These days, the lines between cinema and pop culture are so blurred that they are practically invisible. Film has become yet another manifestation of what we deem to be currently desirable. Blockbuster after blockbuster, after Netflix original movie, I know I take in countless pieces of media littered with trends, and often void of any deeper meaning.
Anyway, I digress. What I wanted to discuss today (or whenever you’re reading this) is a polarising time in film history, in which a set of directors were slammed by critics for doing what feels like the norm today.
Cinema Du Look was a film movement that took over France in the 1980s through to the 90s. It presented a glorious world of spectacle through its unique aesthetic details and obsession over visuals. Translating directly to ‘cinema of the look’ (I know, quite on the nose), this was a time where films prioritised beauty and glamour. They had polished set design, impeccable lighting and experimental, gimmicky camera shots.
This prioritisation, as many believed, came at a big cost. The general consensus is that the Cinema Du Look movement told stories that lacked any depth or tangible meaning. They were pretty and that was it. Some critics even go as far as to say that it deteriorated France’s film image.
The movement was initiated with Jean Jacques Beineix’s Diva in 1981, and since then only 9 more films are considered part of this era. This is where it gets interesting. One study shows that the number of people going to see movies in France grew by nearly 7% when this first film was released. What I am trying to say is that despite critical backlash, the Cinema Du Look movement was immensely popular among youth. It captured a contemporary view of France, free from the influence of the older generations. It drew inspiration from music videos, fashion designers and advertising, and reimagined pop culture on to the big screen.
Given France’s rich and lengthy film history, it's understandable why there were concerns about Cinema Du Look. It reinvented the moving image as no longer just an art form for rich people to express themselves, but also as an extension of pop culture and consumerism. Cinema Du Look bridged the gap between high and low culture, and through all of its spectacle the movement reworked contemporary trends and profited from its success.
I think that Cinema Du Look helped reveal that the vast majority don’t crave deeper meanings in the movies they watch, but rather just want a bit of fun. While this is a shame, I do think the scales can and have been levelled and that cinema can be trendy while remaining authentic, and you don’t have to ‘look’ hard to find this.
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