Bio Rex, seating 687, was sold out for the special 70 mm preview screening of The Master of which I have blogged already on 14 December when I saw it in 2K DCP.
The Master is a strange subject for 70 mm (the negative is in 65 mm) since it is largely based on close-ups and interiors.
The Master begins with exteriors, to be sure, but shot towards the sun and with a lot of distorting effects, reflecting the deranged state of mind of Freddie (Joaquin Phoenix). Would it be much different if the beginning had been shot in Super 16 mm?
I watched for 15 minutes and have to confess that I did not discover a special advantage in the 70 mm version in comparison with the 2K DCP. (The 2K DCP has been processed very well.) There are, however, scenes with a feeling of grandeur later on in which the 70 mm might come into its own.
My points of reference, genuine 70 mm masterpieces of which I have a clear and present impression, include Playtime and The Agony and the Ecstasy.