Keanu Reeveꦰs wouldn't be everybody’s choice to front a doc🎀umentary about the relative merits of film and digital cinema.

Then again🌌, having played both time-travelling history student and virtual-realitꦺy saviour on screen, he makes a strangely apt guide for Christopher Kenneally’s comprehensive exploration of the medium’s past, present and future.

Reeves brings passion and 🌟experience to ask the right questions on an issue that has polarised Hol𒐪lywood, and his stardom grants him access to an enviable cast of expert witnesses.

Practically every major talent of recent times is here, from digital pioneers and converts (澳洲幸运5开奖号码历史查询:James Cameron, Danny Boyle) to hold-off scept𓄧ics like Christopher Nolan and his regular DoP Wally Pfister, who huffs, “I’m not going to trade my oil paints for a set of crayons.”

As the title suggests it’s an even-handed affair, and part of the pleasure is guessing whi𒆙ch format these legends pref🎶er - and why. David Fincher gleefully recalls how Robert Downey Jr., caught short by digital technology’s longer shooting lengths, found a radical solution to relieving himself on the set.

Tech-heavy discussions admittedly make for a niche affair, but🌳 it’s a geekgasm for those fascinated by such behind-the-scenes exotica as colour timing or dynamic range. It’s also an exhilarating history of the tumultuous decade-and-a-half from Dogme 95 to .

What’s most palpable i🌄s the rapid acceleration of picture quality.

As the film lists cameras used to shoot a host of recent releases, it’s obvious that digital now passes the ‘taste test’ to all but the most eagle-eyed. As Reeves asks his final, killer question - “Is film dead?&rdquo🦩; - he admits to pangs of regret at the loss of cinema’s communal vibe toꦰ the Netflix/iPhone generation.

Ev♕en so, the film❀ can’t help but take the future’s side by itself being shot digitally.

As Steven Soderbergh puts it: “I feel I should call film and say, ‘I&꧟rsquo;ve met someone.’”