The only real 1960s film emulation kino in our times was made by a feminist woman... guys wtf are you doing
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The only real 1960s film emulation kino in our times was made by a feminist woman... guys wtf are you doing
bump 🙁
Yes I liked it, OP.
>Robinson was born on October 19, 1991, in New York City to a Panamanian mother and an English father.
So a beautiful English rose witch.
if you told me it was a 1960’s movie I wouldn’t want to watch it so why would making it a modern version of a 1960’s movie change that. Movie is a movie, nuqqa, i don’t care that you made it look bad on purpose. That doesn’t lend it any special status, at all.
How did she do this anyway, it looks exactly like an older film. No way she used actual film for an indie movie, that equipment would be a pain in the ass to work with and handle nowdays.
It is film, it's one of the last 35mm cut negatives.
>that equipment would be a pain in the ass to work with and handle nowdays.
Sometimes people actually put effort into things.
BASED
>No way she used actual film for an indie movie
she did
This doesn't seem like a 60s movie at all. It's blatant sjw revisionist history.
You should try watching movies instead of getting triggered by 20 second clips
for everybody that wants to comment but hasn't seen the film, it's on film with many 60s costumes but not actually set in the 60s and the mixed styles are completely intentional.
It's also not "muh feminism, men bad, mainstream culture femininity bad." It's a nuance portrayal about how to be your own person as a woman while also being able to participate in idealized traditional notion of romance and leaves things vague enough that every viewer is going to have different opinion about what the main character should have done or not done.
So true.
In motion, it doesn't look like a 60s movie
>but what about what we want?
Looks like a Nicki Minaj music video that wants to imitate 1960s films
I love her so much it's unreal
Why dont they colour films like this anymore?
The answer is always israelites
Sad
No one wants to do what she did and even the place she used to process the film was shutting down as she was making it because they weren't getting the business they needed.
>colour
Stop trying to fit in ahmed
kys dumb esl poster
ESL
S
L
>color
do amerimutts really?
We threw off the fr*nch yoke over our language a long time ago
Getting real strong Edwige Fenech vibes here
what's the secret? lightning and make-up? it does look authentic
Lenses
Film
Lighting
Makeup
In that order of importance.
If you shoot low grain film with modern lenses it looks modern.
They cut the original camera negative on 35mm. The director and cinematographer really knew what they were doing.
also sets and costumes play a role
you can clearly see it is the makeup because the red head girl doesn't capture the 1960s at all
well she's not from the 60s. they've mobile phones and stuff
this looks cute and comfy. should i watch it or is it too feminist
i didn't think it was much feminist at all, but could be just that i don't get "triggered" by everything and anything
*ahem*
That's the same director.
that IS the director
Very funny. Been meaning to watch it again since I happened to watch some random sexual revolution movies. I think about the guy giving the speech about how great it is to be a man in the 60's often.
It’s lame that her blue beard film script became a Novel instead of movie. Like I’m going to fricking read a gay book
Why? Too expensive or something else? Her wikipedia said she is making some ghost movie now
Maybe she's turning the novel into a movie at some point but she's been working on a blue beard movie for years but then she came out with the book
I assume its some funding issue
>actually talking about a mediocre female director
>fantasizing about her next project
>doing research about her
>a female.fricking.director
Name a male director who has done anything close to this level emulation of 1960s/1970s kino.. There is none. Absolutely none. Only a female.. She deserves respect
doing something no one would bother to do because they're not completely moronic is not an accomplishment. it is like the recent phenomenon of bands releasing music on cassettes. just makes you stupid.
Either troll or a pleb
no, just not a brain dead zoomer who goes
>deerrrr this movie has an AESTHETICI FROM A MOVIE FROM 60 YEARS AGO so it's automatically GOOD!!
reddit moron
Film is objectively superior to digital.
it is really not, especially now with 8k arri digital has far surpassed film. besides if you are watching a movie and focusing on how it is digital instead of film you are missing the whole point of the artform.
Show me one digital film that looks as good as Taxi Driver
Taxi Driver on 4k Blu-ray.
moron
No u.
If the beauty of Taxi Driver can be seen through digital then it is an issue of the creator, not the medium.
what set off this israelite
ANTISEMITE!!!!!!!!!!!!!!
He just wants to fit in
Its Christmas season so be nice to him
>especially now with 8k arri digital has far surpassed film.
There isn't a single Arri camera that does 8k. The older Alev sensors are 3200 x 1800. 3.2k. LF does 4.K max. The new S35 is 4.6K.
4K DCP's are more common nowadays but lots of movie theaters and festivals are still showing 2K DCP's. 4K effects etc. post workflow has also increased, but also there are bunch of movies that are still finished in 2K.
Even the 4k is better than film though. That is why this convo is absurd. Ten years ago, there was the dying glimpse of an argument of why film is superior. But now? It is ridiculous. Every year we have a dozen new masterpieces of digital cinematography on state of the art equipment. Filmgays are like vinylgays they refuse to grow up.
N
Not with the 60s/70s thing, but James Cameron does similar things with modern/future tech thoughbeit
I'm sure if he wanted to he could do a 60s one as well. Also Wes Anderson
>am I nothing to you?
None of them look like they were made in the 1960s/1970s. The Love Witch could be dropped in that time and no one could tell the difference
Death Proof looks like a high budget 70s movie.
None of his movies look old anon, he takes that style but they do not look old. Also The Hatefull 8 has way too much literal BBC shit in it.
Death Proof was vintage looking in several shots.
I thought Beyond the Black Rainbow and House of the Devil came extremely close to emulating 70s scifi and horror in every way, EXCEPT for the modern millennial style acting which doesn't feel retro at all
>OMGG THE MOVIE...LOOKS LIKE... AN OLDER MOVIE
>BUT DUDE IT... LOOKS LIKE... A MOVIE FROM... THE PAST!!!
>DUUUDDE THE MOVIE... IT'S LIKE... EMULATING A MOVIE FROM BEFORE!!!
Im gonna need you to be a homosexual somewhere else for 5 minutes anon.
post lewd scenes
And that chubby hapa woman is married to the 50 laws of power book nerd
because it's a glib facsimile stop acting like the past= some ideal artistic expression. zoomers obsession with vintage style is why their art is terrible. it has nothing to say. also why all female art is terrible as well. they are only capable of style over substance.
I liked it. It was a great looking film the a super hot lead and a unique strange and interesting style.
>zoomers obsession with vintage style
No Zoomers were involved in making of ''The Love Witch''
NOOO SJHIT UP ZOMM XOOM SHUT HU @@@ MOVBIE SUCKS IS BY A FGILR FMELALE @!!!!! IT L
Film is objectively superior to digital and anyone who says otherwise is israeli
they always had modern cars in the background it pissed me off.
The film itself wasn't set in the past
I need a title, OP. Don't be a homosexual.
The Love Witch
Thank you, nonhomosexual homosexuals.
The Love Witch
Get over yourself, big boy
>implying 60s wasn't feminist
This movie was painfully awful
shut the frick up NPC
@193599406
@193599503
>d-d-d-do I fit in yet Cinemaphile bros?
grow up
>hold up production for years because the director needed to design all the costumes by herself
Real auteur shit
The crew hated her
so it might be why she has a hard time getting money for Blue Beard movie.
All great artists are hated. They cant stand someone who wants perfection
Because she is an incompetent c**t, and not a filmmaker, just a zoomer who is only capable of emulating old styles like that band Greta Van Fleet and expecting praise for it.
>just a zoomer
Do you have any idea who she is? She's not even a millennial, she's Gen X.
>zoomer apparently
Also, the DP response for the look is 61 years old
she look like a tran
Women are now better than men at filmmaking. And it's all your fault. Frickin man babies who still live with their mother.
>Women are now better than men at filmmaking.
How the frick is copying the 1950s making you 'better' at filmmaking? It just means you have a lot of money to waste on something no one cares about.
Barbie mopped the floor clean with any man made film all year, cope moid.
the love witch would advise against openly disrespecting a man, if you were a real woman
Makes sense.
Most men interested in the subject are geargays with little interest in creating art.
Obligatory post that says the lens is just as important as the medium.
You can shoot digital with vintage lenses.
The scene with the wedding took me out of it and slowed it down. fricking stupid scene. and this b***h didn't get naked either (women directors lol)
Yeah that scene was too long. I still liked the film overall.
are you kidding, that's the best scene. The forest people are perfect exemplars of her liberated "loving feminist" world, above and beyond their tarot significance, stumbling into their camp represents an idyll of carefree feminist life, i.e. camps of freely interacting and freely loving people, with minimal possessions based on need. All violence ritualized and controlled by oracles, all male.
*all male aggression controlled.
Women don't like that, what the frick are you talking about
it's a festival. After the astrological event is over they all go back to being sugar babies and the men go back to their male nurse jobs
Very nice looking movie and it was fairly interesting from what I remember
loved the look and feel of this movie but couldn't finish it
They did get awfully close. There are still signs that it's not a 60s production...the makeup is overdone and the lighting is harsher because it's a set and not a soundstage, but that's mostly just nitpicking.
I feel that art needs to embrace the time and place that it is created in and nostalgia is regressive. That being said I'm a complete sucker for technicolor and these screenshots look great so I might have to check this out
>I feel that art needs to embrace the time and place that it is created in and nostalgia is regressive.
yes which btw is all zoomers and millennials are capable of.
> I'm a complete sucker for technicolor and these screenshots look great so I might have to check this out
you will be disappointed and fast learn why zoomer art falls flat on its face. they can make it look like 1980s trash but they have no ability to tell a story. it's just a glib facsimile, yes it emulates the past but it's still made by someone born in the 90s the whole thing is inauthentic zoomer garbage.
It's way easier to replicate the technical aspects. That's just a matter of getting the right gear and knowing how to use it.
Getting into the same mindset as a 90s writer and director is a whole other game.
credit where it's due, it does look visually compelling
where it's due, it does look visually compelling
a movie is not a bunch of still frames and webms. You will see within five minutes that a visual aesthetic is not enough to carry a film
I wasn't planning on watching it, so I'll take your word for it
bros
My English rose wife.
>She asked me to shoot her latest feature in a retro style reminiscent of Alfred Hitchwiener’s color movies, in particular The Birds and Marnie (both photographed by Robert Burks, ASC), which are also tales that center around a glamorous but troubled woman arriving in a new town. Other references were British horror films like Horror Hotel and Dracula: Prince of Darkness, and some 1960s Elizabeth Taylor melodramas. Though soft lighting had crept into movies around that period — even Marnie has some semi-soft lighting at times — we stuck to more of a hard-lit 1950s approach. Color and glamour are Biller’s particular visual obsessions and the hard key light approach emphasizes both.
>Biller has always been an advocate for shooting and finishing on film, even when we were back at CalArts and many students used video for convenience and cost reasons. She insisted on using 35mm for this project and wanted to finish photochemically. This meant shooting in standard 4-perf 35mm so that we could make a contact print for release. We composed for 1.85:1 using an Arricam ST from Otto Nemenz Cameras.
>Today, one’s choice in color negative stock is limited to the four types made by Kodak, and the single Vision 2383 print stock. Even though standard 35mm Eastmancolor movies of the 1950s have a somewhat coarse grain structure, Biller told me that she wasn’t interested in replicating any sort of grainy look, so in my mind, we were aiming for the smoother look of past 3-strip Technicolor or VistaVision movies. I decided to shoot most of the production on Kodak Vision-3 5213 / 200T stock, but rated at 100 ASA in order to get very high printer light values, which in turn would give the print a rich look with deeper blacks and stronger color saturation. A few scenes had to be shot on Kodak Vision-3 5207 / 250D stock for practical reasons, but it matched the look of 200T fairly well. If Vision Premier 2393 print stock still existed, I probably could have overexposed the stock less heavily and still have gotten that Technicolor look we wanted.
>We talked about whether to use optics from the 1960s such as Baltars or Panchros, but it was important to Biller that the colors she used for the sets and costumes were captured as accurately as possible with maximum saturation, and some of those older lenses have a color bias to them or a loss of contrast. Also, because I planned on using diffusion filters to recreate the glamorous close-ups of the era, I didn’t want to start out with lenses that were too soft. In the end we used Zeiss Super Speeds with a few Standard Speeds mixed in. I also used a 24-290mm Angenieux Optimo occasionally, mainly for a few shots where I had to zoom into an extreme close-up. I felt that the modern Optimo actually matched the look of the Super Speeds better than an older zoom would, plus most of those zooms are an f/4 wide-open, whereas the Optimo is an f/2.8. Since I was rating the film at 100 ASA, I needed a 100 footcandles just to get an f/2.8, which became the base stop for most of my interiors. Bumping everything up to 200 footcandles just to be able to use an f/4 zoom now and then would have been frustrating and time-consuming, though cinematographers of the past had to deal with this all the time.
>We spent the first two weeks on stage and then went on location after that. The sets were all lit with classic tungsten Fresnel lamps, often a direct 2K Junior as a key in wide shots; a 1K or 650w Tweenie was bright enough for the closer coverage. On the second day, I tried using a 2K Zip as a key, which looked quite good – and was keeping with 60’s era techniques — but I dropped that approach by the end of the day as not being hard and crisp enough. The only area in which I “cheated” regarding the hard light style was in the use of fill, since that’s a light that’s not supposed to be seen, only felt. Even an older movie would have used something like spun glass on a large scoop light for a softer fill, so I didn’t feel it was inappropriate to bounce lights off of white board, or occasionally use a 1x1 LED LitePanel next to the lens.
>One thing that concerned me once we left the stage was the location shooting because I had some daytime locations where I could not gel the windows to 3200°K. I dislike using HMI PARs as hard key lights unless they are very far away, like outside a window. Up close, they produce an odd shadow pattern that can only be improved by softening the light. The daylight-balanced solution was to use the new Mole-Richardson LED Fresnels, which allowed me to keep the classic hard key light look that only a Fresnel lens can give you. They also have a number of modern advantages, pulling less power and putting out less heat than tungsten lighting does.
>Anna Biller had done a number of color illustrations of her set designs, and one idea I had was to reinforce the colors by using colored lighting in the background, sometimes splashing pink light onto pink tablecloths, blue light onto blue curtains, etc. In keeping with classic aesthetics, I avoided colored light on the faces whenever possible.
>There were some drug-induced visions in the story that we created in-camera — for example, I used a kaleidoscope lens for one shot, and for a number of others, a plastic diffraction filter that created rainbow streaks around practical light sources in frame. I also created a red vignette by cutting out an oval in a red party gel that was then taped to the matte box.
>The combination of Zeiss Super Speeds, hard lighting, and 200T stock created quite a sharp image that needed some diffusion to achieve the romantic close-ups we desired. I had some nets stretched onto filter frames; the lightest effect was from a black tulle material I found in a fabric store. I also had some Dior and Fogal nets as well, but they were only used on very tight close-ups, plus a few fantasy moments and flashbacks. I sometimes combined the light black tulle with a Schneider Classic Soft filter. For a separate story arc involving a police investigation, I mostly just used a mild Tiffen Soft-FX filter to take the edge off so the sharpness didn’t jump out compared to the romantic look of Elaine’s scenes.
>We shot for a couple of days in Eureka, California, to establish our small-town setting, along with gathering footage to be rear-projected on stage when we got back for some process driving shots. The plates were just shot with a little Sony NEX6 camera. On stage, the files were fed from a laptop into a 15K lumens LCD projector. The rear-projection screen was 12’x6’ and I ended up with enough exposure to shoot at f/2.0 using 250D stock (chosen because of the color temperature of the projector lamp.) I didn’t feel that it was important to shoot the plates on 35mm film since the image on the screen would not be in sharp focus behind the actress in the car.
>During the answer printing, Biller was a stickler about getting the color right and though she has done this before, I think it was hard for her to be limited to simple RGB printer light corrections — sometimes we and the timer talked about whether a single point correction was going to be too much or not enough to get the color just right.
>I think the main thing I re-discovered in post was how much contrast there is — how dense the blacks are — when you print a movie from the original negative at high printer lights. The look is much richer than what most digital projection can achieve today. We did find that in the photochemical prints, maybe the greens weren't as saturated as with the digital version, and the deeper blacks came at the expense of some loss of shadow detail, but, in general, I think the 35mm print that is currently playing in festivals is closer to the Technicolor feeling that the movie wanted to express than the DCP will be.
How does someone with enough talent to shoot TLW and know all this have an entire career of nothing but garbage
Thousands of DP's around the world could achieve the same thing.
Why does no one do it? Thousands of filmmakers jizzing over their love of film and old movies yet no one attempts this? Why? Even the ones who shoot on film don't attempt it
can't image it makes a lot of money
filmmaker are going to love it, but a general audience won't care
Shooting on film doesn't make sense yet many of the top filmmakers still do it. Just for some reason their movies shot on film still look digital
You idiot it's the other way. Digital looks exactly like film now. No one can tell the difference. They have done blind tests. You zoomers pretend to know shit you know nothing about.
You can't tell the difference between movies today and Taxi Driver?
Because it doesn't fit the particular movie they are making aesthetically, narratively and creatively. Just because the throwback style fits this particular film creatively and narratively, it doesn't mean it works for other movies.
It is funny you should say that. Every bum frick millennial and zoomer goes in to the meeting demanding they shoot on film like their favorite meme scorsese movie. They fold immediately. Zoomies are all talk. Totally inept in real world situations.
I am not. I would say I shoot on film or nothing and then say find another puppet you israelite frick as I walk out and go join the elevator union
lmao not only will you shoot digital but you will do the entire thing in front of green screen. If you don't you will be replaced by someone who will.
That's when you pull a Nasim Najafi Aghdam
>could
And yet they didn't. Think about THAT!
This sort of thing is very expensive and time consuming while not appealing to mainstream audiences.
She’s unbelievably hot in this.
It's not and the movie was shot in less days than most Hollywood movies
Horrible by default for being a feminist film
Notice how she like every other feminist heroine has teenager style and is smug and a show of and then the feminists have the audacity to demand that men adjust to dresscodes and act mature, all the while claiming its easier to be a male
I really liked The Love Witch but a new contender has emerged.
Oh frick The Holdovers was set in the 70s, nevermind.
The trailer footage screams digital grading.
Feminists would be triggered if an adult male acted like an attention prostitute with individual style like that including wearing makeup
Feminists want men to be anonymous and introvert worker drones and they would never socialize with a male as extrovert as they are
What it's like to kiss a woman?
i am not big on brown eyes but she is changing my entire opinion