Confuse the audience and get rid of it


Tom Jolliffe’s art confuses the audience and gets praise for it …

Movie and TV are full of great margins. True artistry is in how a film (or performance) can manipulate the viewer. As a spectator, you will be taken on a journey. Sometimes the mentioned journey is simple. A – B – C. Simple task, expected end. When Jean-Claude Van Damme begins his journey in rubber, we know how the film ends. We know punches usually happen when they happen. What about when you sit through a David Lynch movie or TV show? Perhaps for some, this journey, whose route is vague from start to finish, is frustrating. After all, Lynch gathers fans, attracts cults, and fascinates audiences, even as he accelerates them.

When we watch a movie or TV show, we have to let ourselves know what’s going on. Being a filmmaker is the skill of keeping your viewer at arm’s length but keeping them interested. Currently a water cooler TV event in the UK, Mission has just finished the 6th season. We’ve been put together through a series of shows with heavy polls, eternal red herrings and a round of bent copper becoming a central focus in every series (from Lennie James to Kelly MacDonald, in between). Without giving too much, some things have been answered while others remain open, leading to the potential of another series that could think of continuing through the line, while also evolving into a new chain. While the final syndrome inevitably leads to debate (and the season 6 final has been received with varying reviews), the entire 10-year journey has been enjoyable despite the sometimes frustrating. Frustration can be good in moderation if we are given enough challenge and enough interest to come back for more. I’ve said I’ve spent 6 seasons since my wife kept asking, “Who is this? Why did they do that? What happened?” The truth is, half the time, I have no idea, but until the tortuous last episode, I’ve enjoyed riding.

One of the catching TV that started brilliantly but continued was Hannibal. Sure, Mads Mikkelsen (Lecterina) was great all the time, with a recurring mental tournament with Hugh Dancy (like Will Graham), but after the second season, the third got stuck in the back story, the replay, and unnecessary timeline changes. such as metaphysical too. The performance went from those elements of tempting confusion to annoying confusion. When you’re confused but not so interesting, there’s a problem. Many mourned the cancellation of the shows, but I’m not too surprised that it was also canned.

One director, with the exception of Lynch, who is known to a confusing audience for scratching his head or the structure of a story, is Chris Nolan. In fact, the translucent lines of his stories are deceptively simple, placed inside a high forehead, a high concept. Take it Initial. There are a number of experts in the film who are trying to plant an idea in someone’s subconscious. You can explain it in one line, but the reality of how this is done descends on the exhibition with a heavy story about dreams in dreams (with dreams … inside …). Nolan plays with the viewer by throwing the protagonist (Cobb, caller Leonardo Di Caprio), who is always at odds with reality. As a leader, we have someone unreliable, although in the form of Elliot Page and Joseph Gordon Levitt, we have two kinds of boring characters that exist to explain things to the extent that the audience can almost get caught up in Nolan. Tom Hardy exists doing the same, but he has more room to evoke a character with some personality.

When I talk about the fine lines in the film, Nolan is a good example. In Initial, a film widely regarded as today’s classic of the hit film, he maintains a film that is thoroughly engaging and full of eye blisters. The fact that we could easily get caught up in heavy ideas and even heavier performance is his gamble. He carries this line brilliantly and its legacy Initial whether there is anything to see there (although I think it is overrated). In contrast, Tenet share audiences much more. He crossed that line. There were similar topics in what some describe as a kind of spiritual successor, but if Initial pushed intelligibility to the maximum, Tenet broke it. It had the same faux pas ’that screenwriters are often warned about (heavy exhibition, confused thoughts), but it wasn’t as interesting. It was not so attractive. I see no urgent need to go back and investigate its hidden warnings Tenet (and the songs set were not as amazing).

In Arthouse, form and structure can be rejected altogether, for the sake of creating a pure emotional reaction from the audience. It can become an experience to feel, to allow us to beautify meaning with our own prejudices. You might see it in a movie like this The color of pomegranates for example and certainly in the work of Andrei Tarkovsky. Often as absorbing and rewarding as challenging and confusing, it works Stalkkeri play with the anticipation of clarity in the structure and meaning of the report. The art-house format throws everything out of the letter that the author must follow in the textbooks. Tarkovsky’s most difficult creation also proved to be his most visually dazzling (which says something because of his work). Although Mirror provided a personal reflection of Tarkovsky’s own experiences, it was also organic, smooth, and dreamy, fusing memories into dreams and visions as the protagonist (who is largely invisible) recounts moments in his life.

David Lynch’s approach to films like Mulholland Drive or Twin Peaks the purpose was to create a living universe in which random events could be intertwined and could have profound significance or no significance. The moments in Lynch movies become scratchy but fascinating. David Cronenberg also had a gift in some of his films. Both Lynch and Cronenberg have had other more successful films insofar as it confuses the willing audience. If Videodrome became a cult classic that puts an end to endless repetition, complex but doubly confusing Spider no (although I think it is greatly underestimated). In the same way, Lost highway proved too frustrating for the public, even with Lynch’s standards and Mulhollanda few years later would be what marked Lynch’s return to a strange spherical shape (with an unusual ‘normal’ A straight story in the middle).

What are the most confusing movies you’ve seen? What did you like? Which ones were far too confusing in your favor? Tell us about it on our social channels @flickeringmyth.

Tom Jolliffe is an award-winning screenwriter and passionate kinefile. He has several films on DVD / VOD around the world and several releases scheduled for release in 2021/2022, including Renegades (Lee Majors, Danny Trejo, Michael Pare, Tiny Lister, Patsy Kensit, Ian Ogilvy and Billy Murray), Crackdown, When Darkness Falls, and World of War: Attack (Vincent Regan). You can find more information on the best personal site you will ever see …


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