He accused critics, lost between the savage tastes of the public and their own self importance, of employing a cynical triple standard, giving a free pass to virtually all the Hollywood blockbusters, championing marginalised filmmakers from around the world, while ignoring or dismissing
French commercial cinema.
Not exact matches
Irma Vep was made not long after Luc Besson's La Femme Nikita opened up new doors for a newly created brand of slick, Hollywood - inspired
commercial French cinema.
We tend to think of the
French New Wave and its contemporary derivatives as low - budget black - and - white
cinema, but in fact the
French New Wave also included many bigger - budget films intended to make incursions into the
commercial mainstream — movies like Godard's Contempt, Rivette's The Nun, Truffaut's Fahrenheit 451, Chabrol's A double tour (also known as Leda and Web of Passion), and Skolimowski's The Adventures of Gerard.