In reference to the recent discussion of anamorphic/wide-screen vs. "flat" processes: Has anyone seen Spike Lee's CROOKLYN yet? There is a whole sequence in that film in which Troy (sp?), the daughter, does to live with relatives in a middle-class suburban "normal" hell-hole; the whole episode is shot with an anamorphic lens but left "squeezed". I assume that the process is meant to convey a subjective sense of Troy's being "squeezed" by the restrictive lifestyle of the household. It's a cute idea--and in line with other "subjective" bits in the film (Troy's nightmares, the glueheads walking upside down, et al.)--but I don't think the sequence really works. For one thing, it's much too long and gets to be merely annoying after a while. Secondly, until quite late into the sequence, when the scenes are crosscut with scenes in Brooklyn, there's nothing to confirm that it is in fact a subjective effect. I was tempted to run out and complain to the theater management, but waited, knowing it was in Lee's style to do something like that on purpose. I really had to restrain myself, though. (Aside from that and the rather obsessive soundtrack, I like the film--it's one of Lee's lightest and maybe his most personal.)