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Director: Paul Thomas Anderson Starring: Daniel Day-Lewis, Vicky Krieps, Lesley Manville Running Time: 130 minutes

Throughout his long and acclaimed career, Daniel Day-Lewis has embodied personalities that burst forth from the screen, simply too powerful, or imposing, or strong of will to be restrained by mere celluloid and silver. From Christy Brown to Daniel Plainview to Abraham-by-God-Lincoln, DDL has method acted his way through dominating characters, willing audiences into awe, the most impressive man in the room when he isn’t really in it. In his supposed last performance, as the wonderfully and ludicrously named Reynolds Woodcock, DDL applies that same level of performance and applies it to a fussy dressmaker in the immaculate fashion scene of 1950s London. Working once again with Paul Thomas Anderson, the pair have taken what may seem at first glance to be an understated love story and intricately sown some of their best work just underneath the surface, a beautiful piece of work with as many hidden thrills as anything their fascinating main character himself might design.

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70mm showings of Christopher Nolan’s Dunkirk have proven to be very popular at the Irish Film Institute, just one factor in making the historical epic a major hit at the Irish box office. As part of the IFI’s commitment to exhibit, preserve and educate, they’re no strangers to showing films in a variety of formats, with authentic prints of films like The Right Stuff being regular features of IFI programming. The most recently announced example is upcoming screenings of a new 70mm print of David Lean’s classic Lawrence of Arabia, which will be showing at the cinema from Oct 20 – 22. But what exactly is the difference between 70mm and the more modern digital? How do great films go from the booth behind you to the screen in front of you? It’s hardly just a matter of pushing play on a DVD, as the IFI’s projectionist Paul Markey explains. Film In Dublin spoke to Paul about the work that he does, different film formats and more.

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