At the same time, the image maintains fine detail, impressively representing the resolving power of a good
anamorphic film negative.
Not exact matches
Presented windowboxed in 1.65
anamorphic widescreen *, the
film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16
negative.
It plays under a crisply - detailed, well - compressed
anamorphic widescreen transfer that for no explicable reason dispenses with the Super35
film's projected aspect ratio of 2.35:1 in favour of its
negative aspect ratio of 1.78:1.