiosidade) ou surpreendentes testemunhos históricos.

Talvez inadvertidamente, o principal valor que Brettkelly consegue ressalvar em A FLICKERING TRUTH — documentário com tanto de pungente como de excessivamente melodramático — é a qualidade resiliente da película enquanto formato de arquivo por excelência, de uma literal resistência à prova de guerra, e detentora da peculiar habilidade de se esconder da insensatez humana; pois naquele hangar, esquecido para o resto do mundo durante décadas, conservou-se praticamente sozinha a identidade cultural do Afeganistão, agora pronta a ser resgatada e partilhada com as gerações vindouras do país.

domingo, 25 de junho de 2017

Il Cinema Ritrovato 2017



O maior festival de Cinema Restaurado do mundo arrancou ontem, com um invejável programa que, até ao próximo dia 2 de Julho, exibirá Robert Mitchum, títulos restaurados de Jean Vigo e debates sobre Kinemacolor e Technicolor a partir das suas origens.

quinta-feira, 22 de junho de 2017

Blockbuster em Película #8



THE WALL, de Doug Liman, rodado em película de 16mm (Kodak Vision3 50D 7203).

Post Magazine: Why did you and DP Roman Vasyanov decide to shoot 16mm anamorphic?
Doug Liman: A bunch of reasons — the harsh weather, the low budget and short shoot, going with natural light, and 16mm unlike 35mm doesn’t need to be threaded — it just pops into the camera very quickly. And there’s a grain pattern to 16mm anamorphic that isn’t like anything else, and shooting in the desert it can make the environment more beautiful, and more dramatic.

[Fonte: Post Magazine]
[Imagem: MovieMaker]

quarta-feira, 21 de junho de 2017

SUSPIRIA Redescoberto



O Chicago Cinema Society anunciou hoje a descoberta de uma cópia em 35mm de SUSPIRIA, o clássico giallo assinado por Dario Argento: seis bobines de filme armazenadas nos cofres de uma antiga sala de cinema italiana, onde terá sido exibida em 1977 ou 1978.

Em excelente estado de preservação, sem qualquer indício de síndroma do vinagre e aparentando ter sido projectada, no máximo, apenas quatro ou cinco vezes, a cópia agora encontrada vai integrar o trabalho de restauro digital de SUSPIRIA em curso pela editora Synapse Films.

A comprovar o óptimo estado físico da cópia, o Chicago Cinema Society partilhou cinco excertos da mesma no seu canal de YouTube — incluindo o desta icónica sequência:



[Fonte: The Chicago Cinema Society.]


sexta-feira, 16 de junho de 2017

Six Ways to Fight For Film



No seu mais recente número, e a propósito da estreia próxima de DUNKIRK (realizado pelo aficionado da película Christopher Nolan), a revista Little White Lies partilha um manifesto, assinado pelos três elementos do The Badlands Collective, no qual se discursa sobre o futuro do filme em celulóide e de como será possível combater a extinção do formato em seis "simples tácticas de resistência":



1. SHOOT ON FILM!
"Shooting film is an addictive, rewarding process. You can be satisfied not only by the whirring noise of the camera, but by being part of a special club of people who are finding fresh ways to use old technology."

2. SUPPORT YOUR LOCAL CINEMA!
"Get involved, see prints when you can, and think about starting your own independent programming group."

3. APPRECIATE PRACTICAL EFFECTS!
"When visual effects are captured in camera, an emotional connection is created – from the craftspeople, the actors and the filmmakers interacting with them – and that transmits to the audience."

4. CELEBRATE THE CINEMATOGRAPHER’S ART!
"In the days before digital images were instantly viewable on set, a cinematographer was in fact regarded as something of an alchemist, whose knowledge of film sensitivity, lenses and lighting was crucial."

5. UNDERSTAND HOW FILM IS ARCHIVED!
"If someone says film is an obsolete technology, correct them: it’s important to spread understanding that as long as archival film stock is being produced, we are keeping cinema alive for future generations."

6. EMBRACE THE ROMANCE!
"Cinema is a magic trick."



[Texto e imagens: Little White Lies, May-June 2017 issue.]

sábado, 20 de maio de 2017

Sobre THE BEGUILED



"Shooting on film was the right decision because to get muted colors, pastel tones, and porcelain skin tones, textures, only film can get this richness. We forget how beautiful film is and the digital world is still far away from the quality of the 35mm. The numbers of K in the digital world is not replacing the beauty of the film."

Philippe Le Sourd, director de fotografia de The Beguiled, o mais recente título de Sofia Coppola, escolhido para a Selecção Oficial do Festival de Cannes 2017.

[Fonte: IndieWire.]

quinta-feira, 18 de maio de 2017

Cannes 2017



Em concurso pela Palma de Ouro do Festival de Cannes 2017, são sete os filmes rodados em película de 35mm e 16mm:


[Fonte: Kodak.]