The cinematic world is experiencing a remarkable resurgence in the use of traditional film, as directors and cinematographers increasingly opt for analog formats over digital. This trend has been highlighted at prestigious events like the Academy Awards, where several winning films were captured on Kodak's classic 35mm stock. From Sean Baker's "Anora" to Brady Corbet's "The Brutalist," these movies have not only captivated audiences but also underscored the artistic value of shooting on film. As we move into 2025, this preference continues with notable directors such as Ryan Coogler, Luca Guadagnino, and Wes Anderson planning their next projects using film. Surprisingly, even filmmakers new to the medium are embracing it, like Gareth Edwards with his latest installment in the Jurassic Park franchise.
Among the anticipated releases in 2025 is Gia Coppola’s poignant drama, “The Last Showgirl,” which captures the raw essence of Las Vegas through the lens of 16mm film. The grainy texture serves to enhance the gritty atmosphere of the story, focusing on themes of nostalgia and change. Another standout is Walter Salles' Oscar-winning biopic, “I’m Still Here,” set against Brazil's turbulent political past. Its tactile visual style complements its narrative depth, bringing authenticity to every frame. In contrast, the Russo brothers bring us “The Electric State,” a sci-fi comedy-drama that blends futuristic elements with a retro aesthetic, achieved via hybrid 35mm techniques.
Further enriching this year’s lineup is David Siegel and Scott McGehee’s New York dramedy, “The Friend.” Shot on 35mm, its warm glow mirrors the emotional journey of its characters amidst urban life. On another note, Trey Edward Shults ventures into psychological territory with “Hurry Up Tomorrow,” utilizing various formats including 16mm and S8 to create a surreal experience. Similarly, John Macklean’s “Tornado” transports viewers to 18th-century Britain, employing 35mm to evoke both time and place vividly.
Wes Anderson makes his mark with “The Phoenician Scheme,” marking his first collaboration with Bruno Delbonnel. This father-daughter espionage tale showcases Anderson’s signature whimsical approach while maintaining the elegance of 35mm cinematography. Meanwhile, Celine Song offers a lighter take with her romantic comedy, “Materialists,” shot by Shabier Kirchner. Over at Universal Pictures, Gareth Edwards directs “Jurassic World Rebirth,” opting for an analog look that promises to deliver fresh excitement within the beloved franchise.
Paul Thomas Anderson’s adaptation of “One Battle After Another” rounds out the summer blockbusters. With Leonardo DiCaprio leading the cast, this chase film explores societal shifts during Reagan’s era. Cinematographer Michael Bauman utilizes VistaVision cameras, adding layers of complexity to the visuals. Concluding the year, Derek Cianfrance presents “Roofman,” based on true events, while Luca Guadagnino dives deep into psychological drama with “After the Hunt.” Yorgos Lanthimos adds humor with “Bugonia,” and Benny Safdie delivers action-packed thrills in “The Smashing Machine.”
As the film industry evolves, the return to analog methods demonstrates a commitment to preserving the artistry inherent in filmmaking. Directors recognize the unique qualities that film brings to storytelling, enhancing narratives through texture and tone. Whether driven by nostalgia or innovation, these choices reflect a deeper understanding of how technology can serve creativity rather than replace it. Audiences eagerly await what promises to be a memorable year filled with visually stunning and emotionally resonant films.