Furthermore, open matte transfers are notorious for revealing technical trickery that widescreen cropping hides—wires for special effects, the edges of set dressings. In a film where the "horror" is often stylized, seeing the seams of the production (even slightly) parallels Bateman’s own struggle to maintain his sanity. The mask slips, and the mechanics of the production become visible.
American Psycho in widescreen is a masterpiece. American Psycho in open matte is a different masterpiece—one that trades Hitchcockian control for Cassavetes-like exposure. You see the emptiness around the emptiness. And in a film about a man who isn’t there, that extra space might be the most terrifying thing of all. american psycho open matte
Cinematographers frame for widescreen first. Open matte can result in "dead air" at the top of the screen (too much headroom). American Psycho in widescreen is a masterpiece
It is important to note that the 2.35:1 widescreen version is the director’s intended vision. Director Mary Harron and cinematographer Andrzej Sekuła composed every shot with those specific dimensions in mind. And in a film about a man who