These directors made their mark at the beginning of their careers in the context of contemporary
British social realism, though they have later on moved to different types of filmmaking.
Marco Bellocchio's «Vincere» has its admirers, particularly in the European critical community, as does Andrea Arnold's «Fish Tank» — though the former's biographic sweep and the latter's grim
British social realism may strike the jurors as a little too familiar.
Not exact matches
It is to Lynne Ramsay's credit that it is difficult, if not impossible, to slot her debut feature into any existing
British genre or tradition, though there are echoes here of Ken Loach's early poetic
social realism, of Bill Douglas's stark, painterly style, and of Robert Bresson's «pure» cinema, stripped down and sensual.
It sometimes feels that the
British film industry only makes about three or four different kinds of movies: dreadful gangster films that rarely get a release abroad, gritty
social realism pictures, period costume dramas, and semi-quirky comedies with a tearjerking side, exemplified by something like «Billy Elliot» or «The Full Monty,» but more often turning out like «Calendar Girls» or «Song For Marion.»
There's been a backlash against these films in recent years (partly levelled at the public school, Oxbridge provenance of the filmmakers), but the fact that most of them ride high on this list suggests they're still credited with initiating a new age of storytelling in
British cinema, both in terms of the range,
social and geographical, of subjects and a style of filmmaking that honours
realism above all else.
This is not to imply that Perry has brought together works of
Social Realism; rather he has exposed a side of the collection — and
British art — dominated not by big names but by «working» artists (e.g. David Hepher, Brian Robb, Margret Lovell).
This group of noted American and
British sculptors explores themes that range from
social realism to otherworldly surrealism to abstraction of form.