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It’s not all James Cameron and Baz Luhrmann. The avant-garde New York filmmaker Zoe Beloff, who sees “media as a tool for resurrection”, showed two short black-and-white 3D films, Shadow Land and Charming Augustine, made using a Fifties Swiss wind-up StereoBolex 16mm camera. The archaic technology suits her unsettling historical subjects, a clairvoyante and a young woman hysteric at the Salpêtrière hospital in 1870s Paris. (Compare Scorsese’s phantasmagoric Hugo, which uses 3D in the spirit of its magician-filmmaker subject Georges Méliès.) At times one felt one could be watching Dreyer’s Vampyr in 3D – Beloff creepily exploits what she calls “the denaturalising effect of 3D”.
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