Diego Crespo’s review published on Letterboxd:
Exhibit A in my thesis on why I believe most period pieces would benefit from being shot on 16mm. The format adds this immediacy and texture that can be manipulated into dreamlike romanticism that still feels distant enough from a tactile reality found in digital. IRT what worked for MIAMI VICE didn’t really work for PUBLIC ENEMIES imo. A look that can work! Because at the end of the day, if you don’t know how/what to shoot/light/compose the blocking of the frame, the shit ain’t gonna look good regardless.
Here, Todd Haynes captures that warm feeling, those butterflies in your stomach that are excited and nerve wrecked in the uncertainty of love; all before settling into that comfort of knowing a shared love. The lowlit streetlamps. The foggy windows. That first true romance. A tenderness to every frame and glance. Like a dream you never want to wake up from. A room full of people, only one person mattering to each of two lovers.
*taps mic* a christmas carol