Arriflex 35 BL

Community note

“Fellini used Arriflex cameras on his productions at Cinecittà Studios; his films "8½" (1963) and "Amarcord" (1973) were shot on 35mm with Arriflex equipment.”

Community note

“Tarkovsky used Arriflex cameras for his films made outside the Soviet Union, including "Nostalghia" (1983) and "The Sacrifice" (1986). His cinematographer Sven Nykvist shot "The Sacrifice" on Arriflex equipment. Documented in "Sculpting in Time" (1986).”

Community note

“Godard used Arriflex cameras for several productions; cinematographer Raoul Coutard has discussed the use of Arriflex and Eclair equipment in interviews about their collaboration.”

Community note

“Scorsese used Arriflex cameras for "Taxi Driver" (1976), "Raging Bull" (1980), and other early films. His cinematographer Michael Chapman has discussed the use of Arriflex equipment in multiple interviews.”

Community note

“Lynch used Arriflex cameras for "Eraserhead" (1977), shooting over five years at the AFI campus. His cinematographer Frederick Elmes has discussed the production's use of Arriflex equipment.”

Community note

“Leone used Arriflex cameras for his Spaghetti Western trilogy and "Once Upon a Time in America" (1984). His cinematographer Tonino Delli Colli has discussed the equipment used on these productions.”

Community note

“Lee used Arriflex cameras for "Do the Right Thing" (1989) and "Malcolm X" (1992). His cinematographer Ernest Dickerson has discussed the equipment in interviews.”

Community note

“Wong and his cinematographer Christopher Doyle used Arriflex cameras for "In the Mood for Love" (2000) and "Chungking Express" (1994). Doyle has discussed the equipment in multiple interviews about their improvised shooting style.”

Community note

“Kiarostami used Arriflex cameras for his Koker Trilogy and "Taste of Cherry" (1997). His cinematographer Homayun Payvar has discussed the equipment in interviews.”

Community note

“Ray used Arriflex cameras for many of his films from the 1960s onward, including "Charulata" (1964). His first film, "Pather Panchali" (1955), was shot on a borrowed Mitchell camera. Documented in Andrew Robinson's "Satyajit Ray: The Inner Eye" (1989).”

Community note

“Kieślowski used Arriflex cameras for the Three Colors Trilogy (1993-94) and "The Double Life of Véronique" (1991). His cinematographer Slawomir Idziak has discussed the equipment in interviews.”

Community note

“Fassbinder used Arriflex cameras for his prolific output of films, including "Ali: Fear Eats the Soul" (1974) and "The Marriage of Maria Braun" (1979). The Arriflex was the standard camera for German productions of the period.”

Community note

“Wenders used Arriflex cameras alongside Aaton for many of his productions; his cinematographer Robby Müller discussed their use of both systems in interviews.”

Community note

“Bresson used Arriflex cameras for his later films, including "Au Hasard Balthazar" (1966) and "Pickpocket" (1959). His working methods are documented in "Notes on the Cinematograph" (1975).”

Community note

“Anderson shoots on film with Arriflex cameras; "The Grand Budapest Hotel" (2014), "The French Dispatch" (2021), and other films were shot on 35mm using Arriflex equipment.”

Community note

“Jarmusch has shot his films on 35mm and 16mm with Arriflex cameras; "Stranger Than Paradise" (1984) was shot on 16mm with an Arriflex. His commitment to film is documented in published interviews.”

Community note

“Loach has used Arriflex cameras for his social realist films including "Kes" (1969) and "I, Daniel Blake" (2016). The handheld flexibility of the Arriflex suited his documentary-influenced style.”

Community note

“Leigh has used Arriflex cameras for his character-driven films; the camera's flexibility accommodated his improvisation-based production method. His cinematographer Dick Pope has discussed their equipment choices.”

Community note

“Van Sant used Arriflex cameras for "Elephant" (2003) and his Death Trilogy, shooting in long Steadicam takes. His use of Arriflex equipment is documented in production interviews.”

Community note

“Reichardt shoots on 16mm and 35mm film; "First Cow" (2019) and "Meek's Cutoff" (2010) were shot on film with Arriflex cameras. Her commitment to film is documented in published interviews.”

Community note

“Aronofsky shot "Requiem for a Dream" (2000) on Super 16mm with Arriflex cameras. "Black Swan" (2010) was shot on Super 16mm as well; "The Whale" (2022) on the ARRI ALEXA.”

Community note

“Zhang Yimou used Arriflex cameras for "Raise the Red Lantern" (1991) and "Red Sorghum" (1988). His cinematographer Zhao Fei has discussed the equipment in interviews.”