I came to the city as a teenager in the late»70s, too late for the New Yorker Theater itself but right on time for the Cinema Studio on 66th and Broadway, where I spent half of my student life seeing and re-seeing movies like Wenders's The American Friend and Godard's aforementioned return to 35
mm feature filmmaking, and the Metro on the corner of Broadway and 100th Street, where I saw Oshima's early films for the first time.
If you're a cinephile who adores
features borne on actual celluloid, patronize your nearest 70
mm exhibitor and is enamored with the technology behind practical
filmmaking, there's a lot to love about «Dunkirk.»