BRYAN TAN
WRITER | DIRECTOR

I saw Dunkirk opening night on IMAX 70mm. In such a format, it is almost impossible not to be overcome by the intense focus, and massive scope of Christopher Nolan's latest effort. There has never been a better advocate for large format cinematography than this film. The nearly square frame of IMAX absorbs you, completely spanning your field of view. In the aerial sequences, Tom Hardy rolls his Spitfire, and the distant horizon barrels upwards; real photography, real aircraft

In the past, during the frantic scramble of production, I have found it hard to avoid my thoughts being pulled into a narrow avenue of tunnel vision. When I was a film student, working on my senior film, Anomie, we required a central location that we found nearly impossible to obtain. We needed a house that had character, that looked old and lived in; not a suburban cardboard cut out. We needed several days of unobstructed access, with owners gracious enough to let us film a

Dark Dissonance is the oldest film I have chosen to feature on this website. It is also the most roughly hewn of these films. Production was a beast. I remember sneaking into the abandoned cement factory, outside town. Or another episode: cutting down a four inch sapling with nothing but my house key to make way for a gear truck, stuck in a rut. I question whether those stories are even worth telling. For better or worse, none of those adventures end up on screen. We cannot e