In his career, Hollywood star Will Smith has starred in various science fiction films such as Independence Day and I, Robot. His more recent works of this kind include the 2019 blockbuster Gemini Man. Brokeback Mountain director Ang Lee directed the film, which was first planned since 1997. The result relies on groundbreaking technologythat was meant to overwhelm.
Even though the film flopped at the box office, it is now storming the Netflix charts. Gemini Man, newly released on the streaming subscription, is currently ranked second in the top 10 films.
Sci-Fi action with Will Smith: That’s what Gemini Man is about
The plot of the film revolves around US agent Henry Brogan (Smith), who is hunted by his clients after his exit. Suddenly he is faced with his younger clone (also Smith), who is supposed to take him out. A bitter game of cat and mouse ensues.
Watch the German Gemini Man trailer here:
Gemini Man – Trailer 2 (German) HD
Netflix hit Gemini Man was shot with extraordinary images
Gemini Man was shot in High Frame Rate (HFR) shot at 120 frames per second. This creates hyperreal, extremely fluid images. However, there are very few cinemas in the world that are technically able to show this format. As a result, the effect remained invisible to large parts of the audience.
In addition to the HFR process, a younger version of Will Smith was created with great effort. In contrast to the digital rejuvenation process used for films such as The Irishman or Indiana Jones and the Wheel of Fortune, the young Smith was created entirely on the computer.
Podcast on the end of a Netflix era: Films like Rebel Moon will never be seen again
Netflix is facing a turning point. Films like The Irishman or Rebel Moon are a thing of the past, family-friendly entertainment is in, and at the same time the quality of the films is set to improve. At least that is what some forecasts promise. What is the truth?
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What has gone wrong at Netflix in the last five years? Why are films like Rebel Moon a thing of the past? And what does the future hold? Jenny and Jan Felix raise these and other considerations in their discussion about the end of a Netflix era.