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.
By 1980, however, the somewhat chastened magazine acknowledged he was not: «God is making a comeback Most intriguingly, this is happening not among theologians or ordinary believers — most of whom never accepted for a moment that he was in any
serious trouble — but in the crisp, intellectual
circles of
academic philosophers, where the consensus had long banished the Almighty from fruitful discourse.»