- RogerEbert.comRogerEbert.com8m
- MovieWebMovieWeb8m
- ScreenCrushScreenCrush9m
- VarietyVariety9m
- VarietyVariety9m
- VarietyVariety9m
- The WrapThe Wrap20m
- IndiewireIndiewire36m
- MovieWebMovieWeb39m
- MovieWebMovieWeb39m
- SlashFilmSlashFilm39m
- The WrapThe Wrap1h
- VultureVulture1h
- Digital TrendsDigital Trends1h
- The WrapThe Wrap1h
- IndiewireIndiewire1h
- IndiewireIndiewire1h
- VarietyVariety1h
- Hollywood ReporterHollywood Reporter1h
- DeadlineDeadline1h
- VarietyVariety1h
- ComingSoon.netComingSoon.net1h
- SlashFilmSlashFilm1h
- Digital TrendsDigital Trends2h
- VultureVulture2h
- Digital TrendsDigital Trends2h
- VarietyVariety2h
- PubityPubity2h
- MovieWebMovieWeb2h
Why 'The Brutalist' Should Be Seen in VistaVision and 70mm
IndieWireStory by Jim Hemphill
scrn logline
Todd Field's upcoming art-house epic 'The Brutalist' brings back the long-forgotten VistaVision format for an immersive cinematic experience.
beat sheet
- Cinematographer Hoyte van Hoytema shot 'The Brutalist' on vintage VistaVision cameras, a format last used in major films during the 1950s and 60s.
- Director Todd Field is insisting the film be shown in 70mm projection to fully capture the format's higher resolution and distinct visual properties.
call sheet
Todd Field, Hoyte van Hoytema, VistaVision, The Brutalist