The new literalism plaguing today’s movies

(www.newyorker.com)

231 points frogulis | 1 comments | 15 Jul 25 03:52 UTC | HN request time: 0.21s | source

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hanlonsrazor ◴[15 Jul 25 14:44 UTC] No.44571664[source]▶

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.

replies(2): >>44572052 #>>44572294 #

PyWoody ◴[15 Jul 25 15:39 UTC] No.44572294[source]▶

>>44571664 #

For other relatively recent movies I'd add:

  > Evil Does Not Exist
  > Godland
  > The Beast
  > The Worst Person in the World
  > Misericordia
  > The Banshees of Inisherin
  > Amanda [0]
  > Afire [1]

[0] https://www.imdb.com/title/tt18469872/

[1] https://www.imdb.com/title/tt26440619/

replies(2): >>44572589 #>>44578028 #

jsbg ◴[15 Jul 25 16:05 UTC] No.44572589[source]▶

>>44572294 #

are movies like Evil Does Not Exist as popular in Japan as the examples in the article though? there must be a lot of similar niche movies made in the US

replies(1): >>44577292 #

1. PyWoody ◴[16 Jul 25 00:08 UTC] No.44577292[source]▶

>>44572589 #

Evil Does Not exist is Ryusuke Hamaguchi's first movie after the internationally successful Drive My Car, so I would hope there would be some domestic support but that might be pure naivety on my part.

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