|
|
8.2 |
1985 |
AdCSf![Color (Technicolor); Aspect: 1.85:1; 35 mm (also horizontal) (Eastman 125T 5247, 400T 5294); Spherical VistaVision (special effects); Panaflex Camera and Lenses by Panavision; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Back to the Future |
Robert Zemeckis, W, W, P, M |
|
8.2 |
1980 |
AAdSf![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 100T 5247); VistaVision (special effects) Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Star Wars: Episode V - The Empire Strikes Back |
Irvin Kershner, W, W, ++, P, M |
|
8.2 |
1946 |
DRW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Best Years of Our Lives |
William Wyler, W, W, P, M |
|
8.0 |
1981 |
AAdDHW![Color (Fujicolor); Aspect: 1.85:1; 35 mm (Fuji A 250T 8518); AUDIO: Dolby Digital (director's cut), Dolby (original release), SDDS (director's cut) Color (Fujicolor)](icons/rgb.png) |
Das Boot |
Wolfgang Petersen, W, W, P, M |
|
8.0 |
1966 |
AdWe![Color (Technicolor); Aspect: 2.35:1; 35 mm (2-perf); Techniscope (as Techniscope ®); AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
The Good, the Bad and the Ugly |
Sergio Leone, W, W, ++, P, M «Il buono, il brutto, il cattivo» |
|
8.0 |
1931 |
CDR![Black and White; Silent](icons/bw.png) |
City Lights |
Charles Chaplin, W, ++, P, P, M |
|
7.9 |
2007 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate; Arriflex 535; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Like Stars on Earth |
Aamir Khan, ++, W, P, M, M, M «Taare Zameen Par» |
|
7.9 |
1994 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293); Arriflex 35 BL4S, Zeiss Standard Speed and Super Speed Lenses Moviecam Compact, Zeiss Standard Speed and Super Speed Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Shawshank Redemption |
Frank Darabont, W, W, P, M |
|
7.9 |
1988 |
AnDW![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono, Dolby (as Dolby Stereo) (theatrical print) Color (Technicolor)](icons/rgb.png) |
Grave of the Fireflies |
Isao Takahata, W, W, P, M «Hotaru no haka» |
|
7.9 |
1986 |
AdD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Stand by Me |
Rob Reiner, W, W, ++, P, M |
|
7.8 |
1994 |
DMR![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Dolby, Dolby SR Color (Eastmancolor)](icons/rgb.png) |
Three Colors: Red |
Krzysztof Kieslowski, W, W, P, M «Trois couleurs: Rouge» |
|
7.8 |
1981 |
AAd![Color; Aspect: 2.20:1; 35 mm (Eastman 100T 5247); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Raiders of the Lost Ark |
Steven Spielberg, W, W, ++, P, M |
|
7.8 |
1976 |
DSp![Color (Technicolor); Aspect: 1.33:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Rocky |
John G. Avildsen, W, P, M |
|
7.8 |
1975 |
AdHoT![Color; Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); Arriflex 35-III, Panavision C-Series Lenses (some shots) Panavision Panaflex, Panavision C-Series Lenses; AUDIO: Mono (Westrex Recording System), Dolby Digital (Dolby 5.1), DTS (DTS 5.1), Dolby Surround 7.1 (DTS HD Master Audio) Color](icons/rgb.png) |
Jaws |
Steven Spielberg, W, W, ++, P, M |
|
7.8 |
1960 |
HoMT![Black and White; Aspect: 1.37:1; 35 mm; Mitchell BNC; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Psycho |
Alfred Hitchcock, W, W, P, M |
|
7.8 |
1936 |
CD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording Sound System) Black and White](icons/bw.png) |
Modern Times |
Charles Chaplin, W, P, P, M |
|
7.7 |
1995 |
AnAdCFFan![Color (Technicolor); Aspect: 1.85:1; Digital; Digital; AUDIO: Dolby Digital Color (Technicolor)](icons/d-rgb.png) |
Toy Story |
John Lasseter, W, W, ++, M |
|
7.7 |
1991 |
ASfT![Color; Aspect: 2.20:1; 35 mm (Eastman EXR 50D 5245, EXR 500T 5296, 250D 5297); Super 35; Arriflex Cameras and Lenses; AUDIO: 70 mm 6-Track (analog 70 mm prints), CDS (digital 35 mm and 70 mm prints), Dolby SR (analog 35 mm prints) Color](icons/rgb.png) |
Terminator 2: Judgment Day |
James Cameron, W, W, P, M |
|
7.7 |
1988 |
AT![Color; Aspect: 2.20:1; 35 mm (Eastman 400T 5295) 65 mm (special effects) (Eastman 125T 5247, 400T 5295); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Die Hard |
John McTiernan, W, W, ++, P, M |
|
7.7 |
1984 |
ASf![Color; Aspect: 1.85:1; 35 mm (Eastman 250T 5293); AUDIO: Mono, Dolby Color](icons/rgb.png) |
The Terminator |
James Cameron, W, W, ++, P, M |
|
7.7 |
1980 |
BD![Black and White; Aspect: 2.35:1; 35 mm (Eastman Plus-X 5231); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Black and White](icons/bw.png) |
The Elephant Man |
David Lynch, W, W, ++, P, M |
|
7.7 |
1954 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
La Strada |
Federico Fellini, W, W, ++, P, P, M «La strada» |
|
7.6 |
2003 |
CCr![Color; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Munnabhai M.B.B.S. |
Rajkumar Hirani, W, W, ++, P, M |
|
7.6 |
2002 |
CrD![Color; Aspect: 1.85:1; 16 mm (Eastman EXR 50D 7245, Kodak Vision 250D 7246, Vision 200T 7274, Vision 500T 7279) 35 mm (Eastman EXR 50D 5245, Kodak Vision 250D 5246, Vision 200T 5274, Vision 500T 5279); Digital Intermediate (2K) (master format) Super 16 (source format) Super 35 (source format); Aaton 35-III, Zeiss Super Speed Lenses Aaton A-Minima, Zeiss Super Speed and Angenieux HR Lenses Aaton XTR Prod, Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
City of God |
Fernando Meirelles, Kátia Lund, W, W, P, M, M «Cidade de Deus» |
|
7.6 |
1993 |
CDFanR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Dolby SR (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Groundhog Day |
Harold Ramis, W, W, ++, P, M |
|
7.6 |
1990 |
BCrDT![Color (Technicolor); Aspect: 1.85:1; 35 mm; Arriflex 35 BL4S, Zeiss Lenses; AUDIO: Dolby SR Color (Technicolor)](icons/rgb.png) |
Goodfellas |
Martin Scorsese, W, ++, P |
|
7.6 |
1974 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; Mitchell BNCR, Bausch & Lomb Super Baltar and Kowa Cine Prominar Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
The Godfather: Part II |
Francis Ford Coppola, W, W, ++, P, M |
|
7.6 |
1961 |
AAd![Black and White; Aspect: 2.35:1; 35 mm; Tohoscope (anamorphic); AUDIO: Perspecta Stereo (Westrex Recording System) Black and White](icons/bw.png) |
Yojimbo |
Akira Kurosawa, W, ++, P, M «Yôjinbô» |
|
7.6 |
1957 |
D![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
12 Angry Men |
Sidney Lumet, W, P, M |
|
7.6 |
1952 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Ikiru |
Akira Kurosawa, W, W, ++, P, M |
|
7.6 |
1946 |
DFFan![Color, Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Color, Black and White](icons/rgb-bw.png) |
It's a Wonderful Life |
Frank Capra, W, W, ++, P, P, P, M |
|
7.6 |
1921 |
CDF![Black and White; Silent](icons/bw.png) |
The Kid |
Charles Chaplin, W, P, M |
|
7.5 |
1997 |
CrDMT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293); Super 35; Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Lightweight, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
L.A. Confidential |
Curtis Hanson, W, W, ++, P, M |
|
7.5 |
1994 |
AnAdDFMl![Color (Technicolor); Aspect: 1.66:1; 35 mm (Eastman); AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Lion King |
Roger Allers, Rob Minkoff, W, W, ++, M |
|
7.5 |
1993 |
BDT![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman); J-D-C Cameras and Lenses; AUDIO: Dolby, DTS Color (Technicolor)](icons/rgb.png) |
In the Name of the Father |
Jim Sheridan, W, W, ++, P, M |
|
7.5 |
1988 |
D![Color; Aspect: 1.66:1; 35 mm (Kodak); AUDIO: Dolby Color](icons/rgb.png) |
Cinema Paradiso |
Giuseppe Tornatore, W, ++, P, M «Nuovo Cinema Paradiso» |
|
7.5 |
1986 |
AAdSfT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm (Eastman 400T 5294, 400T 5295); Arriflex 35-III, Canon K35 Lenses Moviecam SuperAmerica, Canon K35 Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Eastmancolor)](icons/rgb.png) |
Aliens |
James Cameron, W, W, ++, P, M |
|
7.5 |
1982 |
HoMSfT![Color; Aspect: 2.20:1; 35 mm (Eastman 100T 5247); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Stereo (35 mm prints), 70 mm 6-Track (70 mm prints) Color](icons/rgb.png) |
The Thing |
John Carpenter, W, W, P, M |
|
7.5 |
1952 |
CMlR![Color (Technicolor), Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Sound System) Color (Technicolor), Black and White](icons/rgb-bw.png) |
Singin' in the Rain |
Stanley Donen, Gene Kelly, W, W, ++, P, M |
|
7.5 |
1950 |
DN![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Sunset Blvd. |
Billy Wilder, W, W, ++, P, M |
|
7.5 |
1944 |
CrDNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
Double Indemnity |
Billy Wilder, W, W, ++, P, M |
|
7.5 |
1939 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
Mr. Smith Goes to Washington |
Frank Capra, W, W, ++, P, M |
|
7.4 |
2014 |
CT![Color; Aspect: 2.35:1 Color](icons/q-rgb.png) |
Wild Tales |
Damián Szifron, W, P, M «Relatos salvajes» |
|
7.4 |
2006 |
DT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Hawk Scope (anamorphic); Arriflex 535B, Hawk C- and V-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Lives of Others |
Florian Henckel von Donnersmarck, W, P, M, M «Das Leben der Anderen» |
|
7.4 |
1994 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 200T 5293, EXR 500T 5296); Technovision (anamorphic); Arriflex 35 BL4, Technovision/Zeiss Super Speed and Angenieux HR Lenses Arriflex 35-III, Technovision/Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital, SDDS (8 channels) Color (Technicolor)](icons/rgb.png) |
Léon: The Professional |
Luc Besson, W, P, M «Léon» |
|
7.4 |
1961 |
DHW![Black and White; Aspect: 1.75:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Judgment at Nuremberg |
Stanley Kramer, W, ++, P, M |
|
7.4 |
1960 |
CDR![Black and White; Aspect: 2.35:1; 35 mm; Panavision (anamorphic); AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
The Apartment |
Billy Wilder, W, W, P, M |
|
7.4 |
1957 |
DM![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Witness for the Prosecution |
Billy Wilder, W, W, ++, P, M |
|
7.4 |
1953 |
AdDT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric) Black and White](icons/bw.png) |
The Wages of Fear |
Henri-Georges Clouzot, W, W, ++, P, M «Le salaire de la peur» |
|
7.4 |
1948 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; Arriflex II C; AUDIO: Mono Black and White](icons/bw.png) |
Bicycle Thieves |
Vittorio De Sica, W, W, ++, P, M «Ladri di biciclette» |
|
7.4 |
1939 |
AdFFanMl![Black and White (Sepiatone), Color (Technicolor); Aspect: 1.37:1; 35 mm; Metroscope (1955 re-release) Spherical; Technicolor Three-Strip Camera; AUDIO: Mono (Western Electric Sound System: The Voice of Action), Dolby Digital (2005 re-issue) Black and White (Sepiatone), Color (Technicolor)](icons/rgb-bw.png) |
The Wizard of Oz |
Victor Fleming, ++, W, W, ++, P |
|
7.3 |
2011 |
BCD![Color; Aspect: 1.85:1; 35 mm (Fuji Eterna Vivid 250D 8546); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Aaton Penelope, Panavision Primo Lenses Arri Alexa, Panavision Primo Lenses (some night scenes) Arriflex 435, Panavision Primo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The Intouchables |
Olivier Nakache, Eric Toledano, W, W, P, M «Intouchables» |
|
7.3 |
2004 |
BDHW![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 500T 5218, Vision 250D 5246); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Ultra Prime Lenses Arricam ST, Zeiss Ultra Prime Lenses Arriflex 435, Zeiss Ultra Prime Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Downfall |
Oliver Hirschbiegel, W, W, ++, P, M «Der Untergang» |
|
7.3 |
1988 |
AnFFan![Color; Aspect: 1.85:1; 35 mm; Spherical (hard-matted); AUDIO: Dolby (Stereo) Color](icons/rgb.png) |
My Neighbor Totoro |
Hayao Miyazaki, W, P, M «Tonari no Totoro» |
|
7.3 |
1986 |
AnAAdFFanR![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Color](icons/rgb.png) |
Castle in the Sky |
Hayao Miyazaki, W, P, M «Tenkû no shiro Rapyuta» |
|
7.3 |
1968 |
AdWe![Color (Technicolor); Aspect: 2.35:1; 35 mm (2-perf); Techniscope; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Once Upon a Time in the West |
Sergio Leone, W, W, ++, P, M «C'era una volta il West» |
|
7.3 |
1957 |
DW![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Paths of Glory |
Stanley Kubrick, W, W, ++, P, M |
|
7.3 |
1954 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
On the Waterfront |
Elia Kazan, W, ++, P, M |
|
7.3 |
1953 |
CDR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Roman Holiday |
William Wyler, W, W, ++, P, P, M |
|
7.3 |
1950 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
All About Eve |
Joseph L. Mankiewicz, W, ++, P, M |
|
7.3 |
1948 |
AAdDWe![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Treasure of the Sierra Madre |
John Huston, W, W, P, M |
|
7.3 |
1931 |
CrNT![Black and White; Aspect: 1.20:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
M |
Fritz Lang, W, W, ++, P |
|
7.2 |
1997 |
AnAdFan![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital (English-language version), Dolby Color](icons/rgb.png) |
Princess Mononoke |
Hayao Miyazaki, W, P, M «Mononoke-hime» |
|
7.2 |
1987 |
AdCFFanR![Color; Aspect: 1.85:1; 35 mm; J-D-C Cameras and Lenses; AUDIO: Dolby Color](icons/rgb.png) |
The Princess Bride |
Rob Reiner, W, P, M |
|
7.2 |
1985 |
ADW![Color; Aspect: 1.85:1; 35 mm; Panaflex Cameras and Lenses by Panavision; AUDIO: Dolby (35 mm prints), 70 mm 6-Track (70 mm prints) Color](icons/rgb.png) |
Ran |
Akira Kurosawa, W, W, ++, P, P, P, M |
|
7.2 |
1979 |
HoSf![Color; Aspect: 2.20:1; 35 mm (Eastman 100T 5247); Panavision (anamorphic); AUDIO: 70 mm 6-Track (70 mm prints), Dolby (as Dolby Stereo) Color](icons/rgb.png) |
Alien |
Ridley Scott, W, W, ++, P, M |
|
7.2 |
1979 |
C![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; Arriflex Cameras and Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
Life of Brian |
Terry Jones, W, W, ++, P, M |
|
7.2 |
1975 |
D![Color; Aspect: 1.85:1; 35 mm (Eastman 100T 5254); AUDIO: Mono Color](icons/rgb.png) |
One Flew Over the Cuckoo's Nest |
Milos Forman, W, W, ++, P, M |
|
7.2 |
1955 |
HoMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (A.R.T.E.C.) Black and White](icons/bw.png) |
Diabolique |
Henri-Georges Clouzot, W, W, ++, P, M «Les diaboliques» |
|
7.2 |
1954 |
AD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono, Stereo (re-release prints) Black and White](icons/bw.png) |
Seven Samurai |
Akira Kurosawa, W, W, ++, P, M «Shichinin no samurai» |
|
7.2 |
1942 |
DRW![Black and White; Aspect: 1.37:1; 35 mm; Mitchell BNC; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Casablanca |
Michael Curtiz, W, W, ++, P, M |
|
7.1 |
2011 |
D![Color; Aspect: 1.85:1; 35 mm (Fuji Eterna 500T 8573, Eterna 400T 8583); Aaton 35 III, Zeiss Lenses Aaton Camera; AUDIO: Dolby SR Color](icons/rgb.png) |
A Separation |
Asghar Farhadi, W, P, M «Jodaeiye Nader az Simin» |
|
7.1 |
2010 |
AnAdCFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format) Disney Digital 3-D (3-D version) PixarVision; AUDIO: DTS, Dolby Digital EX, SDDS, Sonics-DDP (IMAX version), Dolby (Dolby 7.1 Surround Sound) Color](icons/d-rgb.png) |
Toy Story 3 |
Lee Unkrich, W, W, ++, M |
|
7.1 |
2004 |
BDHW![Color; Aspect: 2.35:1; 35 mm (Kodak); Super 35 (source format) Digital Intermediate (master format); AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Hotel Rwanda |
Terry George, W, W, P, M, M, M |
|
7.1 |
2003 |
CrDMT![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Memories of Murder |
Joon-ho Bong, W, W, ++, P, M «Salinui chueok» |
|
7.1 |
1998 |
CrD![Black and White, Color; Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: SDDS, Dolby Digital, DTS Black and White, Color](icons/rgb-bw.png) |
American History X |
Tony Kaye, W, P, M |
|
7.1 |
1996 |
CrDT |
The Bandit |
Yavuz Turgul, W, P, M, M «Eskiya» |
|
7.1 |
1996 |
CrD![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Aaton 35-III, Zeiss Standard Speed Lenses Arriflex 35 BL4, Zeiss Standard Speed Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Trainspotting |
Danny Boyle, W, W, P |
|
7.1 |
1984 |
BDMc![Color (Technicolor); Aspect: 2.20:1; 35 mm (Eastman 250T 5293); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Digital (director's cut), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Amadeus |
Milos Forman, W, P |
|
7.1 |
1974 |
CrDMT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 100T 5254); Panavision (anamorphic); Panavision Panaflex, Panavision C-Series Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Chinatown |
Roman Polanski, W, ++, P, P, M |
|
7.1 |
1966 |
CrDHW![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
The Battle of Algiers |
Gillo Pontecorvo, W, W, P, M, M «La battaglia di Algeri» |
|
7.1 |
1965 |
We![Color (Technicolor); Aspect: 2.35:1; 35 mm; Techniscope; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
For a Few Dollars More |
Sergio Leone, W, W, ++, P, M «Per qualche dollaro in più» |
|
7.1 |
1959 |
AAdCrMT![Color (Technicolor); Aspect: 1.66:1; 35 mm (horizontal); VistaVision; Mitchell VistaVision Cameras; AUDIO: Mono (Westrex Recording System), Dolby SR, Dolby Digital Color (Technicolor)](icons/rgb.png) |
North by Northwest |
Alfred Hitchcock, W, P, M |
|
7.1 |
1959 |
C![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Some Like It Hot |
Billy Wilder, W, W, ++, P, M |
|
7.1 |
1934 |
CR![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording) Black and White](icons/bw.png) |
It Happened One Night |
Frank Capra, W, W, P, M |
|
7.1 |
1925 |
AdCFRWe![Black and White; Silent](icons/bw.png) |
The Gold Rush |
Charles Chaplin, W, P, M, M, M |
|
7.0 |
1976 |
D![Color (Metrocolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Metrocolor)](icons/rgb.png) |
Network |
Sidney Lumet, W, P, M |
|
7.0 |
1975 |
CrD![Color (Technicolor); Aspect: 1.33:1; 35 mm; Panavision Cameras and Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Dog Day Afternoon |
Sidney Lumet, W, W, ++, P |
|
7.0 |
1975 |
AdCFan![Color (Technicolor); Aspect: 1.66:1; 35 mm; AUDIO: Dolby Digital (2001 re-release), Mono (original release) Color (Technicolor)](icons/rgb.png) |
Monty Python and the Holy Grail |
Terry Gilliam, Terry Jones, W, W, ++, P |
|
7.0 |
1967 |
CrD![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Lenses; AUDIO: Mono Color (Technicolor)](icons/rgb.png) |
Cool Hand Luke |
Stuart Rosenberg, W, W, ++, P, M |
|
7.0 |
1962 |
AdBDHW![Color (Technicolor); Aspect: 2.20:1; 65 mm (Eastman); Super Panavision 70; Panavision Lenses; AUDIO: 70 mm 6-Track (RCA Sound Recording) (70 mm prints), Mono (35 mm prints) (original version), 4-Track Stereo (magnetic prints) (35 mm) (original version) Color (Technicolor)](icons/rgb.png) |
Lawrence of Arabia |
David Lean, W, W, ++, P, M |
|
7.0 |
1959 |
CrD![Black and White; Aspect: 2.35:1; 35 mm; Dyaliscope; Chevereau Cameras; AUDIO: Mono Black and White](icons/bw.png) |
The 400 Blows |
François Truffaut, W, W, ++, P, M «Les quatre cents coups» |
|
7.0 |
1957 |
D![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Wild Strawberries |
Ingmar Bergman, W, P, M, M «Smultronstället» |
|
7.0 |
1926 |
AAdCRW![Black and White (Sepiatone); Silent](icons/bw.png) |
The General |
Clyde Bruckman, Buster Keaton, W, W, ++, P, P, M, M, M++ |
|
6.9 |
2001 |
D![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision 500T 5279); Hawk Scope (anamorphic); Arriflex 535B, Hawk Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Dil Chahta Hai |
Farhan Akhtar, W, W, P, M, M, M |
|
6.9 |
1995 |
D![Black and White; Aspect: 1.85:1; 35 mm (Kodak); AUDIO: Dolby SR Black and White](icons/bw.png) |
La Haine |
Mathieu Kassovitz, W, P, M «La haine» |
|
6.9 |
1991 |
CrDT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; Panaflex Camera and Lenses by Panavision; AUDIO: Dolby SR Color (Eastmancolor)](icons/rgb.png) |
The Silence of the Lambs |
Jonathan Demme, W, W, P, M |
|
6.9 |
1989 |
AAd![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 125T 5247, 400T 5295); Panavision (anamorphic) VistaVision (special effects); Panavision Panaflex Cameras, Panavision Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Indiana Jones and the Last Crusade |
Steven Spielberg, W, W, ++, P, M |
|
6.9 |
1954 |
CrMT![Color (WarnerColor); Aspect: 1.85:1; 35 mm; StereoVision 3-D (re-release version) WarnerVision (dual-strip 3-D); Warner All-Media; AUDIO: Mono (RCA Sound System) Color (WarnerColor)](icons/rgb.png) |
Dial M for Murder |
Alfred Hitchcock, W, P, M |
|
6.9 |
1950 |
CrD![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
Rashomon |
Akira Kurosawa, W, W, ++, P, M «Rashômon» |
|
6.9 |
1949 |
NMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Third Man |
Carol Reed, W, ++, P, M |
|
6.8 |
2013 |
ABDSp![Color; Aspect: 2.35:1; Codex Redcode RAW Video (HD); ARRIRAW (2.8K) (source format) Canon H264 (1080p/24) (source format) (some shots) Digital Intermediate (2K) (master format) Redcode RAW (5K) (source format) (visual effects); Arri Alexa Plus, Cooke S2, Zeiss Master Prime and Bausch & Lomb Super Baltar Lenses Arri Alexa Studio, Cooke S2, Zeiss Master Prime and Bausch & Lomb Super Baltar Lenses Canon EOS 1D Mark IV Canon EOS C300, Cooke S2 and Bausch & Lomb Super Baltar Lenses GoPro HD Hero Indiecam GS2K, Indiecam Lenses Indiecam IndiePOV, Indiecam Lenses Phantom Flex Red Epic V.I.O. POV HD; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/d-rgb.png) |
Rush |
Ron Howard, W, P, M |
|
6.8 |
2009 |
AnCD![Black and White, Color; Aspect: 1.85:1; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Mary and Max |
Adam Elliot, W, P, M |
|
6.8 |
2001 |
AdDMlRSp![Color; Aspect: 2.35:1; 35 mm (Kodak); Arriscope (anamorphic); Arriflex 535, Arriscope Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Lagaan: Once Upon a Time in India |
Ashutosh Gowariker, W, ++, P, M |
|
6.8 |
2001 |
AnAdCFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: SDDS, Dolby Digital, DTS Color](icons/d-rgb.png) |
Monsters, Inc. |
Pete Docter, David Silverman, ++, W, W, ++, M |
|
6.8 |
2001 |
AnAdFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: DTS-ES, Dolby Digital EX, Dolby (English-language version), Dolby Digital (English-language version) Color](icons/d-rgb.png) |
Spirited Away |
Hayao Miyazaki, W, P, M «Sen to Chihiro no kamikakushi» |
|
6.8 |
1984 |
AnAAdFanSf![Color; Aspect: 1.85:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Nausicaä of the Valley of the Wind |
Hayao Miyazaki, W, M «Kaze no tani no Naushika» |
|
6.8 |
1964 |
We![Color (Technicolor) (as Technicolor®); Aspect: 2.35:1; 35 mm (Eastman) Techniscope 2 perf 35mm (printed to Cinemascope); Techniscope; Arriflex II C; AUDIO: Mono (Western Electric Sound System) Color (Technicolor) (as Technicolor®)](icons/rgb.png) |
A Fistful of Dollars |
Sergio Leone, W, W, ++, P, P, M «Per un pugno di dollari» |
|
6.8 |
1959 |
AAdDHR![Color (Technicolor); Aspect: 2.76:1; 65 mm; MGM Camera 65 (anamorphic); Panavision Lenses; AUDIO: 70 mm 6-Track (70 mm prints) (Westrex Recording System), Dolby (1993 re-release) Color (Technicolor)](icons/rgb.png) |
Ben-Hur |
William Wyler, W, W, ++, P, M |
|
6.8 |
1954 |
MT![Color (Eastmancolor) (negative), Color (Technicolor) (prints); Aspect: 1.66:1; 35 mm (Eastman 25T 5248); Mitchell BNC; AUDIO: Mono (Western Electric Recording) Color (Eastmancolor) (negative), Color (Technicolor) (prints)](icons/rgb.png) |
Rear Window |
Alfred Hitchcock, W, W, P, M |
|
6.8 |
1941 |
CrDNM![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Maltese Falcon |
John Huston, W, W, P, M |
|
6.8 |
1940 |
CDW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Great Dictator |
Charles Chaplin, W, P, P, M, M |
|
6.7 |
2012 |
D![Color; Aspect: 2.35:1; SxS Pro; Digital Intermediate (2K) (master format) ProRes 4:4:4 (1080p/24) (source format); Arri Alexa Plus, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
The Hunt |
Thomas Vinterberg, W, W, P, M «Jagten» |
|
6.7 |
2008 |
ABDHSp![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 500T 8573); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 35 BL4, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 435 Xtreme, Zeiss Ultra Prime and Angenieux Optimo Lenses Arriflex 535B, Zeiss Ultra Prime and Angenieux Optimo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Ip Man |
Wilson Yip, W, W, P, M «Yip Man» |
|
6.7 |
2002 |
CrMT![Black and White, Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision Expression 500T 5284); Digital Intermediate (2K) (master format) Elite Scope (anamorphic) (source format); Arriflex 535B, Optica Elite, Canon and Angenieux Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Infernal Affairs |
Wai-keung Lau, Alan Mak, W, W, P, P, M «Mou gaan dou» |
|
6.7 |
2002 |
BDHW![Black and White (archive footage), Color; Aspect: 1.85:1; 35 mm; Arricam LT Arricam ST; AUDIO: DTS, Dolby Digital Black and White (archive footage), Color](icons/rgb-bw.png) |
The Pianist |
Roman Polanski, W, W, P, M |
|
6.7 |
1993 |
BDHW![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman Double-X 5222, Plus-X 5231, EXR 500T 5296); Arriflex 35 III Arriflex 535B Arriflex 535; AUDIO: DTS, DTS-Stereo Black and White, Color](icons/rgb-bw.png) |
Schindler's List |
Steven Spielberg, W, W, P, M |
|
6.7 |
1986 |
ADW![Color; Aspect: 1.85:1; 35 mm; J-D-C Cameras; AUDIO: Stereo (Dolby Stereo) Color](icons/rgb.png) |
Platoon |
Oliver Stone, W, P, M |
|
6.7 |
1973 |
CCrD![Color (Technicolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
The Sting |
George Roy Hill, W, P |
|
6.7 |
1956 |
CrNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Killing |
Stanley Kubrick, W, W, ++, P, M |
|
6.7 |
1951 |
CrNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Strangers on a Train |
Alfred Hitchcock, W, W, ++, P, M |
|
6.7 |
1927 |
DSf![Black and White; Silent](icons/bw.png) |
Metropolis |
Fritz Lang, W, ++, P, P, P, M, M, M++ |
|
6.6 |
2010 |
BDH![Color; Aspect: 1.85:1; 35 mm (Fuji Super F-64D 8522, Eterna Vivid 160T 8543, Eterna Vivid 500T 8547); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Zeiss Master Prime Lenses Arricam ST, Zeiss Master Prime Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
The King's Speech |
Tom Hooper, W, P, M |
|
6.6 |
1995 |
CDW![Color; Aspect: 1.78:1; AUDIO: Dolby Digital Color](icons/q-rgb.png) |
Underground |
Emir Kusturica, W, W, P, M |
|
6.6 |
1993 |
AdSf![Color (Eastmancolor); Aspect: 1.85:1; 35 mm (also horizontal) (Eastman EXR 50D 5245, EXR 100T 5248, EXR 500T 5296); Spherical VistaVision (visual effects); Panavision Panaflex Platinum, Panavision Primo and Slant Focus Lenses; AUDIO: Dolby, DTS Color (Eastmancolor)](icons/rgb.png) |
Jurassic Park |
Steven Spielberg, W, ++, P, M |
|
6.6 |
1982 |
BDH![Black and White, Color (Technicolor); Aspect: 2.20:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby (35 mm prints) (as Dolby Stereo), 70 mm 6-Track (70 mm prints) Black and White, Color (Technicolor)](icons/rgb-bw.png) |
Gandhi |
Richard Attenborough, W, P, P, M |
|
6.6 |
1963 |
AdDHTW![Color; Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); AUDIO: 4-Track Stereo (Westrex Recording System), Mono Color](icons/rgb.png) |
The Great Escape |
John Sturges, W, W, ++, P, M |
|
6.6 |
1946 |
DRT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Notorious |
Alfred Hitchcock, W, ++, P, M |
|
6.6 |
1940 |
DMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Noiseless Recording) Black and White](icons/bw.png) |
Rebecca |
Alfred Hitchcock, W, W, ++, P, M |
|
6.5 |
2003 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 320T 5277); Digital Intermediate (2K) (master format) Super 35 (source format); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital EX, SDDS, DTS Color](icons/rgb.png) |
Pirates of the Caribbean: The Curse of the Black Pearl |
Gore Verbinski, W, W, ++, P, M |
|
6.5 |
2003 |
D![Color; Aspect: 1.85:1; 35 mm; AUDIO: Dolby Digital Color](icons/rgb.png) |
Spring, Summer, Fall, Winter... and Spring |
Ki-duk Kim, W, P, M «Bom yeoreum gaeul gyeoul geurigo bom» |
|
6.5 |
1995 |
ACrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 500T 5298); Panavision (anamorphic); Cine SL 35, Panavision E-Series Lenses Panavision Panaflex Platinum, Panavision Primo, E-Series and Super High Speed Lenses; AUDIO: Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Heat |
Michael Mann, W, P, M |
|
6.5 |
1983 |
AAdFanSf![Color; Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 250T 5293); J-D-C Scope (anamorphic) VistaVision (special effects); Arriflex 35 BL3, Cooke Xtal Express and Varotal Lenses Arriflex 35-IIC, Cooke Xtal Express and Varotal Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color](icons/rgb.png) |
Star Wars: Episode VI - Return of the Jedi |
Richard Marquand, W, W, ++, P, P, M |
|
6.5 |
1982 |
DFanM![Color (Eastmancolor); Aspect: 1.66:1; 35 mm; Arriflex 35 BL; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Fanny and Alexander |
Ingmar Bergman, W, P, M «Fanny och Alexander» |
|
6.5 |
1969 |
AdBCrWe![Color, Black and White (Sepiatone); Aspect: 2.35:1; 35 mm; Panavision (anamorphic) (as Panavision®); Panavision Cameras and Lenses; AUDIO: Mono (Westrex Recording System) Color, Black and White (Sepiatone)](icons/rgb-bw.png) |
Butch Cassidy and the Sundance Kid |
George Roy Hill, W, P, M |
|
6.5 |
1962 |
CrDM![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
To Kill a Mockingbird |
Robert Mulligan, W, W, P, M |
|
6.5 |
1952 |
DWe![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
High Noon |
Fred Zinnemann, W, W, P, M |
|
6.5 |
1940 |
D![Black and White; Aspect: 1.37:1; 35 mm; Mitchell Camera; AUDIO: Mono (Western Electric Mirrophonic Recording) Black and White](icons/bw.png) |
The Grapes of Wrath |
John Ford, W, W, P, M |
|
6.4 |
2010 |
AnAdCDFFan![Color; Aspect: 2.35:1; Digital; Digital 3-D; AUDIO: Dolby Digital, DTS, SDDS Color](icons/d-rgb.png) |
How to Train Your Dragon |
Dean DeBlois, Chris Sanders, W, W, ++, M |
|
6.4 |
2009 |
DMT![Color; Aspect: 2.35:1; Digital; Digital Intermediate (master format) Redcode RAW (source format); Red One Camera; AUDIO: Dolby Digital Color](icons/d-rgb.png) |
The Secret in Their Eyes |
Juan José Campanella, W, W, ++, P, M, M «El secreto de sus ojos» |
|
6.4 |
1998 |
CDSf![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 500T 5279, EXR 200T 5293); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
The Truman Show |
Peter Weir, W, P, M |
|
6.4 |
1987 |
DW![Color; Aspect: 1.37:1; 35 mm (Eastman 400T 5294); Arriflex 35 BL, Zeiss Super Speed Lenses Fries Mitchell 35R3, Nikon Lenses; AUDIO: Mono Color](icons/rgb.png) |
Full Metal Jacket |
Stanley Kubrick, W, W, ++, P, M |
|
6.4 |
1977 |
AAdFanSf![Color (Technicolor); Aspect: 2.20:1; 35 mm (also horizontal) (Eastman 100T 5247); Panavision (anamorphic) VistaVision (special effects); Panavision PSR, Panavision C-Series Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Star Wars |
George Lucas, W, P, M |
|
6.4 |
1976 |
CrD![Color (Metrocolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Dolby SR (re-release), Stereo Color (Metrocolor)](icons/rgb.png) |
Taxi Driver |
Martin Scorsese, W, P, M |
|
6.3 |
2000 |
CrT![Color; Aspect: 1.85:1; 35 mm; Moviecam Compact Arriflex Cameras and Lenses; AUDIO: Dolby Digital, SDDS Color](icons/rgb.png) |
Snatch. |
Guy Ritchie, W, P, M |
|
6.3 |
1975 |
AdDRW![Color (Eastmancolor); Aspect: 1.66:1; 35 mm (Eastman 100T 5254); Arriflex 35 BL Mitchell BNC Cameras Zeiss High Speed Lenses; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Barry Lyndon |
Stanley Kubrick, W, W, P |
|
6.3 |
1957 |
AdDW![Color (Technicolor); Aspect: 2.35:1; 35 mm; CinemaScope; AUDIO: 70 mm 6-Track (70 mm prints) (RCA Sound Recording), Mono (35 mm prints) (RCA Sound Recording), 4-Track Stereo (Linear PCM) Color (Technicolor)](icons/rgb.png) |
The Bridge on the River Kwai |
David Lean, W, ++, P, M |
|
6.2 |
2001 |
CR![Black and White, Color (Duboicolor); Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 320T 5277); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435 ES, Zeiss Ultra Prime Lenses Arriflex 535, Zeiss Ultra Prime Lenses; AUDIO: DTS, Dolby Digital Black and White, Color (Duboicolor)](icons/rgb-bw.png) |
Amélie |
Jean-Pierre Jeunet, W, W, ++, P, M «Le fabuleux destin d'Amélie Poulain» |
|
6.2 |
1957 |
DFan![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
The Seventh Seal |
Ingmar Bergman, W, P, M «Det sjunde inseglet» |
|
6.2 |
1946 |
CrNMT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
The Big Sleep |
Howard Hawks, W, W, ++, P, M |
|
6.1 |
2000 |
DT![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279, Vision 800T 5289); Moviecam SL, Zeiss Super Speed and Angenieux HR Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Amores Perros |
Alejandro González Iñárritu, W, P, M «Amores perros» |
|
6.1 |
1972 |
CrD![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman 100T 5254); Mitchell BNCR, Bausch & Lomb Super Baltar Lenses; AUDIO: DTS (re-release), Mono Color (Technicolor)](icons/rgb.png) |
The Godfather |
Francis Ford Coppola, W, W, ++, P, M |
|
6.1 |
1964 |
CSfW![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb |
Stanley Kubrick, W, W, ++, P, M |
|
6.1 |
1958 |
MRT![Color (Technicolor); Aspect: 1.50:1; 35 mm (horizontal); Super VistaVision (1996 restoration) VistaVision: Motion Picture High-Fidelity; Mitchell VistaVision Cameras; AUDIO: Mono (Westrex Recording System) Color (Technicolor)](icons/rgb.png) |
Vertigo |
Alfred Hitchcock, W, W, ++, P, M |
|
6.0 |
2011 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) 35 mm; Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Millennium XL2, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, SDDS, Datasat Color](icons/rgb.png) |
The Help |
Tate Taylor, W, W, P, M |
|
6.0 |
2009 |
DF![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format); Panavision Genesis HD Camera, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/d-rgb.png) |
Hachi: A Dog's Tale |
Lasse Hallström, W, W, P, M |
|
6.0 |
2008 |
ACrDT![Color (Technicolor); Aspect: 1.44:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218) 65 mm (horizontal) (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (master format) (some scenes: IMAX prints) IMAX (source format) (some scenes) Panavision (anamorphic) (source format); IMAX MKIII, Hasselblad Lenses IMAX MSM 9802, Hasselblad Lenses Panavision Panaflex Millennium XL, Panavision C-, E-Series and Super High Speed Lenses Panavision Panaflex Platinum, Panavision C-, E-Series and Super High Speed Lenses; AUDIO: Dolby Digital, SDDS, DTS Color (Technicolor)](icons/rgb.png) |
The Dark Knight |
Christopher Nolan, W, W, ++, P, M, M |
|
6.0 |
1998 |
CrT![Color; Aspect: 1.85:1; 16 mm; Super 16; Photosonics Camera; AUDIO: Dolby Digital Color](icons/rgb.png) |
Lock, Stock and Two Smoking Barrels |
Guy Ritchie, W, P, M, M |
|
6.0 |
1995 |
BCrD![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293); Super 35; Panavision Panaflex Gold, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS-Stereo, DTS Color (Technicolor)](icons/rgb.png) |
Casino |
Martin Scorsese, W, ++, P |
|
6.0 |
1995 |
CrMT![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, EXR 200T 5287, EXR 200T 5293); Super 35; Aaton 35-III, Panavision Primo Lenses Panavision Panaflex Gold, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Se7en |
David Fincher, W, P, M |
|
5.9 |
2003 |
AnAdCF![Color; Aspect: 1.85:1; Digital; Digital; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/d-rgb.png) |
Finding Nemo |
Andrew Stanton, Lee Unkrich, W, ++, P, P, P, M |
|
5.9 |
1998 |
CCr![Color (Technicolor); Aspect: 1.85:1; 35 mm (Kodak); Arriflex 2C (bowling ball POV) Arriflex 535B; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Big Lebowski |
Joel Coen, ++, W, W, P, M |
|
5.9 |
1995 |
MSfT![Color (Rankcolor); Aspect: 1.85:1; 35 mm (Eastman EXR 500T 5298); Super 35; Moviecam Compact, Cooke S3 Lenses; AUDIO: DTS-Stereo, DTS, Dolby SR Color (Rankcolor)](icons/rgb.png) |
Twelve Monkeys |
Terry Gilliam, W, W, ++, P, M |
|
5.9 |
1977 |
CDR![Color; Aspect: 1.37:1; 35 mm (Eastman 100T 5247); Panavision Camera and Lenses; AUDIO: Mono Color](icons/rgb.png) |
Annie Hall |
Woody Allen, W, W, P |
|
5.8 |
2014 |
AAdSfT![Color; Aspect: 2.35:1; 16 mm (Kodak Vision3 250D 7207) 8 mm (Kodak Vision3 250D 5207) Codex; ARRIRAW (2.8K) (also dual-strip 3-D) (source format) Digital Intermediate (2K) (master format) Spherical (16 mm footage) (source format) (some shots) Super 8 (source format) (some shots); Aaton XTR Prod Arri Alexa M, Panavision Nova, Leica Summilux and Fujinon Premier Lenses Arri Alexa XT, Leica Summilux and Fujinon Premier Lenses Bolex Camera Phantom v642 Broadcast; AUDIO: Dolby, Dolby Atmos, Datasat Color](icons/rgb.png) |
X-Men: Days of Future Past |
Bryan Singer, W, W, ++, P, M |
|
5.8 |
2003 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 500T 5279, EXR 200T 5293, SO214); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 35 IIC, Zeiss Ultra Prime and Angenieux Lenses Arriflex 35 III, Zeiss Ultra Prime and Angenieux Lenses Arriflex 435 Advanced, Zeiss Ultra Prime and Angenieux Lenses Arriflex 535B, Zeiss Ultra Prime and Angenieux Lenses Mitchell Cameras, Zeiss Ultra Prime and Angenieux Lenses Moviecam SL, Zeiss Ultra Prime and Angenieux Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
The Lord of the Rings: The Return of the King |
Peter Jackson, W, W, ++, P, M |
|
5.8 |
1995 |
CrMT![Color (Technicolor); Aspect: 2.35:1; 35 mm; Super 35; Panavision Cameras and Lenses; AUDIO: Dolby Digital Color (Technicolor)](icons/rgb.png) |
The Usual Suspects |
Bryan Singer, W, P, M |
|
5.8 |
1992 |
We![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby (as Dolby Stereo) Color (Technicolor)](icons/rgb.png) |
Unforgiven |
Clint Eastwood, W, P, M |
|
5.8 |
1967 |
CrDMT![Color (Eastmancolor); Aspect: 1.85:1; 35 mm; AUDIO: Mono Color (Eastmancolor)](icons/rgb.png) |
Le Samouraï |
Jean-Pierre Melville, W, W, ++, P, M «Le samouraï» |
|
5.8 |
1966 |
D![Black and White; Aspect: 1.85:1; 35 mm; AUDIO: Mono Black and White](icons/bw.png) |
Who's Afraid of Virginia Woolf? |
Mike Nichols, W, ++, P, M |
|
5.8 |
1939 |
DRW![Color (Technicolor); Aspect: 1.37:1; 35 mm; Bausch & Lomb Lenses Mitchell Cameras; AUDIO: Mono (Western Electric Sound System) Color (Technicolor)](icons/rgb.png) |
Gone with the Wind |
Victor Fleming, ++, W, W, ++, P, P, M |
|
5.7 |
2014 |
D |
Whiplash |
Damien Chazelle, W, P, M |
|
5.7 |
2004 |
AnAAdFFanR![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format); AUDIO: Dolby Digital EX, DTS-ES, SDDS Color](icons/d-rgb.png) |
Howl's Moving Castle |
Hayao Miyazaki, W, W, P, M «Hauru no ugoku shiro» |
|
5.7 |
1999 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Eastman EXR 100T 5248, Vision 500T 5279); Super 35; Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: Dolby Digital, DTS Color](icons/rgb.png) |
Fight Club |
David Fincher, W, W, P, M, M, M |
|
5.7 |
1979 |
DW![Color; Aspect: 2.00:1; 16 mm (newsreel scenes) 35 mm (Eastman 100T 5247); Technovision (anamorphic); Arriflex 16 ST (newsreel scenes) Arriflex 35 BL, Technovision/Cooke Lenses Mitchell BNCR, Technovision/Cooke Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Digital (Redux version), Dolby (35 mm prints), DTS (Redux version) Color](icons/rgb.png) |
Apocalypse Now |
Francis Ford Coppola, W, W, ++, P, M, M |
|
5.7 |
1966 |
DMT![Black and White; Aspect: 1.37:1; AUDIO: AGA Sound System Black and White](icons/bw.png) |
Persona |
Ingmar Bergman, W, P, M |
|
5.6 |
2002 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 500T 5279, EXR 200T 5293, SO214); Digital Intermediate (2K) (master format) Super 35 (source format); Arriflex 435, Zeiss Ultra Prime Lenses Arriflex 535, Zeiss Ultra Prime Lenses Mitchell Cameras, Zeiss and Angenieux Lenses Moviecam Compact, Zeiss and Angenieux Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
The Lord of the Rings: The Two Towers |
Peter Jackson, W, W, ++, P, M |
|
5.6 |
2000 |
MT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222, Kodak Vision 250D 5246, Vision 500T 5279, EXR 200T 5293); Panavision (anamorphic); Panavision Panaflex Gold II, Panavision E-Series Lenses; AUDIO: Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Memento |
Christopher Nolan, W, W, P, M |
|
5.6 |
1999 |
CrDFanM![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 320T 5277); Panavision Panaflex Platinum, Panavision Primo and Frazier Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Green Mile |
Frank Darabont, W, W, P, M |
|
5.6 |
1999 |
DMT![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman); Panavision Cameras and Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Sixth Sense |
M. Night Shyamalan, W, P, M |
|
5.6 |
1992 |
CrT![Color (Eastmancolor); Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245); Super 35; PanArri 35-III, Panavision Primo Lenses Panavision Panaflex X, Panavision Primo Lenses Panavision Panaflex Gold, Panavision Primo and Canon Lenses; AUDIO: Dolby Color (Eastmancolor)](icons/rgb.png) |
Reservoir Dogs |
Quentin Tarantino, W, W, ++, P |
|
5.6 |
1983 |
CrDT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Eastman 250T 5293); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 4-Track Stereo Color (Technicolor)](icons/rgb.png) |
Scarface |
Brian De Palma, W, ++, P, M |
|
5.6 |
1978 |
DW![Color (Technicolor); Aspect: 2.35:1; 35 mm; Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby (35 mm prints) Color (Technicolor)](icons/rgb.png) |
The Deer Hunter |
Michael Cimino, W, W, ++, P, M |
|
5.5 |
1999 |
AAdSf![Color; Aspect: 2.35:1; 35 mm (also horizontal) (Kodak Vision 200T 5274, Vision 500T 5279, Vision 800T 5289); Super 35 VistaVision (effects shots); Panavision Panaflex Platinum, Panavision Primo Lenses Panavision Panastar, Panavision Primo Lenses Photosonics Camera; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
The Matrix |
Andy Wachowski, Lana Wachowski, W, W, P, M |
|
5.5 |
1995 |
DR![Color (Technicolor); Aspect: 1.85:1; 35 mm; Moviecam Camera and Lenses; AUDIO: Dolby SR Color (Technicolor)](icons/rgb.png) |
Before Sunrise |
Richard Linklater, W, W, P, M |
|
5.4 |
2011 |
DSp![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219, Vision2 Expression 500T 5229, Vision2 500T 5260, Fuji Reala 500D 8592); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arriflex 235, Panavision Primo, Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses Panavision Panaflex Millennium XL2, Panavision Primo, Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses Panavision Panaflex Platinum, Panavision Primo, Super Speed Z-Series MKII and Ultra Speed Z-Series MKII Lenses; AUDIO: Dolby Digital, Datasat, SDDS Color](icons/rgb.png) |
Warrior |
Gavin O'Connor, W, W, ++, P, M |
|
5.4 |
2006 |
DMT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Panavision (anamorphic); Panavision Panaflex Millennium XL2, Panavision C- and E-Series Lenses Spacecam Aerial Cameras; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
The Prestige |
Christopher Nolan, W, W, ++, P, M |
|
5.4 |
1963 |
DFan![Black and White; Aspect: 1.85:1; 35 mm; Arriflex II C; AUDIO: Mono Black and White](icons/bw.png) |
8½ |
Federico Fellini, W, W, ++, P, M |
|
5.3 |
2009 |
CDR![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
3 Idiots |
Rajkumar Hirani, W, W, ++, P, M, M, M |
|
5.3 |
2005 |
AAdCrD![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 500T 5218, Vision 250D 5246); Panavision (anamorphic); Arriflex 435, Panavision C- and E-Series Lenses Bell & Howell Eyemo, Panavision C- and E-Series Lenses Panavision Panaflex Millennium XL, Panavision C- and E-Series Lenses Panavision Panaflex Platinum, Panavision C- and E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS, Sonics-DDP (IMAX version) Color](icons/rgb.png) |
Batman Begins |
Christopher Nolan, W, W, ++, P, M, M |
|
5.3 |
1997 |
D![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Good Will Hunting |
Gus Van Sant, W, W, P, M |
|
5.2 |
2011 |
AdFFanM![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Harry Potter and the Deathly Hallows: Part 2 |
David Yates, W, W, P, M |
|
5.2 |
2009 |
AnAdCDFFan![Color; Aspect: 1.85:1; Digital; Digital Intermediate (2K) (master format) Digital (source format) Disney Digital 3-D (3-D version) PixarVision; AUDIO: SDDS, Dolby Digital EX, DTS Color](icons/d-rgb.png) |
Up |
Pete Docter, Bob Peterson, W, W, ++, M |
|
5.2 |
1984 |
D![Color; Aspect: 1.66:1; 35 mm; AUDIO: Mono Color](icons/rgb.png) |
Paris, Texas |
Wim Wenders, W, W, P, M |
|
5.2 |
1980 |
BDSp![Black and White, Color; Aspect: 1.85:1; 35 mm (Eastman Double-X 5222, Plus-X 5231); Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Dolby Black and White, Color](icons/rgb-bw.png) |
Raging Bull |
Martin Scorsese, W, W, ++, P |
|
5.1 |
2001 |
DSf![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 800T 5289); Panavision (anamorphic); Panavision Panaflex Millennium, Panavision Primo, C- and E-Series Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Donnie Darko |
Richard Kelly, W, P, M |
|
5.1 |
1994 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245); Panavision (anamorphic); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Pulp Fiction |
Quentin Tarantino, W, W, ++, P |
|
5.1 |
1971 |
CrDSf![Black and White, Color (Warnercolor) (uncredited); Aspect: 1.66:1; 35 mm; Newman Sinclair Arriflex 35 IIC; AUDIO: Dolby Digital (re-issue), Mono Black and White, Color (Warnercolor) (uncredited)](icons/rgb-bw.png) |
A Clockwork Orange |
Stanley Kubrick, W, W, P |
|
5.1 |
1958 |
CrNT![Black and White; Aspect: 1.37:1; 35 mm; AUDIO: Mono (Westrex Recording System) Black and White](icons/bw.png) |
Touch of Evil |
Orson Welles, W, W, ++, P, M |
|
5.0 |
2014 |
CD![Color, Black and White; Aspect: 1.37:1; 35 mm (Kodak Vision3 200T 5213); Digital Intermediate (2K) (source format) Spherical (source format) Technovision (anamorphic) (source format) (some scenes); Arricam ST, Technovision/Cooke, Cooke S4, Varotal and Angenieux Optimo Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color, Black and White](icons/rgb-bw.png) |
The Grand Budapest Hotel |
Wes Anderson, W, W, ++, P, M |
|
5.0 |
2010 |
DMW![Color; Aspect: 1.85:1; 35 mm; Digital Intermediate (master format) Super 35 (source format); Arricam ST Arriflex 535; AUDIO: Dolby Digital Color](icons/rgb.png) |
Incendies |
Denis Villeneuve, W, W, ++, P, M |
|
5.0 |
2001 |
BD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision 500T 5279, Eastman EXR 200T 5293, Fuji Super F-400T 8582); Arriflex 435 ES, Cooke S4, Zeiss Standard Speed and Super Speed Lenses Arriflex 535B, Cooke S4, Zeiss Standard Speed and Super Speed Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
A Beautiful Mind |
Ron Howard, W, W, P, M |
|
4.9 |
2012 |
A![Color; Aspect: 1.78:1; 35 mm (Kodak Vision3 500T 5219) ARRIRAW; ARRIRAW (source format) Digital Intermediate (2K) (master format) Super 35 (source format) (high-speed shots); Arri Alexa, Panavision Primo, PCZ and Frazier Lenses Arriflex 435, Panavision Primo Lenses Canon EOS 5D Mark II, Canon Lenses Canon EOS 7D, Canon Lenses; AUDIO: Datasat, Dolby Digital (Dolby Surround 7.1) Color](icons/rgb.png) |
The Avengers |
Joss Whedon, W, W, ++, P, M |
|
4.9 |
2008 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision C-Series Lenses Panavision Panaflex Platinum, Panavision C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Gran Torino |
Clint Eastwood, W, W, ++, P, M, M |
|
4.9 |
2003 |
DMT![Color; Aspect: 2.35:1; 35 mm (Kodak); Digital Intermediate (master format) Super 35 (source format); Arriflex Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Oldboy |
Chan-wook Park, W, W, ++, P, M «Oldeuboi» |
|
4.8 |
2013 |
CrDT![Color (DeLuxe), Color; Aspect: 1.85:1; Codex; ARRIRAW (2.8K) (source format) Digital Intermediate (4K) (master format); Arri Alexa Plus, Zeiss Master Prime Lenses Arri Alexa Studio, Zeiss Master Prime Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color (DeLuxe), Color](icons/d-rgb.png) |
Prisoners |
Denis Villeneuve, W, P, M |
|
4.8 |
1997 |
CDRW![Color; Aspect: 1.85:1; 35 mm (Kodak); Panavision Cameras and Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Life Is Beautiful |
Roberto Benigni, W, W, P, M «La vita è bella» |
|
4.8 |
1980 |
HoM![Color; Aspect: 1.37:1; 35 mm (Eastman 100T 5247); Arriflex 35 BL, Zeiss Super Speed Lenses; AUDIO: Mono Color](icons/rgb.png) |
The Shining |
Stanley Kubrick, W, W, ++, P, M, M |
|
4.7 |
2012 |
AdWe![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219, Ektachrome 100D 5285); Digital Intermediate (4K) (master format) Panavision (anamorphic) (source format); Panavision Panaflex Millennium XL2, Panavision Primo, E-Series, ATZ and AWZ2 Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
Django Unchained |
Quentin Tarantino, W, P |
|
4.7 |
2000 |
AAdD![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 50D 5245, Kodak Vision 200T 5274); Super 35; Aaton 35-III, Panavision Primo Lenses Arriflex 35-III, Panavision Primo Lenses Panavision Panaflex Gold II, Panavision Primo Lenses Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: SDDS, DTS, Dolby Digital Color](icons/rgb.png) |
Gladiator |
Ridley Scott, W, ++, P, M, M |
|
4.7 |
1972 |
Sf![Black and White, Color (Sovcolor); Aspect: 2.35:1; 35 mm; Sovscope (anamorphic); AUDIO: Mono Black and White, Color (Sovcolor)](icons/rgb-bw.png) |
Solaris |
Andrei Tarkovsky, W, W, ++, P, M «Solyaris» |
|
4.6 |
2008 |
AnAdFRSf![Color; Aspect: 2.35:1; Digital; 3-D (3-D version: 2014 re-release) Digital Intermediate (master format) Digital (source format) PixarVision; AUDIO: DTS-ES, SDDS, Dolby Digital EX Color](icons/d-rgb.png) |
WALL·E |
Andrew Stanton, W, W, ++, M |
|
4.6 |
2004 |
DRSf![Color; Aspect: 1.85:1; 35 mm (Fuji Reala 500D 8592); Digital Intermediate (2K) (master format) Spherical (source format); Arricam LT, Zeiss Super Speed and Arri Macro Lenses; AUDIO: DTS (as dts), Dolby Color](icons/rgb.png) |
Eternal Sunshine of the Spotless Mind |
Michel Gondry, W, W, ++, P, M |
|
4.6 |
2000 |
D![Color; Aspect: 1.37:1; 35 mm (Eastman EXR 100T 5248, Fuji Super F-500T 8572); Panavision Panaflex Gold II, Panavision Ultra Speed MKII Lenses Bell & Howell Eyemo Panavised Arri-3 Panavision Panastar Sony Betacam Cameras (video segments); AUDIO: Dolby Digital Color](icons/rgb.png) |
Requiem for a Dream |
Darren Aronofsky, W, ++, P, M |
|
4.6 |
1982 |
DSfT![Color (Technicolor); Aspect: 2.20:1; 65 mm (special effects) (Eastman 100T 5247) 35 mm (Eastman 100T 5247); Panavision (anamorphic); Panavision Panaflex Gold, Panavision C-Series and Super High Speed Lenses; AUDIO: 70 mm 6-Track (70 mm prints), Dolby Stereo (35 mm prints) Color (Technicolor)](icons/rgb.png) |
Blade Runner |
Ridley Scott, W, W, ++, P, M |
|
4.5 |
2012 |
ACrT![Color; Aspect: 1.44:1; 35 mm (also horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219) 65 mm (also horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219); IMAX (some scenes) Panavision Super 70 (some scenes) Panavision (anamorphic) VistaVision (some scenes); Arriflex 235, Panavision C-, E-Series and Super High Speed Lenses Beaumont VistaVision Camera, Panavision Primo Lenses IMAX MSM 9802, Hasselblad and Mamiya Lenses Panavision Panaflex Millennium XL2, Panavision C-, E-Series and Super High Speed Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses; AUDIO: SDDS, Datasat, Dolby Digital Color](icons/rgb.png) |
The Dark Knight Rises |
Christopher Nolan, W, W, ++, P, M |
|
4.5 |
2010 |
MT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision3 500T 5219) 65 mm (Kodak Vision3 500T 5219) Digital; Arri 765 (source format) (some scenes) Digital Intermediate (2K) (master format) Digital (source format) (some scenes) Panavision Super 70 (source format) (some scenes) Super 35 (3-perf) (source format); Arriflex 765 Arriflex D-21 Panavision Panaflex Millennium, Panavision Primo Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Shutter Island |
Martin Scorsese, W, W, P |
|
4.5 |
2001 |
AAdFan![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 200T 5274, Vision 500T 5279, Eastman EXR 200T 5293, SFX 200T); Digital Intermediate (2K) (master format) (some scenes) Super 35 (source format); Arricam ST, Zeiss Ultra Prime Lenses Arriflex 435, Zeiss Ultra Prime Lenses Arriflex 535, Zeiss Ultra Prime Lenses; AUDIO: DTS-ES, Dolby Digital EX, SDDS Color](icons/rgb.png) |
The Lord of the Rings: The Fellowship of the Ring |
Peter Jackson, W, W, ++, P, M |
|
4.4 |
2013 |
BDH![Color; Aspect: 2.35:1; 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); Digital Intermediate (2K) (master format) Techniscope (source format); Arricam LT, Cooke S4 and Angenieux Optimo Lenses Arricam ST, Cooke S4 and Angenieux Optimo Lenses; AUDIO: Dolby Color](icons/rgb.png) |
12 Years a Slave |
Steve McQueen, W, W, P, M |
|
4.4 |
2006 |
DFanW![Color; Aspect: 1.85:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Vision 250D 5246); Digital Intermediate (2K) (master format) Spherical (source format); Arriflex 435 ES, Zeiss Ultra Prime and Variable Prime Lenses Moviecam Compact, Zeiss Ultra Prime and Variable Prime Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Pan's Labyrinth |
Guillermo del Toro, W, P, M «El laberinto del fauno» |
|
4.3 |
2006 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision2 500T 5218, Vision2 Expression 500T 5229); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam ST, Zeiss Master Prime, Ultra Prime, Variable Prime and Angenieux Optimo Lenses Arriflex 235, Zeiss Master Prime, Ultra Prime, Variable Prime and Angenieux Optimo Lenses Arriflex 435, Zeiss Master Prime, Ultra Prime, Variable Prime and Angenieux Optimo Lenses; AUDIO: Dolby Digital, SDDS, DTS Color](icons/rgb.png) |
The Departed |
Martin Scorsese, W, W, ++, P, M |
|
4.3 |
1998 |
ADW![Color (Technicolor); Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Moviecam SL, Panavision Ultra Speed MKII Lenses Panavision Panaflex Platinum, Panavision Ultra Speed MKII Lenses Panavision Panastar, Panavision Ultra Speed MKII Lenses; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
Saving Private Ryan |
Steven Spielberg, W, P, M |
|
4.3 |
1984 |
CrD![Color; Aspect: 1.85:1; 35 mm (Eastman); AUDIO: Mono Color](icons/rgb.png) |
Once Upon a Time in America |
Sergio Leone, W, W, ++, P, M |
|
4.2 |
2007 |
ACrT![Color (Technicolor); Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218); Digital Intermediate (2K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Zeiss Lightweight and Nikon Lightweight Lenses Arriflex 235, Cooke S4, Zeiss Lightweight and Nikon Lightweight Lenses Arriflex 435, Cooke S4, Zeiss Lightweight and Nikon Lightweight Lenses Bell & Howell Eyemo; AUDIO: DTS, Dolby Digital, SDDS Color (Technicolor)](icons/rgb.png) |
The Bourne Ultimatum |
Paul Greengrass, W, W, ++, P, M |
|
4.2 |
1994 |
DR![Black and White, Color; Aspect: 2.35:1; 35 mm (also horizontal) (Eastman EXR 100T 5248, EXR 500T 5296, 250D 5297); Panavision (anamorphic) VistaVision (visual effects); Panavision Panaflex Platinum, Panavision C- and E-Series Lenses; AUDIO: DTS, Dolby Digital Black and White, Color](icons/rgb-bw.png) |
Forrest Gump |
Robert Zemeckis, W, W, P, M |
|
4.2 |
1941 |
DM![Black and White; Aspect: 1.37:1; 35 mm; Mitchell BNC; AUDIO: Mono (RCA Sound System) Black and White](icons/bw.png) |
Citizen Kane |
Orson Welles, W, W, ++, P, M |
|
4.1 |
2010 |
AAdMSfT![Color; Aspect: 2.35:1; 35 mm (also horizontal) (Kodak Vision3 250D 5207, Vision3 500T 5219) 65 mm (Kodak Vision3 250D 5207, Vision3 500T 5219) Digital; Panavision Super 70 (some scenes) Panavision (anamorphic) VistaVision (aerial shots); Arriflex 235, Panavision Primo and G-Series Lenses Arriflex 435 ES, Panavision Primo and G-Series Lenses Beaumont VistaVision Camera, Panavision Primo Lenses Panavision 65 HR Camera, Panavision System 65 Lenses Panavision Panaflex Millennium XL, Panavision C-, E-, G-Series and Super High Speed Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses Phantom HD Camera, Panavision Primo Lenses Photo-Sonics 4C, Panavision Primo Lenses Photo-Sonics 4ER, Panavision Primo Lenses; AUDIO: Dolby Digital, DTS, SDDS Color](icons/rgb.png) |
Inception |
Christopher Nolan, W, P, M |
|
4.1 |
1955 |
DNT![Black and White; Aspect: 1.66:1; 35 mm; AUDIO: Mono (Western Electric Recording) Black and White](icons/bw.png) |
The Night of the Hunter |
Charles Laughton, ++, W, W, ++, P, M |
|
3.9 |
2004 |
DSp![Color; Aspect: 2.35:1; 35 mm (Kodak Vision 250D 5246, Vision 500T 5279); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision C-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Million Dollar Baby |
Clint Eastwood, W, W, P, M |
|
3.6 |
2014 |
AdSf![Color; Aspect: 1.44:1; 35 mm (also horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219) 65 mm (horizontal) (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); IMAX (8K Scan) Panavision (anamorphic) (6K Scan) VistaVision (some scenes) (6K Scan); Beaumont VistaVision Camera, Panavision Primo Lenses IMAX MSM 9802, Hasselblad and Mamiya Lenses Panavision Panaflex Millennium XL2, Panavision C-, D-, E-Series and Ultra Speed Golden Lenses; AUDIO: Datasat, Dolby Digital, IMAX 6-Track Color](icons/rgb.png) |
Interstellar |
Christopher Nolan, W, W, P, M |
|
3.6 |
1996 |
CrDT![Color; Aspect: 1.85:1; 35 mm (Eastman EXR 200T 5293); Arriflex 35 BL4, Zeiss Standard Speed Lenses; AUDIO: Dolby Digital Color](icons/rgb.png) |
Fargo |
Joel Coen, ++, W, W, P, M |
|
3.6 |
1995 |
ABDHW![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5298); Panavision (anamorphic); Panavision Panaflex Platinum, Panavision C- and E-Series Lenses; AUDIO: DTS, Dolby Digital Color](icons/rgb.png) |
Braveheart |
Mel Gibson, W, P, M |
|
3.2 |
2007 |
AdBD![Color; Aspect: 2.35:1; 35 mm (Fuji Eterna 250D 8563, Eterna 500T 8573, Eterna 400T 8583); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Aaton 35-III, Zeiss Ultra Prime, Angenieux Optimo and Canon Lenses Arricam LT, Zeiss Ultra Prime, Angenieux Optimo and Canon Lenses Arriflex 435, Zeiss Ultra Prime, Angenieux Optimo and Canon Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
Into the Wild |
Sean Penn, W, W, P, M, M, M |
|
3.2 |
2005 |
ACrFanMSfT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218, Vision 800T 5289); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Arricam LT, Cooke S4 Lenses Arricam ST, Cooke S4 Lenses Arriflex 235, Cooke S4 Lenses Arriflex 435 Xtreme, Cooke S4 Lenses; AUDIO: DTS, Dolby Digital, SDDS, Sonics-DDP (IMAX version) Color](icons/rgb.png) |
V for Vendetta |
James McTeigue, W, W, ++, P, M |
|
3.2 |
1999 |
D![Color; Aspect: 2.35:1; 35 mm (Eastman EXR 100T 5248, Kodak Vision 200T 5274, Vision 500T 5279); Super 35; Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Color](icons/rgb.png) |
American Beauty |
Sam Mendes, W, P, M |
|
3.0 |
2014 |
D![Color; 35 mm; Digital Intermediate; Panavision Cameras and Lenses Color](icons/rgb.png) |
Boyhood |
Richard Linklater, W, P, P |
|
2.8 |
2013 |
BCCrD![Color; Aspect: 1.85:1; 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219) Codex Gemini 4:4:4; ARRIRAW (2.8K) (source format) Canon Cinema RAW (4K) (source format) (aerial shots) Digital Intermediate (4K) (master format) Hawk Scope (anamorphic) (source format) Super 35 (source format); Arri Alexa Plus, Hawk V-Lite, V-Plus, V-Series, Zeiss Master Prime and Angenieux Optimo Lenses Arri Alexa Studio, Hawk V-Lite, V-Plus, V-Series, Zeiss Master Prime and Angenieux Optimo Lenses Arricam LT, Hawk V-Lite, V-Plus, V-Series, Zeiss Master Prime and Angenieux Optimo Lenses Canon EOS C500 Phantom Camera HD; AUDIO: Datasat, Dolby Digital Color](icons/rgb.png) |
The Wolf of Wall Street |
Martin Scorsese, W, W, P |
|
2.8 |
1979 |
DSf![Color (Sovcolor), Black and White, Color (Eastmancolor); Aspect: 1.37:1; 35 mm (Eastman); Arriflex Cameras and Lenses; AUDIO: Mono Color (Sovcolor), Black and White, Color (Eastmancolor)](icons/rgb-bw.png) |
Stalker |
Andrei Tarkovsky, W, W, ++, P, P, P, M |
|
2.7 |
2005 |
CrT![Black and White, Color; Aspect: 1.85:1; Video (HDTV); Digital Intermediate (2K) (master format) HDCAM SR (1080p/24) (source format); Sony CineAlta HDC-F950, Fujinon E-Series Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Sin City |
Frank Miller, Robert Rodriguez, ++, W, P, M, M, M |
|
2.6 |
2006 |
DH![Color; Aspect: 2.35:1; 35 mm; (anamorphic); AUDIO: DTS, Dolby Digital EX Color](icons/rgb.png) |
Rang De Basanti |
Rakeysh Omprakash Mehra, W, W, ++, P, M |
|
2.5 |
2007 |
D![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 50D 5201, Vision2 200T 5217); Panavision (anamorphic); Panavision Panaflex Millennium XL, Panavision C-, E-Series, Super High Speed, SP and Pathé Lenses Panavision Panaflex Platinum, Panavision C-, E-Series, Super High Speed and SP Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
There Will Be Blood |
Paul Thomas Anderson, W, W, P, M |
|
2.4 |
2009 |
AdDW![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219); Digital Intermediate (2K) (master format) Panavision (anamorphic) (source format); Arriflex 435, Panavision Primo, G-Series, ATZ, AWZ2 and Cooke Lenses Panavision Panaflex Millennium, Panavision Primo, G-Series, ATZ, AWZ2 and Cooke Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
Inglourious Basterds |
Quentin Tarantino, ++, W, P |
|
2.3 |
2007 |
CrDT![Color; Aspect: 2.35:1; 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218); Digital Intermediate (4K) (master format) Super 35 (source format); Arricam LT, Cooke S4, Zeiss Master Prime and Arri Macro Lenses Arriflex 535B, Cooke S4, Zeiss Master Prime and Arri Macro Lenses; AUDIO: SDDS, Dolby Digital, DTS Color](icons/rgb.png) |
No Country for Old Men |
Ethan Coen, Joel Coen, W, W, ++, P, M |
|
2.3 |
1968 |
AdMSf![Color (Technicolor); Aspect: 2.20:1; 65 mm (Eastman 50T 5251); Cinerama Super Panavision 70; Panavision Cameras and Lenses; AUDIO: 4-Track Stereo (35 mm magnetic prints), 70 mm 6-Track (70 mm prints), DTS 70 mm (2001 re-release) Color (Technicolor)](icons/rgb.png) |
2001: A Space Odyssey |
Stanley Kubrick, W, W, ++, P |
|
2.2 |
2003 |
ACrT![Black and White, Color; Aspect: 2.35:1; 35 mm (Eastman Double-X 5222, EXR 100T 5248, Kodak Vision 320T 5277, Vision 500T 5279, Vision 800T 5289, EXR 200T 5293); Digital Intermediate (2K) (master format) Super 35 (3-perf) (source format); Panavision Panaflex Platinum, Panavision Primo Lenses; AUDIO: DTS, Dolby Digital, SDDS Black and White, Color](icons/rgb-bw.png) |
Kill Bill: Vol. 1 |
Quentin Tarantino, W, ++, P, M |
|
1.8 |
2008 |
ADFT![Color (super 35mm); AUDIO: Dolby Digital Color (super 35mm)](icons/q-rgb.png) |
A Wednesday |
Neeraj Pandey, W, P, M |