Thus, to say that Abdellatif Kechiche’s Blue is the Warmest Colour is the most controversial winner of the Palme D’Or in decades is actually a good thing… turns out that there might be some life in the old dog yet. As one might expect of a milieu that looks upon dissent as an act of economic sabotage, there is a tendency to treat the recipients of major festival awards as worthy regardless of whether their films are any good. ![]() Once filled with experimentation, transgression, provocation and very human failures, the cultural spaces of art house film are now given over to callow hagiography and propping up the careers of once great talents. Raised on auteur theory and acutely aware that it lacks both the cash and cachet of commercial cinema, the people who write about art film are prone to treating its institutions as temples and its practitioners as living saints. ![]() ![]() ![]() The world of art house film has become a tediously reverential place.
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