a “cahiers du cinema” rip-off
To invoke the name of Cahiers du Cinema to any self-respecting cinephile is like mentioning the Holy Book — it takes on a mystical quality of ages long gone, of more daring times graced by ancient Greats. Never mind that the publication is well and alive today and apparently still continues to perplex those who to turn to awards shows for indications of Great Art.
But the greatest legacy that the legendary film magazine gave us mere mortals were the rumblings of something, the beginnings of a film theory and identity that demanded us to think and create better. It gave birth to an explosive, gravity-defying movement known to many as the French New Wave, and yes, though many countries have gone on to experience their share of New Waves, none were quite like the French. Its influence was such that it slowly filtered down into the lowbrow, uncomplicated depths of mainstream, and still to this day, in the big, soul-less Hollywood blockbusters that we revile, we can still hear its whisper.
I don’t purport to create anything even as close to ground-breaking or important as that in this, but isn’t that the heart-breaking nature of human ambition — to try?
(And at the very worst, to fail magnificently.)