Cinema Scent
The world of cinema probably takes up as much of my thinking time as the world of scent. Although the former is primarily visual and auditory, it can be rewarding to consider it in terms of olfactory sensations. Did the director try to convey any particular odours to the audience? Is there anything about the lighting, the editing, the set design which is especially pungent? How would certain characters smell if they could step out of the screen and sit down next to us? Such musings sometimes culminate in a Cinema Scent review, an index of which you’ll find below.
Apocalypse Now (Francis Ford Coppola; 1979)
Battle Of The Sexes (Jonathan Dayton & Valerie Faris; 2017)
Black Narcissus (Michael Powell & Emeric Pressburger; 1947)
Blade Runner 2049 (Denis Villeneuve; 2017)
Detroit (Kathryn Bigelow; 2017)
Double Indemnity (Billy Wilder; 1944)
God’s Own Country (Francis Lee; 2017)
Marjorie Prime (Michael Almereyda; 2017)
Perfume: The Story Of A Murderer (Tom Tykwer; 2006)
The Age Of Innocence (Martin Scorsese; 1993)
The Graduate (Mike Nichols; 1967) [see also this link to my discussion of The Graduate on Radio 4’s Film Programme]
The Silence Of The Lambs (Jonathan Demme; 1991)
Trainspotting (Danny Boyle; 1996)
Under The Shadow (Babak Anvari; 2016)