The celluloid comeback continues. Less than three years ago, Kodak was faced with the prospect of closing its film manufacturing plant in Rochester, New York, which also would have closed the doors on filmmakers’ ability to shoot on film. Now they’re back from the dead, and a number of Hollywood biggest blockbusters are being shot on film (hello, “Dunkirk”), and going analog has become a mark of prestige for award contenders and first-rate TV.
To highlight how integral shooting on film is to the top filmmakers, 15 films premiering at the Cannes Film Festival shot on Kodak stock, according to the company.
Seven of the 15 films are in competition, and among the most highly anticipated of the year:
“The Beguiled,” directed by Sofia Coppola, DP Philippe Le Sourd, stars Elle Fanning, Nicole Kidman and Kirsten Dunst
“Wonderstruck,” directed by Todd Haynes, DP Edward Lachman, stars Amy Hargreaves, Julianne Moore and Michelle Williams
“The Meyerowitz Stories,” directed by Noah Baumbach, DP Robbie Ryan, stars Adam Sandler, Ben Stiller and Emma Thompson
“The Killing Of A Sacred Deer,” directed by Yorgos Lanthimos, DP Thimios Bakatakis, stars Nicole Kidman, Alicia Silverstone and Colin Farrell
“Good Time,” directed by Ben & Josh Safdie, DP Sean Price Williams, stars Robert Pattinson, Barkhad Abdi and Jennifer Jason Leigh
“Redoubtable,” directed by Michel Hazavanicius, DP Guillaume Schiffman, stars Stacy Martin, Bérénice Bejo and Louis Garrel
“Jupiter’s Moon,” directed by Kornel Mundruczo, DP Marcell Rév, stars Merab Ninidze, Zoltán Mucsi, György Cserhalmi
Other titles shot on Kodak include the Director’s Fortnight titles “Un Beau Soleil Interieur” directed by Claire Denis, “The Florida Project” directed by Sean Baker, and “A Ciambra” directed by Jonas Carpignano.
What’s equally fascinating is it isn’t just members of the “Cannes Club” who are returning to film. It was just two years ago that Baker shocked Sundance and the indie film world with his iPhone-shot “Tangerine.” Two years later, he’s premiering “The Florida Project,” which was largely shot on 35mm (and iPhone). “A Ciambra” captures the real lives of European refugees and works with non-professional actors in an extremely handheld documentary style, yet Carpignano has been shooting on 16mm for the last six years.
As Alex Ross Perry has been arguing for years, indie filmmakers can afford to shoot film. And with Kodak recently opening processing labs in major filmmaking cities, it’s becoming increasingly easy to shoot film.
You can read more about how the films at Cannes this year were shot here.