Shot with the new Panavision Millennium in 5k and 8k, and finished as a 4k DI, it’s imagery is never less than astounding.
I generally sit about ten feet away from my projection screen, but felt the need to peep at the pixels for this one, and found the overall resolution totally magnificent, and a one of the new poster children for the 4k world.
Color, densities, black levels, shadow detail, are perfect, and with nary a digital look in sight.
I’m preferring the longer cut of the film, but am certain the others will have their own opinions.
As a film, it reminds me of the best of Dreyer – not based upon the locations, but rather on the overall textures of story – and also Robert Eggers, The Witch. The fact that, for the most part, the tale unfolds in the brightest of sunlight, only adds to one’s discomfort.
For those who may have missed it, the 4k DC, currently available directly from A24 (albeit sold out, and going for stupid money on the web) is the way to go. They’ll be back in stock.
https://shop.a24films.com/products/midsommar-directors-cut-collectors-edition
It’s a film that doesn’t just disappear from your mind after viewing. Watch it and you’re stuck with it.
Audio is room-filling and perfect.
I’ll offer no discussion of the storyline.
Image – 5
Audio – 5 (DTS-HD MA 5.1)
Pass / Fail – Pass
Very Highly Recommended
RAH
Robert has been known in the film industry for his unmatched skill and passion in film preservation. Growing up around photography, his first home theater experience began at age ten with 16mm. Years later he was running 35 and 70mm at home.
His restoration projects have breathed new life into classic films like Lawrence of Arabia, Vertigo, My Fair Lady, Spartacus, and The Godfather series. Beyond his restoration work, he has also shared his expertise through publications, contributing to the academic discourse on film restoration. The Academy Film Archive houses the Robert A. Harris Collection, a testament to his significant contributions to film preservation.
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