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Modena is a city that’s somewhat trapped in amber, Mann explained, and forever intertwined with both the car company and Enzo’s life story. But he hasn’t missed a step in these intervening years, and the first few minutes of Ferrari make clear that Mann has achieved what he’s aiming for: a deep sense of technical verisimilitude that goes beyond historical accuracy. Over the decades, he’s been sidetracked by other projects or blocked by wary studios more frustrating, he hasn’t made a feature at all since 2015, when his robust cyber thriller Blackhat disappointed at the box office (though he did direct the pilot of the HBO drama Tokyo Vice in between). It’s a film that Mann has been trying to make, in some form, since the mid-1990s, when his career as a filmmaker first started to skyrocket with hits such as The Last of the Mohicans and Heat.

The film follows Ferrari as he negotiates the potential collapse of both his business and his marriage to his business partner Laura (Penélope Cruz), all while trying to win a long-distance race called the Mille Miglia that, that year, ended in shocking tragedy.

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Not just on the straightaways and chicanes of the racetracks that Ferrari’s automobiles zip down, but in Ferrari’s factory at Maranello, Italy his home in next-door Modena the mausoleum where his son Dino was buried and indeed, even in the crooked wrinkles lining his face as he navigates countless stressors. In Ferrari, Mann’s biographical film about the car magnate Enzo Ferrari (played by Adam Driver) and his pivotal 1957 summer, the audience will feel like they are there. And they’re coming off the screen at me,” Mann said.

With lesser films, “everything is kind of grayed out … as opposed to, Man, I am there.

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When done correctly, their faces take on a new depth, and the creases in their skin are properly accentuated. When the director hung up, I asked him to explain the gist of it, and he launched into a rhapsodic description of the visual perfection he’s trying to achieve by shooting on digital-what all movies shot on digital are supposed to look like, but so few do.Īs Mann explained while clutching a binder filled with technical paperwork, the challenge is to properly adjust a movie’s black levels so that the lighting fills in the faces of its actors just right. His postproduction team was on the other end of the line, working on the final color corrections to his new film, Ferrari, and they began speaking in what might as well have been an alien language, for how little I understood. Half an hour into our conversation, Michael Mann answered his phone. Produced by ElevenLabs and NOA, News Over Audio, using AI narration.