For Here (2024), Robert Zemeckis kept one camera in one spot for almost the whole film. His cinematographer, Don Burgess, bolted it to the floor with box steel bracing and hung it from above: no dolly, no tripod, nothing beside or under it. One lens, a 35 mm at f/5.6: they didn't want the camera to exaggerate anything.

Outside the window, an LED wall played the years. Inside, the light was programmed for each scene's hour, season and weather. Zemeckis: "The single perspective never changes, but everything around it does."

Critics split: KQED called it painful to watch; IndieWire called its last shot one of the great final shots. Because only in that last shot does the camera finally move.

The room, its people and the rig are our own models, built and lit in code.

When the camera stays still, what do you watch?

Sources: Don Burgess to the Motion Picture Association (2024); Robert Zemeckis to Vanity Fair (2024); reviews in KQED and IndieWire.
Music: our own, played on GarageBand instruments. Sounds: made by us.