The potential resurgence of 35mm film in modern cinema is both a technical and artistic movement that responds to the demands for authenticity, craftsmanship, and visual nuance that digital formats, though advanced, sometimes fail to deliver. This renewed interest was my latest experience with Strange Darling, shot by Giovanni Ribisi showcased 35mm’s ability to capture depth, color, and texture in a way that distinguishes their work in a predominantly digital landscape.
One of the primary reasons filmmakers are drawn back to 35mm is its distinctive grain structure, which creates a warm, organic feel that digital often renders too cleanly. The grain in 35mm film adds layers of texture that help convey mood and emotion, evoking a sense of nostalgia or timelessness that audiences are responding to. This grain becomes especially relevant in genres or narratives that benefit from a more tactile visual quality, such as historical dramas, thrillers, or coming-of-age stories, where film’s inherent imperfections enhance storytelling.
Another critical factor is color. 35mm film stock captures light differently, resulting in richer, more nuanced color palettes that are difficult to replicate digitally. The color depth in 35mm film can add vibrancy and life to the scenes, especially when working with natural or practical lighting. Digital cameras tend to standardize colors across scenes unless highly manipulated in post-production, whereas film captures subtle shifts in hue and tone, creating a more immersive experience.
Beyond the technical characteristics, shooting on 35mm requires a different approach to filmmaking that can benefit both production and storytelling. With a limited number of takes per roll, directors and actors often report a heightened sense of discipline and focus on set. Film forces a more deliberate approach, which can enhance performances and increase creative intention. This intentionality contrasts with digital’s tendency toward a “shoot as much as you can and fix it in post” mindset.
Economically, while 35mm is more expensive than digital, the growing accessibility of film-processing labs and a niche market for film cameras are reducing costs. Moreover, studios are beginning to recognize that the unique quality of 35mm can serve as a differentiator in an oversaturated media landscape, making it a potentially valuable investment.
In an industry constantly striving for the “next big thing,” the return to 35mm isn’t about novelty but about bringing back a classic cinematic language that resonates. It taps into a broader cultural craving for authenticity in art, allowing films to stand out by offering audiences a tangible, nostalgic quality that digital formats often miss. This trend may continue as filmmakers and audiences alike seek deeper, more resonant cinematic experiences.
FILMMAKER 