#Bwana devil 3d movie movie#
#Bwana devil 3d movie full#

Noé says that he didn’t bother committing to 3-D until just three weeks before the movie started shooting, and then only made the choice when he learned that the French government-the French government!-gives out grants for stereoscopic production.

… What can I do which will amuse me?” That’s been a standard pose for those in his position: wry half-assedness, if not disavowal. See how the auteurs smirk and keep their distance from 3-D, even as they sell it on the screen: “There’s something childish about” it, Noé told reporters in Cannes. It’s too-cool-for-school 3-D, the format seen through Belmondo shades. With some notable exceptions, the new breed of uppity 3-D seems less like an exploration of the format than an exercise in camp appropriation-a way of punching up at corporate greed and spoofing Hollywood excess. Yet this recent spate of interest suggests that we may have hopped from one fluffed-up trend to another. I’ve been looking forward to the moment when 3-D emerges as a mode unto itself-not a gimmick or a money-making adjunct to the standard fare but an art form of its very own. Also at the start of May, the international short-film festival in Oberhausen, Germany, made 3-D its special theme, with fifty recent works of avant-garde stereoscopy culled from what its curator called “ the slipstream of mainstream cinema.” And, in the coming weeks, the Museum of Modern Art will host a “ 3-D Summer” of remastered dual-strip 3-D films from 1922 through 1953.

#Bwana devil 3d movie full#

Critics called the film a bore (and some walked out), but when the evening reached its end-a last ejaculation fired from the screen-Noé got a lengthy standing ovation.Ĭould this be the onset of a novel, highbrow age in 3-D cinema? The format has lately found a home in several venues of urbanity: early last month, the Brooklyn Academy of Music screened a “ first-of-its-kind” series to “showcase the full range of stereoscopic cinema’s expressive potential,” with 3-D films from Martin Scorsese, Wim Wenders, Werner Herzog, and Ken Jacobs, among several dozen others. There was more excitement late last month, when brawls reportedly broke out in a rush for seats at Gaspar Noé’s “Love,” an art-house porno flick in three dimensions. In 2014, the provocation came from Jean-Luc Godard, whose aggressive 3-D experiment, “Goodbye to Language,” brought cries of “ Godard forever!” amid spontaneous applause. For the second time in as many years, an auteur’s descent into 3-D livened up the Cannes Film Festival.