10 Years in Front of The Screen

19 December 2019
Outside of the comic book heroes universe, Star Wars, Game of Thrones or the cosmic number of reworked classics, a lot has happened in the last ten years. Here are some directors, films and phenomena that have rotated into our orbit, and we decided to leave them here to enlighten us when we hit the counter.

Watching the world premiere from your couch at the same time as millions of other people is a thrill. It was brought to us by Netflix (still at the top of the market, with HBO and Amazon Prime a step behind it), but the revolution is not only about where we watch movies, but also how. Just think of the 3.5-hour gangster opus The Irishman with CGI rejuvenation for millions, for whom Scorsese would otherwise not have found funding. Netflix has been generous but also powerful - the platform has limited its broadcasting to movie theaters almost entirely (similar to Alfonso Quiron's Roma), which will raise questions about whether we still tend to say hi on the big screen and "hello" of eternal chill.

Luca Guadanino's melancholic gaze (director of The Big Splash and the new Suspiria) to the unsure impulse of first love, just as it has the power to change. Even if the film received the longest applause at the New York Festival ever and exposed the talent of 20-year-old then-Timothy Shalame, it is not his greatest credit. Hearing from someone that Call Me by Your Name has changed his vision of the relationship between two men and would recommend it to anyone with reservations about the subject - that's a great reason to talk about him. And history is unlikely to forget that peach scene.

"I used to think that in order to be an actress, you have to get people to pay attention to you, but that's not my energy," Adams says in an interview with The Guardian. If at the beginning of the century we could see her in Buffy, the Vampire Slayer, or Sex Games 2, in recent years she'd made the alien leap: we watched her as a sensitive linguist in the sultry Arrival by Denny Villeneuve, haunted by a past gallerist in Predators in the Dark by Tom Ford or the Injured eeporter in HBO's Open Wounds miniseries (where he is also a producer). Her story, however, suggests that the industry respects talent, but also something else - that it is important to get out of the mold you first entered.

Let's shake our hands: the original series of streaming platforms have been the big thing these ten years. It is no coincidence that David Lynch said that art cinema escaped television. However, it is difficult to mention everyone, so we take these two to Netflix - the highly psychological side-episodes of Black Mirror and Stranger Things. It is they who devilishly grasp the threads that pull the strings of our subconscious in two directions - from fear of being lost in the technology world (ironically introducing interactive technologies in their last episode) to the eternal nostalgia of the '80s, to be honest, they always remain 20 years ago.

When he watches Dog Tooth in 2009, Colin Farrell leaves the show astonished and shocked, but he doesn't even think of looking for director George Lantimos for a future role. In fact, until Alps, in 2011, this Greek made indie movies in his country in his native language, until Rachel Weiss and Nicole Kidman contacted him for his new projects, and later he did not invite himself to the casting for The Lobster Farrell on their shoulders and The Killing Of A Sacred Dear. Why do we distinguish it? Not only because of the vivid absurdist plotlines in his slow-motion films, but also because of how a niche cinema with great imagination manages to reach a wide audience. And even to make her a favorite - we admit that the tragicomic farce The Favorite was our favorite at the Oscars last year (sorry, Alfonso, along with Roma).

It is clear that this niche in pop culture began to fill up with The Simpsons and South Park families, but since then it has grown more and more. And it leads to addiction - who doesn't hang on to the black series about aging alcoholic BoJack, who subtly ridiculed Hollywood's vices, or Rick and Morty's sitcom, who has been plucking peppery irony in space since 2013? Just to note that the latter is a production of Cartoon Network's Adult Swim platform, which also recently released Primal - the new series by Gendy Tartakovsky (who painted Samurai Jack and Dexter's Laboratory), which historically goes on the long list of Oscars with cruel and silent a tale of a dinosaur and a prehistoric man in tandem.

Most recently, we've shuddered at the meaningful trailer on his The New Pope series, which takes the HBO throne from January 13 (as a sequel to The Young Pope), but this is only the last occasion to mention Sorrentino. In fact, just like Lantimos, his biography shows how the Cannes Festival is a stepping stone to the audience overseas, in the case after his Golden Palm nomination with This Must Have Been the Place from 2011. We also remembered him for his lavish and profound curtsey to Fellini in Great Beauty (he took an Oscar for a foreign language film), a melancholy and slow exploration of friendship and old age in Youth, and his latest sarcastic satire on Berlusconi Them, which brings him back to his native Italy. If it can be said that he left from there.

In 2018, Blumhouse horror focused production founder Jason Blum says not only are there not enough female directors, but there are also not enough horror directors. The response came from media outlets like Variety and Indiewire, who argued that the genre was in a renaissance and that it was the women's point of view. Jennifer Kent's Psychological Horror Babaduk for a lonely mother reading to her son an inappropriate goodnight book is just one scary example. Others include Karin Kassam's Invitation, Julia Dukurno's Raw, the Iranian A Girl Walks Home Alone at Night by Anna Amirpur, or Coral Faraj's Revenge, which include screaming topics such as objectifying women's bodies, family relationships, and feminism that scare right way.

Birdman's visual opus for the setting star (Michael Keaton), hung from the ledge of life, rightly picked up an Oscar in 2015, which doubled a year later with the ferocious adventure drama Return (and even tripled with recognition of Leonardo DiCaprio). And if there has been a certain lull in his filmography since then, Inyaritu addresses the issue of emigration from his native Mexico, which, along with cameraman Emmanuel Lubetzky, have transformed the influential VR installation Carne y Arena in Milan, where everyone has been entering the skin of an illegal immigrant for 7 minutes . We are sure of two things - cinema has the power to change, and virtual reality is part of its future.

The director of Shame, 12 Years a Slave and Widows actually completes design and art, his works of 20 years enter important galleries, and from February 13 to May 11, 2020 - at Tate Modern (if you're in London). "I want to put the audience in a situation where everyone becomes sensitive to themselves, to their body and to their breathing," he describes his big idea, which also sheds light on painful topics in his films - from sexual obsessions to a super-open look at racism, sexism and police violence, which is as embarrassing as it is important to talk about.


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