4/24/2023 0 Comments Movi pro replica![]() I have, many of them, this and every year, but if I can’t tempt you with one of my favorites of 2022, I suggest you watch a film or two by Godard. People often ask me if I’ve seen any good movies lately. ![]() Yet, all these years later - and even as the industry struggles through yet another of its interminable crises - I am again heartened by all of the good and great movies that continue to be released. I don’t think Canby and Godard were entirely right (feel free to discuss among yourselves), but after nearly four decades and innumerable interchangeable franchise sequels, it’s clear they weren’t entirely wrong. He wrote that “our society is being increasingly homogenized, possibly through the pervasive power of television to plant the same ideas, the same fears and the same fads in more people, more quickly, than has ever before been possible in the history of the world.” Yikes! Acclaimed films from the likes of Jonathan Demme were struggling at a box office dominated by wide releases like “Beverly Hills Cop.” Canby believed that there was plenty of blame to go around, pointing to risk-averse money types and a “sheeplike” public. “The dream of Hollywood is to make one film,” Godard says, “and it’s television that makes it, but which is distributed everywhere” - which is as good a description of our NetflixDisneyMarvel world as I’ve read.įor Canby, Godard’s prediction of a one-movie world had already come to pass. For the next 10 minutes or so, Godard, smoking his familiar cigar, meditates on this vexing, evergreen question with his characteristic intelligence, opacity and epigrammatic wit. The first director - and the other inspiration for Canby’s disquiet - was Jean-Luc Godard, who described Wenders’s project as an inquest on the future of films. Shot during the 1982 Cannes Film Festival, the movie consists of different directors alone in a hotel room where they respond to a question that Wenders had written on a piece of paper: “Is cinema a language that is about to get lost, an art that is about to die?” The spark for his ruminations was “Room 666,” a documentary from Wim Wenders that had just opened in New York. In 1985, The New York Times’s longtime film critic Vincent Canby wrote an inspired, admirably cranky essay about the future of cinema.
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