A barelegged blonde in a pink slip, knees pulled up to her chest, sits alone on a bed at a window in an apartment high above the city. Jo Hopper was 69 but looked 40, taut, still and silent, when she posed for her husband in 1952 for Morning Sun. In his uncanny new film Two or Three Things I Know About Edward Hopper, created for the Beyeler Foundation’s current exhibition, Wim Wenders has reconstructed the scene with eerie 3D precision. In close-up, the woman, unnerved, suddenly blinks.

Wenders’s camera scrolls to another mesmerisingly recreated vista of iconic desolation: the row of pumps at an empty petrol station in Gas (1940), shining neon on a deserted road at dusk. As if immersed in a Hopper painting, we wait beneath the dense forest; a streamlined Chrysler draws up from nowhere — the man-made plunged into the wilderness of nature.

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