Disclosure Day. Our Opinion.

“Disclosure Day” is the title of the latest film by one of our leading—and favorite—film directors: Steven Spielberg.

We are drawn to Spielberg because his directing style can sometimes go unnoticed (which is not necessarily a bad thing), yet his cinema is unmistakably authored and deeply recognizable. And not only because Spielberg makes blockbuster films that fill theaters, but because he doesn’t just make cinema—he is cinema. Like Kubrick or Tarantino, he is a director from whom you can learn if you pay attention. And if you don’t, you still enjoy the cinematic language without even realizing it.

Too Much AMERICAN

It must be said that this film is quite American in every sense. At times, you even find yourself thinking, “this is too much.” But ultimately, there is a balance between that sense of American excess and quality filmmaking, which makes it work and remain watchable.

The Best and Worst of ‘Disclosure Day’

What strikes me about this film—though not in a positive way—is that the screenplay falls into a loop that, in my opinion, isn’t necessary, especially coming from Spielberg. I don’t want to spoil anyone, but let’s just say that a large part of the film revolves around “hunting” a character, and for some reason, that chase never really ends. It’s the kind of structure where, every time they reach the character’s location, he has already left, and the pursuit starts all over again. For me, that’s the weakest aspect of the film.

On the positive side, given that it’s Spielberg and science fiction, what could possibly go wrong? In the end, it’s a film whose theme feels very much of the moment. It’s well made, of course, with an interesting cast. It’s essentially a fairy tale, in a way. Personally, I feel it could have benefited from Edward Norton in a leading role—but then again, I tend to think Edward Norton would improve almost any film I like, simply by being in it.

CINEMATOGRAPHY OF “Disclosure Day”

From a cinematography standpoint, there are a couple of things worth highlighting. That said, visually speaking, it is not particularly groundbreaking. Of course, it is very well shot, but given the level of talent, crew, and budget involved, that is almost expected.

The film was shot mostly on analog film, using the Panavision Panaflex Millennium XL2 (35mm), alongside our beloved Sony Venice 2. The overall look of the film leans strongly into a classic analog cinema aesthetic, reminiscent of the “golden era” style often associated with filmmakers like Tarantino and Spielberg himself.

As mentioned, there are two main aspects I would highlight. First, the decision to shoot on analog film with Panavision. And second, the frequent use of compressed framing through long lenses. Spielberg moves the camera a lot—and very effectively—orbiting and semi-orbiting around certain elements and characters, but with the added nuance of using strong telephoto lenses. This compresses the image while giving it an impressive sense of grandeur and visual weight.

IMMERSIVE EXPERIENCE in IMAX

Although it was not shot in IMAX (70mm), the film can be experienced in IMAX theaters, as the 35mm footage has been upscaled to 70mm. As a result, the viewing experience is quite powerful.

We watched it at the iSense auditorium in the Bonaire shopping center in Aldaia (Valencia), and the sheer scale is truly impressive, which in turn enhances the immersive experience.

John Williams conducting the orchestra at age 94

We would undoubtedly highlight the fantastic work—unsurprisingly—of John Williams, at 94 years old, leading yet another of his countless film scores. Watching him conduct the orchestra, seemingly from what appears to be a wheelchair, is genuinely inspiring, in the sense that age is not necessarily a barrier to talent or dedication (provided, of course, there is good health).

Beyond his age, from the very first note you can tell that John Williams is behind the music. It is unmistakable. Although, to be fair, given that this is a Spielberg film, the odds were always in favor of that being the case. In fact, this marks the 30th collaboration between the two.

Our Rating

On a scale from 0 to 10, we give it a solid 8. Because even if it’s not Spielberg at his absolute best, it is exactly the kind of cinema we want to see when we go to the theaters to watch a movie —popcorn or no popcorn. This movie is cinema. We like it, and even though it runs for 2.5 hours, it doesn’t feel heavy. The best part, without a doubt, is Spielberg himself.