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  1. Very surprised that there's no thread about the film so far. It's available today on Netflix and is also showing in 600 locations across the world (the film was released two weeks earlier in theaters exclusively), they're actually pushing this very hard in Mexico (there are even mobile cinemas ! that go around to show the film in certain locations), domestically as well, it's already been sweeping many awards, many for best picture, best director and best cinematography. Chivo was supposed to shoot the film, they prepped and he had to drop out. Cuaron then took over and shot the film himself (Galo Olivares rumored to be the co-DP at some point, has a credit as cinematography collaborator (never saw that before) and camera operator). Here's the second trailer: I'd advise of course to watch this on Netflix to get a better quality. Chivo & Cuaron discussed the film at a panel: https://variety.com/2018/artisans/in-contention/alfonso-cuaron-details-roma-cinematography-with-gravity-dp-emmanuel-lubezki-1203085424/ The film has insanely great reviews and it's all deserved honestly. I couldn't get into it at first, it felt like I feel watching Children Of Men or Gravity which is to say, I admire and respect those films more than I like them. I LOVE A Little Princess and Harry Potter & The Prisoner Of Azkaban though, Great Expectations is quite good too and Y Tu Mama Tambien is strong. But then something clicked about halfway through the film and I was in completely. The film is completely immersive, there is no score but the sound design is very strong, I felt like I was witnessing this slice of life in person. Cuaron takes his style one step further by adopting a very minimalistic approach. The camera often pans across the scene, left to right, right to left, observing. At times, it's simply static and lingers. Other times, there are hypnotizing tracking shots (one just following characters walking across a dirt road, with a gorgeous vista and the mountains in the background, the camera is higher up on a hill. Another one on the beach, so simple and yet so powerful). The B&W is also gorgeous, absolutely gorgeous, so pure. Cuaron explained why he shot this on the Alexa 65 and not on film and he wanted it, those memories of his, to be pristine. Anyway, Cuaron has apparently pushed for theaters in the US to show the film either on 70mm or Dolby Atmos, but considering it's playing in many places that have none of those things, I guess he loosened up. Do try to watch it on the BIG screen with quality sound, it is worth it, I didn't think so at first but it is. A funny tidbit: the ending credits state the film was shot entirely on 65mm which is obviously not true as it's not film, but for some reason, Netflix and Cuaron have been pushing that narrative a lot :D
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