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Wim Wendersthe visionary new German cinema director Paris, Texas (1984) and Desire Wings (1987), no stranger to the documentary about real-life artists. Actually, his movies Buena Vista Social Club (1999), Bina (2011) and salt of the earth (2014) were all nominated at some point for the Academy Award for Best Documentary (Feature Film). But that was with his 2011 movie Binaabout choreographer Pina Bausch, with whom Wenders is said to have fallen in love once and for all with the 3D medium.

And he’s since made his pledge to continue directing in 3D, with the final Wenders special being shown for Anselm taking place in Cannes this week. The film about visual artist Anselm Kiefer was a “portrait” of the artist according to Variety, which “employed a mix of different media” in addition to 3D, and had “a slightly fantasy feel”. Wenders talked in detail about Anselm Film “He didn’t want to make a film of an autobiographical nature. In a way, biographies don’t interest me, I don’t even read autobiographical books. Other people love them, I get bored with them. However, I love the work and artwork of writers, poets, painters, choreographers and architects.”

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Wenders has also explained that the 3D medium is important for its ability to capture Anselm Kiefer’s monumental, compositional, and spatial visual art on film. He said, “3D was the perfect language for this because his world is so vast and so intense, I wanted to put the audience right in front of it. A 2D screen just can’t handle it. In 3D (sic), you see many times what you see on a normal screen, and you see more than you’ve ever seen.” in the cinema before.

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Layered depth

This is a sentiment similar to what Wenders recalled in his 2011 film Bina, which he said he wanted to do earlier but only felt appropriate after discovering that the 3D medium could appropriately capture the action of the choreography. Continuing his advocacy of the medium with a recent showing in Cannes, Wenders explained to Variety that “You can also be brain dead in some movies, because the amount of brain activity is minimal. In 3D, however, your brain is all on fire.”

“Parts of your brain create space,” Wenders explained, which is something you do on your own: You get two separate images on a screen and your brain stitches them together, just as you do in life with your eyes. So, your brain is very active, but other parts of your brain are also active – you’re more emotionally involved because you’re more “there.” “

Wenders explained his view that “[i]In theaters, we are accustomed to the fact that everything is on the screen, and we are here, in front of it, and not there. in 3D, [however] you there. And all of a sudden, a lot of your instincts are very active and aren’t active if you’re watching Fast and Furious 10. Well, in those movies, there might be more adrenaline going on, of course, but your brain is less involved.”

future viewers Anselm He can look forward to an image of the artist’s vast and eerily detailed works of cultural memory in a very sensual way, thanks to the 3D medium. Simply because of the depth of its layers, you see four times as much as you normally see [in cinema], an insane amount of information,” said Wenders. “That’s a nice feature, of course, but the 3D also shows every error, and it’s also zoomed in. You see more, you have to take in more, and your mind is working overtime.”

A Cannes veteran, Wim Wenders reclaimed the Palme d’Or at the 1984 Cannes Film Festival Paris, Texasas well as the Best Director Award at the 1987 Cannes Film Festival Desire Wings.


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