Michael Mann was one of the first filmmakers working in Hollywood to embrace the digital. After earlier experiments with HD in Collateral (2004) and Ali (2001), Mann resolutely opts for the digital format in his 2006 Miami Vice. In this interview, Miami Vice’s cinematographer Dion Beebe explains that the choice of digital came not from practical concerns but through an experimental search, guided by Mann’s intent of the film. The interview bears witness to this turning point in film history where digital cinema still had to come to terms with itself, still had to start believing in its own possibilities.
Ventura, a Cape Verdean laborer living in the outskirts of Lisbon, is suddenly abandoned by his wife Clotilde. Ventura feels lost between the dilapidated old quarter where he spent the last 34 years and his new lodgings in a recently-built low-cost housing complex.
Two old friends, Mark and Kurt, embark on a weekend trip to connect, and they can’t. They miss the opportunity to express what they might want to express to each other. They can’t articulate what they want to say. – Kelly Reichardt
“In Zidane: A 21st Century Portrait experimental filmmakers Douglas Gordon and Philippe Parreno set up seventeen cameras to follow Real Madrid footballer Zinedine Zidane through the course of an average game.