The New World: Reverse Shot Goes Digital
Why has a journal born five years ago on the cusp of digital explosion, such as Reverse Shot, only treaded lightly here until now?
To set a movie like Days of Heaven next to something like The New World is to compare two films that have been assembled with completely different technologies.
The high-resolution digital images of Bergman’s actors have a certain facticity that makes them seem more vivid than they had ever been.
David Lynch's films often dimly hint at the clandestine powers that control things: networks of organized crime, pornography rings, supernatural bureaucracies that hold sway from behind curtains or inside shadowy, Mabuse-like glass chambers and anterooms.
What’s different in Soderbergh’s digital work, and especially in Full Frontal, what gives it that distinctive quality of exposure, is that his characters’ self-examination is directed only toward deeper self-examination, and not necessarily toward a particular narrative end.
The effectiveness of Take One is unthinkable without film itself: the audacity of the effects (split-screen images, little visual riffs in which the picture is contained in alternately enlarging and shrinking boxes) inextricable from the weight and burden of the equipment.