At this point in the history of film criticism, the auteur theory has become passé as a totalizing framework for understanding moviemaking as art, but Martel's three features (and this one in particular), in their distinctive, shared point - of - view and unique approach to mise - en - scène and sound, provide irrefutable evidence that international
art cinema still serves as a showcase for singular directorial talents who are, indeed, the principal creative forces behind their films.
Not exact matches
Whereas those dating in some cities (generally in the North of England)
still prefer a traditional «drinks or dinner» affair, many others are choosing to explore local cultural activities, like museums,
art galleries,
cinemas and theatres.
Even critics of last year's Amores Perros have admitted that an insurgence of Mexican productions into the highly populated
art house distribution crowd is increasingly inevitable (the best simile that could be imagined is that the rise of Mexican
cinema is like the push for Germany and Japan's permanent inclusion on the UN Security Counsil — hey, as
art film distributors are saying, we're
still working with the inclusion of Iran and Taiwan).
Oddly enough, the wit is
still there, but this time it's in the form of homages, both visual and aural, hearkening you back to the 70s schlock action
cinema, full of revenge plots, martial
arts gusto, and bad - ass mamas who aren't afraid to tussle with the big boys.
Filmmaker Gareth Evans restored the action / martial
arts genre to glory after Hollywood transformed action flicks into a toothless tiger (I
still blame The Fast and the Furious franchise and the steady decline of Detective John McClane in
cinema).
Film wise he's open to anything, but in his early 20's he was heavily into Asian
cinema and
still enjoys the guilty pleasures of martial
arts films.
And so, in choosing it as the film from the past ten years I would most like to discuss in the context of the future of the medium, I might be asserting, against my better judgment, the primacy of the auteur over and above national
cinemas and identity
art — the ferocious and aggressively confrontational
cinema of Lucrecia Martel serving as evidence that an ethos long - since debunked in serious academic circles
still has credence or at least value in the second century of the movies.
It's
still not the best tribute to American New Wave
cinema in theaters this year: that would be «Inherent Vice,» a meandering yet vibrant piece that seems to have fully absorbed all the different bits of popular
art that fed its writer - director Paul Thomas Anderson's aesthetic, and that seems to have nothing to prove and is content to simply be.
I wouldn't be here writing these lines but for Robert Bresson; when I was
still a teenager, his films showed me what
cinema could be, showed me how
cinema could rival the masterpieces of the other
arts.
His efforts with Toby Talbot helped create a renewed golden age of the
art house, and provided access to a world of
cinema that we all
still explore to this day.
Delicious Malaysian food is in abundance, it offers modern comforts like shopping malls and state of the
art cinemas, dozens of day trips are available, and also, in places, is
still incredibly cheap.
Exhibition on Screen are set to release, in
cinemas nationwide, the new David Hockney documentary David Hockney at the Royal Academy of
Arts: A Bigger Picture 2012 & 82 Portraits and One
Still Life 2016.
«From her «film
stills» series to her «rear projections» and her films, her massive body of work comments on and speaks to the limitless stream of visual material available to us today via
cinema, television, advertising, media, the Internet and
art itself.
The event is
still regarded as the preeminent venue for showcasing each country's top innovators in the
arts, including painting, sculpture, video,
cinema, dance, performance, architecture and conceptual
arts, and allowing artists from all disciplines to engage in discussions and further their.
Anita Chang,
stills from Tongues of Heaven Anita Chang (2008 Film / Video) will premiere her Creative Capital project, Tongues of Heaven, at the Los Angeles Asian Pacific Film Festival, with screenings May 4 (2:30 pm, CGV
Cinemas) and May 11 (12:30 pm,
Art -LSB-...]
Isaac Julien was acclaimed as an independent filmmaker when the boundaries between
art and
cinema still seemed clear.