Επιτέλους Ενήλικη Επιστημονική Φαντασία, μου άρεσε πάρα πολύ.
Αυτό που δεν έκανε ο Βιλνέβ (στο βαθμό που το έκανε ο Τσιανγκ στην "Ιστορία της Ζωής σου" -Κέδρος, αγοράστε το) ήταν να σταθεί παραπάνω στο πως οι εξωγήινοι αντιλαμβάνονται τον χρόνο. Όχι γραμμικά όπως εμείς αλλά ολιστικά, κάτι που "δωρίζουν" στη Λουίζ με αντάλλαγμα τη σωτηρία τους.
Φοβερή η μουσική επένδυση του Γιόχαν Γιόχανσον για μια ακόμα φορά. Σπαρακτικά τα δύο κομμάτια του Μαξ Ρίχτερ
Και ένα σχόλιο του Bill Hunt των Digital Bits για την εικόνα
Arrival was shot on ARRIRAW format with an open gate (3414 x 2198 active pixels – 3.5K) by cinematographer Bradford Young, using ARRI Alexa XT cameras. The image was then cropped to achieve the 2.39:1 theatrical aspect ratio and the film was finished as a 2K DI. That is essentially what’s presented here, upsampled for Paramount’s 4K Ultra HD Blu-ray release and given an HDR color timing pass. Note that this is the same theatrical cut seen in theaters. (The so-called “extended edition” recently presented theaters is simply the theatrical cut shown with a behind-the-scenes featurette at the end.) In terms of image quality, this is a very dark and gray looking film, with diffuse lighting of the type you’d experience on a gloomy and overcast afternoon. By intent, it’s been lit with mostly natural light sources and then almost like black and white film, where characters are often backlit or have their faces in shadow. On top of this, the differences in color timing choices between the Blu-ray and 4K are striking – the 4K presentation has been pushed even darker. I’ve had the chance to speak with sources involved in mastering and quality control at Paramount about this transfer, and my suspicion that these were deliberate creative choices made by the filmmakers, and not a technical error, was confirmed
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Kαι φαινεται απο τον Ian
