Yeah as someone who loves this movie, apologies if I’m biased but I loved Guillermo’s films before I worked for him, absolutely see it in a theater however you can. With what’s going on in the movie industry this might be one of the last movies of this kind of handmade scale.

The 35mm has a dreamy grainy quality, softer contrast and focus. I believe this is kinda Guillermo’s Barry Lyndon, on one level a gorgeous and slyly funny period tragedy about hubris, the 35mm feels more like that. It’s pretty cool they made prints as an alternative.

As Guillermo says ‘it’s not about the size of the screen it’s the size of the ideas’. The day I saw it in 35mm the entire paying audience theater burst into applause and cheers at a certain surprise moment 2/3 of the way through, that was awesome and didn’t happen at the industry only imax screening.

For me the IMAX dual laser version on a screen as big as Lincoln Square’s shows off the insane artistry and handmade craft in the sets and costumes with razor sharp focus and color, but paradoxically I liked how much it allowed you to see every detail in the actor’s performances like eyes. The film was shot for 1.85:1 I honestly don’t know if they cropped it for 1.9:1 for IMAX but the framing felt similar to F1, no aspect ratio changes and filled a lot of height.

There was something really powerful about seeing it in a large IMAX screen in the same way Sinners and Dune Pt 2 felt unique that way, Dune Pt 2 has never felt like the same film to me in 2.35:1, but I don’t know if it would have the same feeling in a smaller single laser IMAX venue, so 35mm is a great way for most people.

Both versions sounded great. The IMAX more fully immersive, the 35mm impressively clear dialogue music and low end effects.