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Originally Posted by dissention
Yes, it makes sense. I'm the opposite, though, because I usually love his movies. They're truly enthralling to me (with the exception of The Idiots, I could not get into that at all) and amongst the most unique I've ever seen, both in theme and execution. They are an acquired taste, I imagine, because they're quite extreme and somewhat brutal.
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I like him, even if his superficiality and complex of superiority sometimes are unnerving but there are some authentic moments of deep lyrism in his cinema, and even if Dogma was basically a bluff to treat critics and the public like idiots (that's the sense of that movie, for me
) it gave some input and produced some beautiful movies, like Festen, or most recently Allegro.
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Originally Posted by dissention
I think there are plenty of fabulous American filmmakers who bring a lot to the table, too, it's just that the general output over the past few years has left me quite cold when compared to the output of many foreign filmmakers. Even people whose work I love have just been grasping in the air for decent ideas lately (i.e. Todd Solondz's "Palindromes") and the general attitude that I've observed becoming even more prevalent than before is that because a movie is outside the norm and non-commercial, then it automatically has some merit. I think that's true with a lot of stuff when it's good, like Miranda July's "You and Me and Everyone We Know" and Larry Fessenden's "Wendigo," but that kind of stuff has become harder to find in recent years, imo. I'm disenchanted with a lot of American filmmaking.
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I also think there are some great American filmakers. Talking of the new generation, Paul Thomas Anderson, for me is one of the best living directors and the fact that Altman wanted him as a 'ghost' for A Prairie Home Companion is also a proof. Todd Solondz's Palindrome and his other movies were brilliant and Sofia Coppola, Catherine Hardwicke, Darren Aronofsky are very interesting. And the movie that struck me more at Venice was probably Goodbye, and Good Luck by Clooney. Said that I can't say it's my favourite cinematography right now and it hasn't been for many years. When I look at movies like In The mood for Love, 3 Iron, Old Boy, Brokeback Mountain, Close-Up, Blackboards from Asian directors, or at films like Abre los ojos by Amenabar, Le Gout des Autres by Jaoui, Hidden by Haneke, Tzameti by Babluani, I got a more fulfilling, dreamy and real idea of cinema, emotions, life.
Romy