I listened carefully to your opinion, I don't blame you but you seem very young to understand the French New Wave, All the best filmmakers in the world like Steven Spielberg, Quentin Tarantino, Francis Ford Coppola, Martin Scorses, James Cameron and many more have all said that they were also influenced or are fan's of the French New Wave which also influenced the new Soviet generation of the 60s and Japanese filmmaker, be critical by having the experience of your objectivity, why not try to understand why the best directors in the world talk about the French New Wave with respect and passion...
So, are you going to ignore the work of Chris Marker and Jean-Luc Godard? Both apart of radical filmmaking collectives identifying as Marxist, Godard’s even calling itself “The Dziga Vertov Group” and Marker’s later calling itself ISKRA, after the paper founded by Lenin. I’m sure you’ll have criticisms, particularly of the Dziga Vertov Group, considering their work being majorly rooted in Brechtian theatre techniques, but I think these films certainly deserve to be addressed and engaged with, not dismissed or brushed to the side, they were legitimate attempts at producing revolutionary art, even if flawed, and are inextricably linked with the French New Wave I’d argue. They were heavily influenced by montage, and Marker’s experiments in particular, without or without his filmmaking group, should at least catch your attention. I think Agnès Varda deserves attention as well, there was a Left Bank to the new wave that were quite different from the film critics turned filmmakers you focus on.
But how can we make revolutionary filmaking? how can we do films without actors, sets or narrative, how can we make a film without making a theatrical film?, Just to recommend a film that may or may not fall into what you’re describing may be punishment park, from peter watkings. But, i dont know, this revolutionary filmaking that you are describing is weird, you only mention what revolutionary film cant be instead of what revolutioray film should or can be.
I don't see why we have extract of Les Visiteurs And Asterix in this subject. 🤣
😂
That's the point I made too.
I listened carefully to your opinion, I don't blame you but you seem very young to understand the French New Wave, All the best filmmakers in the world like Steven Spielberg, Quentin Tarantino, Francis Ford Coppola, Martin Scorses, James Cameron and many more have all said that they were also influenced or are fan's of the French New Wave which also influenced the new Soviet generation of the 60s and Japanese filmmaker, be critical by having the experience of your objectivity, why not try to understand why the best directors in the world talk about the French New Wave with respect and passion...
what do you think of cinema novo and cinema marginal? these are the brazilian new wave pretty much, real good stuff
Oh boy
80% of the clips are NOT New Wave
So, are you going to ignore the work of Chris Marker and Jean-Luc Godard? Both apart of radical filmmaking collectives identifying as Marxist, Godard’s even calling itself “The Dziga Vertov Group” and Marker’s later calling itself ISKRA, after the paper founded by Lenin. I’m sure you’ll have criticisms, particularly of the Dziga Vertov Group, considering their work being majorly rooted in Brechtian theatre techniques, but I think these films certainly deserve to be addressed and engaged with, not dismissed or brushed to the side, they were legitimate attempts at producing revolutionary art, even if flawed, and are inextricably linked with the French New Wave I’d argue. They were heavily influenced by montage, and Marker’s experiments in particular, without or without his filmmaking group, should at least catch your attention. I think Agnès Varda deserves attention as well, there was a Left Bank to the new wave that were quite different from the film critics turned filmmakers you focus on.
Funny how the clips of French movies you show are random, and not necessarily from the New Wave movement.
But how can we make revolutionary filmaking? how can we do films without actors, sets or narrative, how can we make a film without making a theatrical film?,
Just to recommend a film that may or may not fall into what you’re describing may be punishment park, from peter watkings.
But, i dont know, this revolutionary filmaking that you are describing is weird, you only mention what revolutionary film cant be instead of what revolutioray film should or can be.