Will the Real Film Lovers Please Stand Up?

It would seem nowadays as though anyone over the age of 30 with a vested interest in the movies will proudly flaunt their membership in the "Cinema is Dead and/or Dying" club. The refrains are common: sequelitis has ruined Hollywood for original projects; even the biggest-name auteurs have to beg tooth and nail outside of every Starbucks in LA for funding; and if you're a minority group, good luck seeing yourself realistically represented on the big screen. Film may be an art form, but the movies are a business, and in the absence of studio executives who know how (or simply care) to reconcile these two halves of the same coin, the most exciting, visionary, and boundary-pushing works are pushed to the sidelines at best and kept out of existence at worst.

Naturally, one might think that the solution to the lack of creativity and representation in Hollywood would be to look to foreign markets and venues. Indeed, there's plenty of exciting cinema happening in the rest of the world, and this year alone has given us gems as accessible as Ida and as obtuse as Winter Sleep. In the same breath that they condemn the Hollywood studio system for the apparently irreparable damage its left on their beloved medium, your friendly neighborhood film critic will find the room to praise one or two of these foreign imports in the hopes of expanding their readership's cinematic purview.

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