Post-Pandemic Cinema: Something to get Excited Over
Good afternoon curious readers (or morning or evening from wherever you may be reading from). I’ve drifted to a film piece now, which may draw you in or hold you at a distance, depending on your preference. But that’s simply where my heads at right now, and I feel it’s always best to simply go with it.
Because I’ve found myself looking increasingly forward with an excited twinge at the potential of upcoming cinema. Away from the usual razzmatazz of marvel movies and ill-conceived spin-offs, there’s a lot to get giddy over.
Looking past the soon-to-be delivered No Time to Die (Cary Joji Fukunaga 2021), which, by this point, has effectively stuck two fingers up at a once staunch audience, it’s still incredibly easy to get wrapped up in Marvel’s next inundation of feature length flicks, all with some symbolic association to the other.
But I find it all to be a little insincere. As if the studios at play don’t have a wealth of faith in us, the audience. Are we easily amused? Distracted by explosions, shiny CGI and half-baked backstories? I certainly don’t concur. Cinema isn’t built for meekness or a comfortable discourse, it’s built for hair-raising stories and pure emotion, yet too often do films pass us by with barely a whimper.
But there seems to be a change in the wind. 2021 marked the first year that two women were nominated for best director (Chloe Zhao won, incidentally, and Emerald Fennell went on to win the best original screenplay award). Are we to see a new, bold, risk-taking dimension return once more to cinema (in accordance with the theme explored in last weeks musings?)
While it’s worth acknowledging that there’s an eager influx of films out there, all impatiently striving to throw their hat once more into the ring, there’s no denying the quality afoot. Perhaps it’s simply easier to pluck the diamonds from a more rewarding bunch.
Either way, it’s inspiring to see; for this writer, and also surely for a vastly grateful audience, impatient waiting in their own right. And we’ve been waiting far too long, haven’t we? So, in observation and in celebration, here are a few examples of upcoming cinema to embody all described here. Get the popcorn ready, there’s not long left to wait.
…
The Green Knight (David Lowery 2021)
Release Date: August 6th 2021
A24
My issue with superheroes is largely with their rigidness; by their own nature, they are incomprehensible. Indeed, it’s their difference that makes the escapism appealing.
But writer and director David Lowery is able to tap into that childish portion of ourselves that loves a good story, a fable even, without adopting such methods. He does it by utilising very human, empathetic characters that exhibit very human desires and emotions. His characters, while usually flawed, are admirably driven in their narrative purpose.
His latest, an epic fantasy adventure based on the Arthurian tale of The Green Knight, seems to be no different. The story follows Sir Gawain (Dev Patel), King Arthur's rash and headstrong nephew, as he embarks on a meaningful journey to confront the famed Green Knight, a foe of gigantic proportions.
…
Dune (Denis Villeneuve 2021)
Release Date: October 22nd
Warner Bros Pictures
While a remake in itself (now the third retelling of Frank Herbert’s famous sci-fi novel), the frankly stellar reputation of director Denis Villeneuve is enough the pulse running.
Like Blade Runner 2049 (2017) and Arrival (2016) before that, expect to see character development and mystery take centre stage over mismanaged CGI and showy production design.
Everything in Villeneuve’s films seem to be consequential and it’s entirely justified to find yourself pulled into layers of tense and mesmeric storytelling. His ability to drop clues and keep his audience dutifully motivated is second to none, a quality that’s increasingly rare in modern cinema.
…
Last Night in Soho (Edgar Wright 2021)
Release Date: October 29th
Film 4
Having grown up with Spaced and the Cornetto trilogy, perhaps I’m a little based in this selection, as we all are to someone or something merged with personal roots.
All this aside, it’s the dramatic tonal shifts and often dark surprises that embody Edgar Wright’s work. His ability to toe the line between expedient and excessive is what sets his him from the run-of-the-mill director.
But it’s the apparent distinction of Last Night in Soho that intrigues most. If Baby Driver (2017) is an entertaining, stylish getaway, this film is like a walk down a back alley to a dark and deviant party, though, perhaps that’s the point.
…