“The Lighthouse,” along with a few other films this season, uses older, dated screen formats to tell a range of visually inventive, globe-spanning tales.
century drama “The Lighthouse,” starring Willem Dafoe and Robert Pattinson as a pair of lighthouse keepers descending into madness, he chose to shoot the film in black-and-white using an aspect ratio dating to the days of silent movies. Eggers knew that format, known in cinematography circles as 1.3:1 or 4:3, yields a square image that would give the film a distinct look and would help transport audiences back in time.
Although “The Lighthouse” might be the most obvious example of the 4:3 aspect ratio onscreen this awards season, other filmmakers are using the format to tell a range of visually inventive, globe-spanning tales—everything from powerful contemporary dramas to intimate character studies — rendered through an old-fashioned lens.
First-time feature director Melina León chose the 4:3 ratio for her 1980s-set Peruvian drama “Song Without a Name” , about a poor young woman who turns to a journalist for help finding her infant after the baby is stolen. A festival favorite that premiered at Cannes and recently screened in Los Angeles at AFI Fest, the black-and-white film, which León co-wrote with novelist Michael J. White, is based on child-trafficking cases that León’s journalist father covered decades earlier.
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