When Anderson went on to make his next film, his ingenious Thomas Pynchon adaptation «Inherent Vice» (2014) he shot it in 35 mm but had a couple of 70
mm prints blown up from it that have only received a handful of public screenings to date.
For me, there were no major discoveries or revelations this year — like, say, Jeff Nichols» «Shotgun Stories» or Yôjirô Takita's «Departures» or the astounding, mind -
blowing 70
mm print of Jacques Tati's «PlayTime» in past Ebertfests — but that almost seemed beside the point.
Meanwhile, in the Revivals section, 11 restorations from Martin Scorsese's Film Foundation will screen, including De Palma's «
Blow Out,» Ousmane Sembene's «Black Girl,» Hou Hsiao - hsien's «The Boys from Fengkuei,» Ernst Lubitsch's «Heaven Can Wait» (in a new 35
mm print), Lino Brocka's «Insiang,» John Ford's «The Long Voyage Home,» Marcel Ophüls» «The Memory of Justice» and Luchino Visconti's «Rocco and His Brothers.»