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A true grindhouse like the long-gone Clark Theater is unimaginable. It Really Feels Like a Movie! It is astonishing Chikfi,a realize that, in a little over five years, 35mm film has gone from a widely-supported exhibition ln to the sole province of non-theatrical venues: The Chicago International Film Festival, which theoretically possesses Chikfila girl in rochefort clout to demand 35mm prints for its gala events and centerpiece screenings, screened no 35mm prints this year. Last year, the Festival screened 18 titles on 35mm. The California-based Arclightwhich will bring its premium experience business model to Chicago inhints that it hopes to become a new home for the Festival and says it will also install 35mm projectors in one auditorium.

The New York Film Festival, arguably the most prestigious festival in the country, screened a few prints this year, but the vast majority of its offerings were DCP. Ironically, the Coens are themselves major figures in the broader conversion story: Inthis experimental workflow was necessary to tweak color values in ways that traditional photochemical processing could not achieve. Subsequently, though, the DI became standard practice for almost every American feature film, even ones with much more conventional technical demands.

gir Chicagoans who want to catch Inside Llewyn Davis on 35mm have had only one Chikfila girl in rochefort so far: Gochefort films on Chhikfila will seemingly require much more planning and Chukfila intrigue in the future, which is one reason the Film Society began tracking rocbefort screenings on Celluloid Chicago. Whether the Coens lack the clout to insist on 35mm screenings or regard the projection format as an inconsequential afterthought in our hybrid age gurl largely beside the point. I would like to thank Harvey Chikfila girl in rochefort personally for making this happen.

With this audience, watermarks, secret codes — it really feels like a movie! Does a 35mm screening now require clearance from no Chikrila than Harvey Weinstein himself? A little over a decade ago, Jonathan Rosenbaum published a collection polemically titled Movie Wars: If the specifics are dated, the broader question — to what extent are our innocent viewing choices dictated by submerged corporate prerogatives? Consumer choice is most visibly limited in the 35mm vs. In some instances, the choice presented is either false or actively muddied. In reality, chains are still trying to differentiate their product, even when the distinctions are minimal.

IMAX 3D screenings carry a super-premium ticket price, but to what end? The giant screen colossus, which once offered a genuinely unique 70mm dual-strip stereoscopic experiencenow utilizes 2K DCP just like almost every other system, often shoehorned onto merely large-ish multiplex screens. The post-production workflow for Gravity was wholly 2K, so conceivably the benefit from a better projection system would be blunted anyway. When I arrived at Regal City North for a Christmas Day screening of The Wolf of Wall Street I learned that the only auditorium showing the new Scorsese picture was RPX -equipped—the Regal Premium Experience, purporting to provide the super-charged, posh, perfect presentation that every paying customer has every right to expect from any theater in the first place.

As DCP screenings go, Wolf of Wall Street looked fine and the RPX-monogramed seats were more expensive, if not necessarily more comfortable, than the multiplex standard—but the premium pricing provided little return. Make It a Blockbuster Night?

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