![]() ![]() It’s directed by Nia DaCosta (above), just 34 and coming off the critical and commercial success of her 2021 Candyman legacy sequel. Out now is The Marvels, starring Brie Larson as Captain Marvel. Their place in established stories and extended universes means the real power behind the scenes lies with studio executives more than directors. Mid-budget movies (think $5-75m) like Saltburn have become all too infrequent, meaning that promising young directors fail to get the chance to move up in stakes.īig budget films are overwhelmingly Marvel-style franchise behemoths. The answer largely reflects how the studio system – and viewing habits – have shifted in the last 20 years. ![]() Gone are the days of New Hollywood, when just about any dude with a script and some chutzpah could get $40m, but where are the younger generation who can demand the big budgets from studios to do their own thing? The film is her second feature – her first, Promising Young Woman – racked up five Oscar nominations including a best director nod for Fennell herself.īut Fennell’s lack of company as a young writer-director with creative control of her movies is startling. If we’re talking “young” as in under 45, then there’s a pacy film you can watch right now from an exciting young director: Saltburn from Emerald Fennell, 38. So with the old guard still around, and still at the top of the industry – where is the new wave? The young pretenders, ready to snatch the crown of cultural relevance from the men (yeah, men) who have hitherto crowded the top-tier of cinema and subsequently marshalled the big budgets and been consistently in contention for the top prizes? It’s as if the remaining embers of “New Hollywood” resolutely plan to burn on. And that’s not to overlook Francis Ford Coppola’s upcoming epic Megalopolis, starring Adam Driver and Game of Thrones alum Nathalie Emmanuel.īrian De Palma is 83. Even Woody Allen, 87, has found time to release from exile what he says is his penultimate picture. With Hayao Miyazaki’s latest “ last” film The Boy and the Heron also likely to be in the awards conversation. Indeed, this year has been a doozy for Oscar-worthy films from octogenarians. Scott and Scorsese are not the only masters in the twilight of their careers. ![]()
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