2023-12-27 23:43:53
Something happens in the cinema. And in the world. If one observes the films made by the big names of auteur cinema, several trends always emerge. In recent years we have seen how the great popes of Hollywood perform love songs to the theaters. They capture in images their great concern, the end of a way of understanding cinema and art. Sometimes, as happened in The Fabelmans, by Steven Spielberg, his self-absorption when telling the power of the dark room meant that his stories were placed in a place and a time that seemed taken from a science fiction movie. The absence of a social, historical, and political context in Spielberg’s film was surprising. Where had the filmmaker looked throughout his adolescence? It is clear that only what happened on a movie screen and not what happened to people in the neighborhoods of his city. Not even the ones he passed on the street.
Another trend that has been seen in recent cinema is anti-capitalist satire. A satire that is usually made by them, bourgeois directors who clear their conscience and laugh at a class to which they belong. Many times, and here the example of Ruben Östlund is perfect, they are cynical filmmakers close to nihilism who make them. In them the point is always the same: society is shit and the rich are terrible, but if the poor had money they would be just as bad. A ‘some bad, others bad’, which shows an ambiguous message. It is not surprising, when a filmmaker conceives his films as political elements in a clear direction, he is accused of Manicheanism and worse (read the Cannes reviews of Ken Loach’s latest films from many newspapers).
#Fallen #Leaves #Aki #Kaurismäki #trusts #love #working #class #films #year