What do representatives of arthouse cinema think about a technical medium that is primarily used by commercial cinema? What do filmmakers such as Jean-Luc Godard, Peter Greenaway and Edgar Pêra do with the stereoscopic 3D recording process?
The multifaceted omnibus film 3×3D - commissioned by the Portuguese city of Guimarães in 2012 to celebrate its year as one of the European Capitals of Culture - provides answers. In Just in Time, Greenaway takes a journey through the history of the city, moving fluidly through important historical buildings, providing written explanations of what is depicted and using 3D to create a different kind of pop-up travel guide. Godard's The Three Disasters is an audiovisual essay on the truth of images and the lies of words, on cinema itself and on life in general. The 3D effect is organically integrated into Godard's typical combination of different forms of presentation - film clips, found footage, voiceover and text. Finally, in Cinesapiens, a satirical tour de force through the technical history of the medium, Pêra sums it up as follows: “Whether it is the approaching train of the Lumières or the illusion of space created at great expense, we are still the same cavemen marveling at the moving image. Could be true.
