'Movies' at Blockbuster level pivoted to ersatz carnival rides post-'Pirates of the Caribbean', focusing on safe IPs and simple plots designed to aid comprehension of the major story beats in the SEA markets without the need to resort to subtitles or dubbing.
'True' Cinema has been going from strength to strength the last decade, with even Netflix putting out Fincher spectacles like 'Mank' on streaming, and A24 bringing introducing a new audience to phenomenal Korean Cinema like 'Parasite' and 'Minari'.
Even in the traditional studio system we have been spoilt in recent years by a succession of Palm D'Or and Oscar winners like Anatomy of a Fall, Triangle of Sadness, Zone of Interest, The Brutalist, Oppenheimer and Killers of the Flower Moon.
I have definitely noticed the same occurring in North American cinema, but I do not think this is a new phenomenon. Rather, it's just a symptom of the increased commercialization of indie cinema - commercialization requiring film for all to understand.
If one is to broaden their horizons, overseas cinema is still devoid of this literalism. European cinema, Korean cinema, and the famously show not tell Japanese cinema still produce ambiguous stories that compete for awards - just look at recent pictures in Anatomy of a Fall, Zone of Interest, Drive my Car, Decision to Leave.
Hacker Cinema
2 comments on Hacker News
'Movies' at Blockbuster level pivoted to ersatz carnival rides post-'Pirates of the Caribbean', focusing on safe IPs and simple plots designed to aid comprehension of the major story beats in the SEA markets without the need to resort to subtitles or dubbing.
'True' Cinema has been going from strength to strength the last decade, with even Netflix putting out Fincher spectacles like 'Mank' on streaming, and A24 bringing introducing a new audience to phenomenal Korean Cinema like 'Parasite' and 'Minari'.
Even in the traditional studio system we have been spoilt in recent years by a succession of Palm D'Or and Oscar winners like Anatomy of a Fall, Triangle of Sadness, Zone of Interest, The Brutalist, Oppenheimer and Killers of the Flower Moon.
I have definitely noticed the same occurring in North American cinema, but I do not think this is a new phenomenon. Rather, it's just a symptom of the increased commercialization of indie cinema - commercialization requiring film for all to understand.
If one is to broaden their horizons, overseas cinema is still devoid of this literalism. European cinema, Korean cinema, and the famously show not tell Japanese cinema still produce ambiguous stories that compete for awards - just look at recent pictures in Anatomy of a Fall, Zone of Interest, Drive my Car, Decision to Leave.