Films photographed with the ARRI 765 65mm camera

Feature films with the ARRI 765
Title	Released	Cinema	Notes
“Far and Away”	22.05.1992	Ziegfeld, NYC, USA 70mm Engagements	The ARRI 765 was used for short segments "I also used Arri's new ARRI765 camera which could go up to 120 frames per second." Best wishes with "Far and Away", Mikael Salomon
"Little Buddha"	01.12.1993	France	The ARRI 765 was used for short segments
"Hamlet"	22.12.1996	Ziegfeld, NYC, USA 70mm Engagements	The ARRI 765 was used for short segments
"Sunshine"	23.03.2007	Bochum Fantasy Filmfest Nights, Germany	Arri 765 for one scene: From American Cinematographer, August 2007: The filmmakers used 65mm to achieve one particularly surreal effect. In the scene, volatile crewmember Mace (Chris Evans) is trying to chill out in the “Earth Room,” a virtual-reality environment designed to simulate earthly environments that relax the spectator. “We wanted to give the Earth Room a surreal feel, so we decided to shoot the plates and Chris on 65mm,” says Küchler. Photography: Alwin H. Küchler Director: Danny Boyle
"The International"	12.02.2009	Germany	Less than 5 minutes in the final film was photographed with ARRI 765
"Nanga Parbat"	14.01.2010	Germany
"Shutter Island"	19.02.2010	USA	Short sequences filmed in Panavision PFX System 65 & Arri 765 From American Cinematographer: In prep, the filmmakers tested various methods of further enhancing the hyper-real look of Teddy’s visions; 65mm, anamorphic 35mm and high-definition video were all considered as mates for the project’s main format, Super 35mm. “The goal was to capture as much detail as possible for the DI suite,” says Richardson. “There weren’t as many differences among the filmouts as you might expect — the DI was the great equalizer — but 65mm had a definitive edge. We could wrestle with it in the digital world without the normal side effects encountered with a smaller negative. After he saw the tests, Marty agreed to shoot Teddy’s dream states on 65mm.” Unfortunately, after filming one day with a Panavision PFX System 65 Studio and an Arri 765, both cameras broke down on a frigid night. “Only a few of those shots remain,” says Richardson. (Ed. Note: These can be seen in a dream sequence that shows Teddy in Dachau in civilian clothes.)
"Unknown"	18.02.2011	USA	Arri 765 for some scenes, most of the film is Super 35
"Gravity"	28.08.2013	Venice Film Festival, Italy	The final scene was photographed with ARRI 765 From ICG Magazine: “We are back down on Earth at the end, so to give that a different dimension and gravity, we shot it in 65 millimeter, which has its own kind of hyper-reality. You can almost breathe the wind as you watch that scene.” From American Cinematographer: Lubezki shot most of the live-action material in the film with Arri Alexa Classics and wide Arri Master Prime lenses, recording in the ArriRaw format to Codex recorders; the package was supplied by Arri Media in London. (Panavision London provided a Primo Close Focus lens that was used for a single shot.) He filmed a scene set on Earth on 65mm, using an Arri 765 and Kodak Vision3 500T 5219, to provide a visual contrast to the rest of the picture.
"Autumn Blood"	14.09.2013	Oldenburg International Filmfest, Germany	We shot 20% of the movie on 65mm Kodak negative. Love the 765 camera an the way it feels when looking through the viewfinder. Hopefully I get to do this again. Thanks for keeping 70mm alive and remembered. Greetings, Markus Photography: Reed Morano Director: Markus Blunder
"Sunset Song"	04.12.2015	England	Exteriors in ARRI 765
"The Hateful Eight"	07.12.2015	7OMM Roadshow Engagements	The ARRI 765 was used for short segments
"The Death and Life of John F. Donovan"	10.09.2018	Toronto International Film Festival	The ARRI 765 was used for short segments From collider.com 11. May 2017: Without giving away any surprises, Dolan’s storytelling approach with John F. Donovan appears to be very emotionally earnest via some scenes that look and feel much bigger in scope than anything he’s done before. He’s even shooting on 65mm, which the director said, “changed my life”. Photography: André Turpin Director: Xavier Dolan
“Matthias and Maxime”	22.05.2019	Cannes Film Festival, France	Arri 765 for one scene: "We also used the 65mm format for a climactic love scene to have it emerge from the rest of the film. Very satisfying of course." DoP: André Turpin Director: Xavier Dolan
"Tenet"	26.08.2020	The premiere cinemas	The ARRI 765 was used running backwards for short segments "The big screen is best for movies"
"No Time to Die"	30.09.2021	London, UK	From American Cinematographer, April 2020: When the System 65 units were unavailable toward the end of production, the filmmakers turned to the 65mm ARRI 765 — which was more often used by the production’s 2nd unit for dialogue within Imax sequences.
"AL’s Brand"	-	-	2020, Zanzibar Films Photography: Halyna Hutchins Director: Dennis Hauck

Arriflex's ARRI 765

Short films with the ARRI 765

Feature films with the ARRI 765