At the 1982 Cannes Film Festival, Wim Wenders asked such filmmaking luminaries as Michelangelo Antonioni, Rainer Werner Fassbinder, Jean-Luc Godard, Yilmaz Guney, Werner Herzog, Steven Spielberg, and Susan Seidelman to ponder the question ₃Is cinema a language about to get lost, an art about to die? Forty years later adopting the same minimalist, fixed-camera format as Wenders Lubna Playoust poses the same question to a group of contemporary auteurs, including David Cronenberg, Claire Denis, Asghar Farhadi, James Gray, Lynne Ramsay, and Wenders himself. Together, Wenders' Room 666 (Chambre 666) and Playoust's Room 999 (Chambre 999) capture the unfiltered perspectives of pathbreaking filmmakers on the state of the industry as well as the upheavals brought on by various new technologies and methods of distribution in the process touching on large-scale issues of politics, culture, and the meaning (and continued relevance) of cinema in two distinct eras, nearly half a century apart.