https://www-wired-com.cdn.ampproject.org/v/s/www.wired.com/story/until-the-end-of-the-world/amp
Clocking in at five hours long, the restored director’s cut of Until the End of the World arrives as if on cue, with spooky prescience.
Review and 28 screenshots: https://www.blu-ray.com/movies/Until-the-End-of-the-World-Blu-ray/155972/
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"Supervised by director Wim Wenders and produced by the Wim Wenders Foundation, this digital transfer was created in 4K resolution on an ARRISCAN film scanner from the Super 35mm original camera negative at ARRI Film & Television in Berlin, where the film was also restored. The surround 5.1 track was remastered from the original 35mm magnetic tracks by the Wim Wenders Foundation and approved by the director.
Wenders and his favorite cinematographer, Roby Muller, are a formidable team, so the globetrotting element of the narrative obviously offers plenty of opportunities for them to deliver more of the cinematic magic that made Paris, Texas a timeless classic. And there are certainly plenty of special moments in this film -- some apparently shot at locations that had never been seen through a camera -- but the sum of its parts is very seriously underwhelming. Why? Because spending time with it is a lot like being forced to repeatedly open the same incredibly beautiful but empty package -- there is nothing on the inside that thrills. The final third of the film, where the focus of attention shifts to professor Henry Farber's (Max von Sydow) experiments in an underground laboratory somewhere in Australia, is especially problematic. Wenders unites a big group of excellent actors and then unceremoniously eaves them struggling with a mountain of unbearably boring pseudo-intellectual concepts of human life, advanced technology, and Earth's future.