A cinematic technology from a bygone era is experiencing a remarkable revival. VistaVision, a high-resolution film format popular in the 1950s, is increasingly being chosen by filmmakers seeking a distinctive visual aesthetic, even as the movie theater landscape faces ongoing challenges. This resurgence is highlighted by its use in two potential Academy Award contenders: Yorgos Lanthimos’s “Bugonia” and “One Battle After Another,” signaling a broader trend within the industry.
The appeal of VistaVision lies in its ability to capture images with exceptional clarity and detail. However, it’s also known for being a technically demanding format, requiring specialized cameras and processing. Its renewed popularity speaks to a desire among some filmmakers to prioritize visual quality and a unique look, potentially as a way to draw audiences back to the big screen experience. The format’s large negative size—eight perforations instead of the standard four—results in a wider aspect ratio and a more immersive image, offering a distinct alternative to digital filmmaking.
“Bugonia,” directed by Yorgos Lanthimos and starring Emma Stone and Jesse Plemons, is a black comedy thriller remake of the 2003 South Korean film “Save the Green Planet!” The film follows the story of two young men who kidnap a powerful CEO, suspecting she is an alien intent on destroying Earth. According to a report in The Hollywood Reporter, Lanthimos was immediately enthusiastic about the script and began working on the project quickly. The film, a co-production of the United Kingdom, Ireland, South Korea, and the United States, had a budget of $45–55 million and has grossed $41.6 million worldwide as of February 22, 2026, according to Wikipedia.
The choice to utilize VistaVision on “Bugonia” wasn’t accidental. Lanthimos, known for his distinctive directorial style, reportedly embraced the format’s unique qualities. A recent Los Angeles Times article highlighted the collaborative dynamic between Lanthimos, Stone, and Plemons, noting the director’s unconventional rehearsal techniques. The article also details the film’s plot, centering on the kidnapping of a pharmaceutical CEO, played by Stone, by two men who believe she is an extraterrestrial.
The revival of VistaVision isn’t solely about aesthetics. It also represents a deliberate choice to engage with the physicality of filmmaking. Unlike digital workflows, VistaVision requires a more hands-on approach, from loading film stock to carefully calibrating the camera. This tactile process can influence the creative decisions made on set, fostering a different kind of connection between the filmmakers and the images they are capturing. As reported by NPR’s Mandalit Del Barco, the format is “visually stunning yet finicky,” requiring a dedicated team and meticulous attention to detail.
The use of VistaVision in “Bugonia” and “One Battle After Another” comes at a time when the movie theater industry is grappling with shifting audience habits and the rise of streaming services. Filmmakers are increasingly exploring ways to create a compelling cinematic experience that justifies the trip to the theater. The distinctive look and experience of VistaVision may be one way to achieve this, offering audiences something they can’t easily replicate at home.
Looking ahead, it remains to be seen whether VistaVision will become a widespread trend or remain a niche choice for filmmakers. However, its current resurgence demonstrates a continued desire to experiment with different formats and push the boundaries of cinematic storytelling. The success of “Bugonia” and “One Battle After Another” at the upcoming Academy Awards could further solidify VistaVision’s place in the modern filmmaking landscape.
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