Art film
An art film, art cinema, or arthouse film, is typically an independent film, aimed at a niche market rather than a mass market audience.[1] It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal",[2] "made primarily for aesthetic reasons rather than commercial profit",[3] and containing "unconventional or highly symbolic content".[4]
Film critics and film studies scholars typically define an art film as possessing "formal qualities that mark them as different from mainstream Hollywood films".[5] These qualities can include (among other elements): a sense of social realism; an emphasis on the authorial expressiveness of the director; and a focus on the thoughts, dreams, or motivations of characters, as opposed to the unfolding of a clear, goal-driven story. Film scholars David Bordwell and Barry Keith Grant describe art cinema as "a film genre, with its own distinct conventions".[6][7]
Art film producers usually present their films at special theaters (
Such films contrast sharply with mainstream
History
Antecedents: 1910–1920s
The forerunners of art films include Italian silent film
Art films were also influenced by films by Spanish avant-garde creators, such as Luis Buñuel and Salvador Dalí (who made L'Age d'Or in 1930), and by the French playwright and filmmaker Jean Cocteau, whose 1932 avant-garde film The Blood of a Poet uses oneiric images throughout, including spinning wire models of a human head and rotating double-sided masks. In the 1920s, film societies began advocating the notion that films could be divided into "entertainment cinema directed towards a mass audience and a serious art cinema aimed at an intellectual audience". In England, Alfred Hitchcock and Ivor Montagu formed a film society and imported films they thought were "artistic achievements", such as "Soviet films of dialectical montage, and the expressionist films of the Universum Film A.G. (UFA) studios in Germany".[9]
The cinema pur movement was influenced by German "absolute" filmmakers such as
The first British "art cinema" was temporarily opened at the Palais de Luxe in London in 1929 by Elsie Cohen. She went on to establish a permanent location at the Academy Cinema in Oxford Street in 1931.[14]
1930s–1950s
In the 1930s and 1940s, Hollywood films could be divided into the artistic aspirations of literary adaptations like
In the late 1940s, the U.S. public's perception that Italian neorealist films and other serious European fare were different from mainstream Hollywood films was reinforced by the development of "arthouse cinemas" in major U.S. cities and college towns. After the Second World War, "...a growing segment of the American film going public was wearying of mainstream Hollywood films", and they went to the newly created art-film theaters to see "alternatives to the films playing in main-street movie palaces".[5] Films shown in these art cinemas included "British, foreign-language, and independent American films, as well as documentaries and revivals of Hollywood classics". Films such as Rossellini's Open City and Mackendrick's Tight Little Island (Whisky Galore!), Bicycle Thieves and The Red Shoes were shown to substantial U.S. audiences.[5]
In the late 1950s,
1960s–1970s
The French New Wave movement continued into the 1960s. During the 1960s, the term "art film" began to be much more widely used in the United States than in Europe. In the U.S., the term is often defined very broadly to include foreign-language (non-English) "auteur" films,
1980s–2000s
By the 1980s and 1990s, the term "art film" became conflated with "independent film" in the U.S., which shares many of the same stylistic traits. Companies such as
In 2007, Professor Camille Paglia argued in her article "Art movies: R.I.P." that "[a]side from Francis Ford Coppola's Godfather series, with its deft flashbacks and gritty social realism, ...[there is not]... a single film produced over the past 35 years that is arguably of equal philosophical weight or virtuosity of execution to Bergman's The Seventh Seal or Persona". Paglia states that young people from the 2000s do not "have patience for the long, slow take that deep-think European directors once specialized in", an approach which gave "luxurious scrutiny of the tiniest facial expressions or the chilly sweep of a sterile room or bleak landscape".[20]
According to director, producer, and distributor Roger Corman, the "1950s and 1960s was the time of the art film's greatest influence. After that, the influence waned. Hollywood absorbed the lessons of the European films and incorporated those lessons into their films." Corman states that "viewers could see something of the essence of the European art cinema in the Hollywood movies of the seventies... [and so], art film, which was never just a matter of European cinema, increasingly became an actual world cinema—albeit one that struggled to gain wide recognition". Corman notes that, "Hollywood itself has expanded, radically, its aesthetic range... because the range of subjects at hand has expanded to include the very conditions of image-making, of movie production, of the new and prismatic media-mediated experience of modernity. There's a new audience that has learned about art films at the video store." Corman states that "there is currently the possibility of a rebirth" of American art film.[21]
Deviations from mainstream film norms
Film scholar David Bordwell outlined the academic definition of "art film" in a 1979 article entitled "The Art Cinema as a Mode of Film Practice", which contrasts art films with the mainstream films of classical Hollywood cinema. Mainstream Hollywood-style films use a clear narrative form to organize the film into a series of "causally related events taking place in space and time", with every scene driving towards a goal. The plot of mainstream films is driven by a well-defined protagonist, fleshed out with clear characters, and strengthened with "question-and-answer logic, problem-solving routines, [and] deadline plot structures". The film is then tied together with fast pacing, a musical soundtrack to cue the appropriate audience emotions, and tight, seamless editing.[6]
In contrast, Bordwell states that "the art cinema motivates its narrative by two principles: realism and authorial expressiveness". Art films deviate from the mainstream "classical" norms of film making in that they typically deal with more episodic narrative structures with a "loosening of the chain of cause and effect".[6]
Mainstream films also deal with moral dilemmas or identity crises, but these issues are usually resolved by the end of the film. In art films, the dilemmas are probed and investigated in a pensive fashion, but usually without a clear resolution at the end of the film.[22]
The story in an art film often has a secondary role to character development and exploration of ideas through lengthy sequences of dialogue. If an art film has a story, it is usually a drifting sequence of vaguely defined or ambiguous episodes. There may be unexplained gaps in the film, deliberately unclear sequences, or extraneous sequences that are not related to previous scenes, which force the viewer to subjectively make their own interpretation of the film's message. Art films often "bear the marks of a distinctive visual style" and the
Bordwell claims that "art cinema itself is a [film] genre, with its own distinct conventions".
Art film and film criticism
There are scholars who point out that mass market films such as those produced in Hollywood appeal to a less discerning audience.[26] This group then turns to film critics as a cultural elite that can help steer them towards films that are more thoughtful and of a higher quality. To bridge the disconnect between popular taste and high culture, these film critics are expected to explain unfamiliar concepts and make them appealing to cultivate a more discerning movie-going public. For example, a film critic can help the audience—through their reviews—think seriously about films by providing the terms of analysis of these art films.[27] Adopting an artistic framework of film analysis and review, these film critics provide viewers with a different way to appreciate what they are watching. So when controversial themes are explored, the public will not immediately dismiss or attack the movie where they are informed by critics of the film's value such as how it depicts realism. Here, art theaters or art houses that exhibit art films are seen as "sites of cultural enlightenment" that draw critics and intellectual audiences alike. It serves as a place where these critics can experience culture and an artistic atmosphere where they can draw insights and material.
Timeline of notable films
The following list is a small, partial sample of films with "art film" qualities, compiled to give a general sense of what directors and films are considered to have "art film" characteristics. The films in this list demonstrate one or more of the characteristics of art films: a serious, non-commercial, or independently made film that is not aimed at a mass audience. Some of the films on this list are also considered to be "auteur" films, independent films, or experimental films. In some cases, critics disagree over whether a film is mainstream or not. For example, while some critics called Gus Van Sant's My Own Private Idaho (1991) an "exercise in film experimentation" of "high artistic quality",[28] The Washington Post called it an ambitious mainstream film.[29] Some films on this list have most of these characteristics; other films are commercially made films, produced by mainstream studios, that nevertheless bear the hallmarks of a director's "auteur" style, or which have an experimental character. The films on this list are notable either because they won major awards or critical praise from influential film critics, or because they introduced an innovative narrative or film-making technique.
1920s–1940s
In the 1920s and 1930s, filmmakers did not set out to make "art films", and film critics did not use the term "art film". However, there were films that had sophisticated aesthetic objectives, such as
Some of these early, artistically oriented films were financed by wealthy individuals rather than film companies, particularly in cases where the content of the film was controversial or unlikely to attract an audience. In the late 1940s, UK director Michael Powell and Emeric Pressburger made The Red Shoes (1948), a film about ballet, which stood out from mainstream-genre films of the era. In 1945, David Lean directed Brief Encounter, an adaptation of Noël Coward's play Still Life, which observes a passionate love affair between an upper-class man and a middle-class woman amidst the social and economic issues that Britain faced at the time.
1950s
In the 1950s, some of the well-known films with artistic sensibilities include
Asia
In
1960s
The 1960s was an important period in art film, with the release of a number of groundbreaking films giving rise to the European art cinema. Jean-Luc Godard's
Federico Fellini's
Puppeteer
1970s
In the early 1970s, directors shocked audiences with violent films such as (1978), shared many traits with Tarkovsky, such as his long, lingering shots of natural beauty, evocative imagery, and poetic narrative style.
Another feature of 1970s art films was the return to prominence of bizarre characters and imagery; which abound in the tormented, obsessed title character in
Also in the 1970s,
1980s
In 1980, director Martin Scorsese gave audiences, who had become used to the escapist blockbuster adventures of Steven Spielberg and George Lucas, the gritty, harsh realism of his film Raging Bull. In this film, actor Robert De Niro took method acting to an extreme to portray a boxer's decline from a prizewinning young fighter to an overweight, "has-been" nightclub owner. Ridley Scott's Blade Runner (1982) could also be seen as a science fiction art film, along with 2001: A Space Odyssey (1968). Blade Runner explores themes of existentialism, or what it means to be human. A box-office failure, the film became popular on the arthouse circuit as a cult oddity after the release of a "director's cut" became successful via VHS home video. In the middle of the decade, Japanese director Akira Kurosawa used realism to portray the brutal, bloody violence of Japanese samurai warfare of the 16th century in Ran (1985). Ran followed the plot of King Lear, in which an elderly king is betrayed by his children. Sergio Leone also contrasted brutal violence with emotional substance in his epic tale of mobster life in Once Upon a Time in America.
Other directors in the 1980s chose a more intellectual path, exploring philosophical and ethical issues like
Another critically praised art film from this era,[48] Wim Wenders's road movie Paris, Texas (1984), also won the Palme d'Or.[49][50][51]
Kieślowski was not the only director to transcend the distinction between the cinema and television.
In 1982, experimental director
Another approach used by directors in the 1980s was to create bizarre, surreal alternative worlds. Martin Scorsese's After Hours (1985) is a comedy-thriller that depicts a man's baffling adventures in a surreal nighttime world of chance encounters with mysterious characters. David Lynch's Blue Velvet (1986), a film noir-style thriller-mystery filled with symbolism and metaphors about polarized worlds and inhabited by distorted characters who are hidden in the seamy underworld of a small town, became surprisingly successful considering its highly disturbing subject matter. Peter Greenaway's The Cook, the Thief, His Wife & Her Lover (1989) is a fantasy/black comedy about cannibalism and extreme violence with an intellectual theme: a critique of "elite culture" in Thatcherian Britain.
According to Raphaël Bassan, in his article "The Angel: Un météore dans le ciel de l'animation",[55] Patrick Bokanowski's The Angel, shown at the 1982 Cannes Film Festival, can be considered the beginning of contemporary animation. The characters' masks erase all human personality and give the impression of total control over the "matter" of the image and its optical composition, using distorted areas, obscure visions, metamorphoses, and synthetic objects.
In 1989, Hou Hsiao-hsien's A City of Sadness became the first Taiwanese film awarded the Golden Lion at the Venice Film Festival. The film shows the history of Taiwan through one family, and marks another step of the Taiwanese New Wave, which tends to depict realistic, down-to-earth life in both urban and rural Taiwan.
1990s
In the 1990s, directors took inspiration from the success of
Other directors in the 1990s explored philosophical issues and themes such as identity, chance, death, and existentialism. Gus Van Sant's My Own Private Idaho (1991) and Wong Kar-wai's Chungking Express (1994) explored the theme of identity. The former is an independent road movie/buddy film about two young street hustlers, which explores the theme of the search for home and identity. It was called a "high-water mark in '90s independent film",[56] a "stark, poetic rumination",[57] and an "exercise in film experimentation"[58] of "high artistic quality".[28] Chungking Express[59] explores themes of identity, disconnection, loneliness, and isolation in the "metaphoric concrete jungle" of modern Hong Kong. Todd Haynes explored the life of a suburban housewife and her eventual death from toxic materials in the 1995 critical success, Safe.[60]
In 1991, another important film of Edward Yang, a Taiwanese New Wave director, A Brighter Summer Day is portrayal of one normal teenager life that evacuated from China to Taiwan which affacted by political situation, school situation, and family situation that make a main protagonist murders a girl in the end. In 1992, Rebels of the Neon God, first feature film of Tsai Ming-liang, second generation of Taiwanese New Wave, it has his unique style of filmmaking like alienation, slow movement of actor (his recurring cast, Lee Kang-sheng), slow-paced, and a few dialogues.
Daryush Shokof's film Seven Servants (1996) is an original high art cinema piece about a man who strives to "unite" the world's races until his last breath. One year after Seven Servants, Abbas Kiarostami's film Taste of Cherry (1997),[61] which won the Palme d'Or at the Cannes Film Festival, tells a similar tale with a different twist; both films are about a man trying to hire a person to bury him after he commits suicide. Seven Servants was shot in a minimalist style, with long takes, a leisurely pace, and long periods of silence. The film is also notable for its use of long shots and overhead shots to create a sense of distance between the audience and the characters. Zhang Yimou's early 1990s works such as Ju Dou (1990), Raise the Red Lantern (1991), The Story of Qiu Ju (1992) and To Live (1994) explore human emotions through poignant narratives. To Live won the Grand Jury Prize.
Several 1990s films explored existentialist-oriented themes related to life, chance, and death.
In 1997, Terrence Malick returned from a 20-year absence with The Thin Red Line, a war film that uses poetry and nature to stand apart from typical war movies. It was nominated for seven Academy Awards, including Best Picture and Best Director.[65]
Some 1990s films mix an ethereal or surreal visual atmosphere with the exploration of philosophical issues.
2000s
Lewis Beale of Film Journal International stated that Australian director Andrew Dominik's western film The Assassination of Jesse James by the Coward Robert Ford (2007) is "a fascinating, literary-based work that succeeds as both art and genre film".[69] Unlike the action-oriented Jesse James films of the past, Dominik's unconventional epic perhaps more accurately details the outlaw's relinquishing psyche during the final months of his life as he succumbs to the paranoia of being captured and develops a precarious friendship with his eventual assassin, Robert Ford.
In 2009, director Paul Thomas Anderson claimed that his 2002 film Punch-Drunk Love about a shy, repressed rage-aholic was "an art house Adam Sandler film", a reference to the unlikely inclusion of "frat boy" comic Sandler in the film; critic Roger Ebert claims that Punch Drunk Love "may be the key to all of the Adam Sandler films, and may liberate Sandler for a new direction in his work. He can't go on making those moronic comedies forever, can he? Who would have guessed he had such uncharted depths?"[70]
2010s
Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives, which won the 2010 Cannes Palme d'Or, "ties together what might just be a series of beautifully shot scenes with moving and funny musings on the nature of death and reincarnation, love, loss, and karma".[71] Weerasethakul is an independent film director, screenwriter, and film producer, who works outside the strict confines of the Thai film studio system. His films deal with dreams, nature, sexuality, including his own homosexuality,[72] and Western perceptions of Thailand and Asia. Weerasethakul's films display a preference for unconventional narrative structures (such as placing titles/credits at the middle of a film) and for working with non-actors.
This decade also saw a re-emergence of "
Roma (2018), is a film by Alfonso Cuarón inspired by his childhood living in 1970s Mexico. Shot in black-and-white, it deals with themes shared with Cuarón's past films, such as mortality and class. The film was distributed through Netflix, earning the streaming giant their first Academy Award nomination for Best Picture.[86]
Arthouse animation (with Oscar-nominated titles like Song of the Sea and Loving Vincent) was also gaining momentum during this era as an alternative to mainstream animated features alongside the works of acclaimed animators Satoshi Kon, Don Hertzfeldt and Ari Folman from the previous decade.[87][88][89]
Criticism
Criticisms of art films include being too pretentious and self-indulgent for mainstream audiences.[91][92][93]
Related concepts
Arthouse television
Quality artistic television,
As with much of Lynch's other work (notably the film
In popular media
Art films have been part of popular culture from animated sitcoms like The Simpsons[98] and Clone High spoofing and satirizing them[99] to even the comedic film review webseries Brows Held High (hosted by Kyle Kallgren).[100][101]
See also
- American Eccentric Cinema
- Anime
- Auteur theory
- Art horror
- Art rock
- Arthouse action film
- Arthouse animation
- Arthouse science fiction film
- Arthouse musical
- Cannes Film Festival
- Cinema of Transgression
- Classical Hollywood cinema
- Criterion Collection
- Czechoslovak New Wave
- European art cinema
- Experimental film
- Extreme cinema
- Film criticism
- Film genre
- FilmStruck
- Golden Age of Television (2000s–present)
- Independent animation
- Independent film
- Independent Film Channel
- Independent Spirit Award
- International Tournee of Animation
- L.A. Rebellion
- List of directors associated with art film
- Literary fiction (semi-analogous concept in the world of literature)
- Minimalist and Maximalist cinema
- Mubi (streaming service)
- Music video
- New Hollywood
- No wave cinema
- Parallel Cinema
- Slow cinema
- Souvenirs from Earth—art TV station
- Sundance Film Festival
- Surrealist cinema
- Swansea Bay Film Festival
- Television studies
- Toronto International Film Festival
- Turner Classic Movies
- Underground film
- Video essay
- Vulgar auteurism
References
- ^ "Art film definition". MSN Encarta. Archived from the original on 25 May 2011. Retrieved 23 January 2007.
- ^ The American Heritage Dictionary of the English Language, Fourth Edition. Houghton Mifflin Company: 2009.
- ^ Random House Kernerman Webster's College Dictionary. Random House: 2010.
- ^ "Art film". Dictionary.com. Retrieved 21 April 2015.
- ^ a b c Wilinsky, Barbara (2001). "Sure Seaters: The Emergence of Art House Cinema". Journal of Popular Film & Television. 32. University of Minnesota: 171.
- ^ a b c Bordwell, David (Fall 1979). "The Art Cinema as a Mode of Film Practice" (PDF). Film Criticism. Archived from the original (PDF) on 13 November 2008. Retrieved 13 November 2008 – via The Wayback Machine.
- ^ a b Grant, Barry (2007). Film Genres: From Iconography to Ideology. Wallflower Press. p. 1.
- ^ Ebert, Roger (15 March 1996). "Chungking Express Movie Review (1996)". Chicago Sun-Times. Retrieved 22 February 2018 – via Rogerebert.com.
- ^ a b c Siska, William C. (1980). Modernism in the narrative cinema: the art film as a genre. Arno Press.
- ^ Manchel, Frank (1990). Film study: an analytical bibliography. Fairleigh Dickinson University Press. p. 118.
- ISBN 9781441160690.
- ^ Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. P. 262.
- ^ a b Marinetti, F. T.; Corra, Bruno; Settimelli, Emilio; Ginna, Arnaldo; Balla, Giacomo; Chiti, Remo (15 November 1916). "The Futurist Cinema Manifesto".
- doi:10.1093/ref:odnb/56535. Retrieved 23 October 2020. (Subscription or UK public library membershiprequired.)
- ^ a b Michel, Marie (2002). The French New Wave : An Artistic School. Translated by Richard Neupert. New York: John Wiley & Sons, Incorporated.
- ^ "French Cinema: Making Waves". archive.org. Archived from the original on 11 May 2008.
- ^ a b Canby, Vincent (22 July 1969). "Movie Review – Blue Movie (1968) Screen: Andy Warhol's 'Blue Movie'". The New York Times. Retrieved 29 December 2015.
- ^ a b Canby, Vincent (10 August 1969). "Warhol's Red Hot and 'Blue' Movie. D1. Print. (behind paywall)". The New York Times. Retrieved 29 December 2015.
- ^ a b c Comenas, Gary (2005). "Blue Movie (1968)". WarholStars.org. Retrieved 29 December 2015.
- ^ Paglia, Camille (8 August 2007). "Art movies: R.I.P." Salon.com. Retrieved 22 February 2018.
- ^ Brody, Richard (17 January 2013). "The State of the 'Art Film'". The New Yorker. Retrieved 21 April 2015.
- ^ Elsaesser, Thomas (29 July 2007). "Putting on a Show: The European Art Movie". Bergmanorama: The Magic Works of Ingmar Bergman. Archived from the original on 29 July 2007. Retrieved 22 February 2018.
- ^ Williams, Christopher (5 July 2007). "The Social Art Cinema: A Moment of History in the History of British Film and Television Culture" (PDF). Cinema: The Beginnings and the Future. Archived from the original (PDF) on 5 July 2007. Retrieved 22 February 2017 – via The Wayback Machine.
- ^ Arnold Helminski, Allison. "Memories of a Revolutionary Cinema". Senses of Cinema. Archived from the original on 21 July 2001. Retrieved 22 February 2018.
- ^ Stam, Robert; Miller, Toby (2000). Film and Theory: An Introduction. Hoboken, New Jersey: Blackwell Publishing.
- ISBN 0-415-23517-0.
- ISBN 0-8166-3562-5.
- ^ a b Allmovie.com
- ^ Howe, Desson (18 October 1991). "My Own Private Idaho". The Washington Post. Retrieved 22 February 2018.
- ^ "Sight & Sound | Top Ten Poll 2002 – Critics Top Ten 2002". British Film Institute. 5 September 2006. Archived from the original on 16 December 2006. Retrieved 6 October 2010.
- ^ Movie Review – Ashani Sanket By Vincent Canby, The New York Times, 12 October 1973.
- ^ Overview The New York Times.
- ^ "Festival de Cannes: Andrei Rublev". festival-cannes.com. Archived from the original on 18 January 2012. Retrieved 10 April 2009.
- ^ "The Color of Pomegranates at Paradjanov.com". Parajanov.com. 9 January 2001. Archived from the original on 14 September 2010. Retrieved 6 October 2010.
- ^ "The Color of Pomegranates in Cahiers du Cinéma Top 10". Parajanov.com. Retrieved 6 October 2010.
- ^ MUBI Special Being Green: Jim Henson's Early Shorts
- ^ This was Jodorowsky's second film from the 1970s. He also made El Topo (1970), a surrealistic western film.
- ^ "13 Greatest Art-House Horror Films – Dread Central". 19 February 2016 – via dreadcentral.com.
- ^ 'A Woman Under the Influence' – The Power of Female Leads – Films With A Cause
- ^ "Barbara Broadcast – BluRay DVD Review". Mondo-digital.com. 27 August 2013. Retrieved 21 February 2016.
- ^ Bentley, Toni (June 2014). "The Legend of Henry Paris". Playboy. Archived from the original on 4 February 2016. Retrieved 26 January 2016.
- ^ Bentley, Toni (June 2014). "The Legend of Henry Paris" (PDF). ToniBentley.com. Retrieved 26 January 2016.
- ^ Blumenthal, Ralph (21 January 1973). "Porno chic; 'Hard-core' grows fashionable-and very profitable". The New York Times Magazine. Retrieved 20 January 2016.
- ^ "Porno Chic". jahsonic.com.
- ^ Corliss, Richard (29 March 2005). "That Old Feeling: When Porno Was Chic". Time. Retrieved 27 January 2016.
- ^ Ebert, Roger (13 June 1973). "The Devil in Miss Jones – Film Review". RogerEbert.com. Retrieved 7 February 2015.
- ^ Ebert, Roger (24 November 1976). "Alice in Wonderland:An X-Rated Musical Fantasy". RogerEbert.com. Retrieved 26 February 2016.
- ^ Hill, Lee (October 2014). "Paris, Texas". Senses of Cinema.
- ^ Yanaga, Tynan (14 December 2018). "PARIS, TEXAS: European Art House Meets The Great American Road Movie in Stunning Fashion".
- ^ Roddick, Nick. "Paris, Texas: On the Road Again". The Criterion Collection.
- ^ 'Paris, Texas': Wim Wenders' Film of Extraordinary Beauty · Cinephilia & Beyond
- ^ "Koyaanisqatsi". Spirit of Baraka. 21 May 2007. Archived from the original on 30 January 2010. Retrieved 28 May 2008.
- ^ Godfrey Reggio, Cinematic Seer - Harvard Film Archive
- ^ Synaesthetic Cinema: Minimalist Music and Film - Harvard Film Archive
- ^ La Revue du cinéma, n° 393, avril 1984.
- ^ Filmcritic.com critic Jake Euler.[full citation needed]
- ^ Reviewer Nick Schager.[full citation needed]
- ^ Critic Matt Brunson.[full citation needed]
- ^ Prior to Chungking Express, he directed Days of Being Wild. Later in the 1990s, Kar-wai directed Happy Together (film) (1997).
- ^ Scott-Travis, Shane (17 January 2017). "Pulling Focus: Safe (1995)". Taste of Cinema.
- ^ In 1990, Kiarostami directed Close-up.
- ^ "Pi Movie Review, DVD Release –". Filmcritic.com. Archived from the original on 30 December 2005. Retrieved 6 October 2010.
- ^ "Current Movie Reviews, Independent Movies – Film Threat". Filmthreat.com. 15 June 1998. Archived from the original on 23 June 2008. Retrieved 6 October 2010.
- ^ Critic James Berardinelli.[full citation needed]
- ^ 1999|Oscars.org
- ^ Emanuel Levy, review of Three Colors: Blue. Retrieved 9 January 2012.
- ^ Matt Brunson.
- ^ Steve Rose (20 October 2010). "Breaking the Waves: No 24 best arthouse film of all time". The Guardian. Retrieved 21 April 2015.
- ^ Lewis Beale. "The assassination of Jesse James by the coward Robert Ford". Film Journal International. Archived from the original on 11 October 2007. Retrieved 27 September 2007.
- ^ "Punch-Drunk Love". RogerEbert.com. 18 October 2002.
- ^ Satraroj, Nick. Movie review: "Uncle Boonmee", an art film for everyone Archived 23 August 2010 at the Wayback Machine. CNN. Retrieved 2 October 2010.
- ^ "Creating His Own Language: An Interview With Apichatpong Weerasethakul", Romers, H. Cineaste, page 34, vol. 30, no. 4, Fall 2005, New York.
- ^ Austin Dale (24 June 2011). "INTERVIEW: Here's the Story Behind That Theater's No Refund Policy for "Tree of Life"". indieWIRE. Archived from the original on 26 June 2011. Retrieved 16 July 2011.
- ^ Chen, Nick (7 July 2017). "The best and worst arthouse film remakes". Dazed.
- ^ "Drive (2011)". Rotten Tomatoes. Flixster. Retrieved 17 September 2011.
- ^ 15 Best Sci-Fi Horror Movies That Blend The Genres Perfectly|ScreenRant.com
- ^ "Under the Skin". Rotten Tomatoes. 4 April 2014. Retrieved 21 April 2015.
- ^ Collin, Robbie (13 March 2014). "Under the Skin: 'simply a masterpiece'". The Daily Telegraph. Archived from the original on 12 January 2022. Retrieved 22 February 2018.
- ^ Roeper, Richard (13 April 2014). "'Under the Skin': Brilliant mood piece about a fascinating femme fatale". Chicago Sun-Times. Retrieved 21 April 2015 – via Richard Roeper Blog.
- ^ How Sci-Fi Movies Have Changed In Each Decade (& Why) - Screen Rant
- ^ Trippy horror/fantasy Beyond the Black Rainbow gets DVD/Blu-ray release date – JoBlo
- ^ Clarke, Donald (21 January 2011). "Black Swan". The Irish Times. Retrieved 14 March 2016.
- Vulture. Retrieved 14 March 2016.
- ^ D'Alessandro, Anthony (29 October 2015). "Radius Horror Film 'Goodnight Mommy' Set To Wake Up Oscar Voters As Austria's Entry". Deadline Hollywood. Retrieved 14 March 2016.
- ^ Lee, Benjamin (22 February 2016). "Did arthouse horror hit The Witch trick mainstream US audiences?". The Guardian. Retrieved 26 February 2017.
- ^ Tapley, Kristopher (22 January 2019). "'Roma' Becomes Netflix's First Best Picture Oscar Nominee".
- ^ "Animated Movies To Look Forward To". amctheatres.com.
- ^ "Euro Animated Films Offer "Darker" Art House Alternative to Hollywood, Exec Says". The Hollywood Reporter. 15 December 2017.
- ^ The Criterion Channel's July 2021 Lineup Includes Wong Kar Wai, Neo-Noir, Art-House Animation & More|The Film Stage
- ISBN 978-0-571-34800-8.
- ^ Billson, Anne (5 September 2013). "The Top 10 Most Pretentious Films". The Daily Telegraph. Archived from the original on 12 January 2022.
- ^ Dekin, Mert (1 October 2019). "10 Famous Arthouse Movies That Are Too Self-Indulgent". Taste of Cinema.
- ^ "Are Sci-Fi Movies Getting Too Pretentious?". WIRED. 10 August 2019.
- ^ Nordine, Michael (17 July 2014). "20 Worst Hipster Movies of All Time". LA Weekly.
- ISBN 9780585241135.
- ^ Thompson, Kristin (2003). Storytelling in Film and Television. Cambridge, Massachusetts: Harvard University Press.
- ^ Driscoll, D. (2 November 2009). "The Wire Being Taught at Harvard". Machines.pomona.edu. Archived from the original on 20 July 2011. Retrieved 6 October 2010.
- ^ "Any Given Sundance". IMDb.
- ^ "Film Fest: Tears of a Clone". IMDb.
- ^ "Real Good You Guys: Kyle Kallgren and Brows Held High". 7 November 2017. Archived from the original on 15 August 2018. Retrieved 12 September 2019.
- ^ Aronow, Sam (3 June 2018). "Brows Held High Night Thread". The Avocado.