One from the Heart (1981)

Cinematographer Vittorio Storaro used this film to carry out a particularly interesting experiment. One from the Heart - as the name suggests - teeters on the border between reality and the world of make-believe. Painful human moments collide with scenery and sets. As Tom Waits plays his music. The story's characters are propelled by yearning and desire outside of their two-dimensional planes. Without forgetting the experiment, the film's innovative processes remain invisible to the viewer. Coppola worked out a filming method that enabled him to put the scenes together during filming, meaning the film didn't only find its final form in the post-edit. From the first day of filming, the director saw the whole film ahead of him, and completed scenes were used to continually construct a special ‘sketch', with all the appropriate points laid out on an animated storyboard. Today, this approach is standard practice, but this is an opportunity to see the first film to use this procedure. Oh, and it also has an incredible kaleidoscope of colours that leaves the viewer feeling almost overwhelmed by kitsch. Because it's that kind of film: love, music, Las Vegas…