In the midst of the contemporary digital age, where pixels have replaced celluloid in filmmaking, a growing number of directors are rekindling a love affair with 35mm film. Sean Baker, celebrated for his raw and vivid storytelling, has thrown his cowboy hat into this nostalgic ring. Recently, Baker was seen in a unique and insightful promo video, illustrating his journey into the heart of film processing at FotoKem in Los Angeles, marking a resurgence of interest in traditional film formats.
Seeing the Bigger Picture
Sean Baker’s latest cinematic venture, Anora, represents his commitment to the tactile beauty of 35mm film. A story that begins in the vibrant streets of Brighton Beach, NYC, follows Ani, an Uzbek-American stripper who finds herself entangled in a whirlwind romance with the son of a Russian oligarch. Their adventures take them to Vegas, but fairy tale endings are threatened when familial interference comes into play.
Beyond the narrative, the film’s production is noteworthy. Shot with Arricam LT cameras on 35mm film, it is a testament to Baker’s dedication to capturing the visceral and organic textures unavailable in digital formats. This project saw the hands-on involvement of Kodak Film Lab, where the raw film was processed into a digital negative, ensuring that the classic charm of 35mm meets modern cinematic expectations.
The Mechanics of Magic
For cinephiles, Baker’s behind-the-scenes video is more than a promotional piece; it’s a technical backstage pass. While visiting FotoKem, Baker engages with both the mystery and mastery of film processing. Founded in 1963, FotoKem stands as a bastion of traditional film crafting in a city infatuated with the new. The facility plays a crucial part in an industry that, albeit shrinking, still cherishes the mechanical whirr of film in projectors over the hum of digital servers.
The movement back towards film isn’t isolated to Baker. The movie industry is seeing a quiet, yet significant, revival of interest in the authentic and unreplicated qualities of celluloid. Following Anora, another filmmaker, Brady Corbet, is also lining up The Brutalist for release on both 35mm and the grandiose 70mm formats.
Closing Credits
As Anora expands its presence in US theaters, some venues are privileged to project it on 35mm, providing audiences with a nostalgic experience of the cinematic arts. In today’s streamlined digital cinema scape, Sean Baker’s choice to spotlight the traditional is a romantic—and brave—resistance against the pixelation of every art form. With The Brutalist set to follow in December, it’s clear that this rebirth of film is more than a fleeting vintage fad. So, when the lights go down and the screen flickers to life, those who choose 35mm aren’t just watching a movie; they’re experiencing a piece of history in real-time. For Baker, and for cinema lovers at large, it’s a clear call: if you can, use film.
Source: Letterboxd
