Four Flicks, Vol. II
I’m a film neophyte, probably like yourself. It wasn’t long ago when I could count how many foreign films I had seen on one, maybe two hands. I wasn’t interested in the Academy Awards for a ton of reasons, and I was content with watching Scorsese reruns. But I was curious.
I long wished for a film junkie to pop into my life - perhaps a gnome dressed like Woody Allen in corduroys, a tweed jacket, and horn-rimmed frames. He’d act as a tour guide through the labyrinth of IMDb’s 649,692 movies and elucidate the peculiarities of esoteric film movements. But alas, my pint-sized cinephile didn’t appear, so I threw on my tweed jacket and educated myself.
As I explained in Vol. I, I dove into film like Thornton Melon on the tail end of a Triple Lindy. And I haven’t looked back.
The point of this is to introduce you to films that the average moviegoer wouldn’t stumble into - at least I wouldn’t have.
I picked the following categories to explore: foreign, documentary, independent, and arthouse. The first two are self-explanatory; the last, not so much. An indie, or independent, film isn’t backed by a major movie studio, whereas an arthouse film is typically experimental or artistic (they’re usually independent too).
Famous indies include Pulp Fiction, Clerks, and The Big Lebowski. Stanley Kubrick's A Clockwork Orange, David Lynch’s Mulholland Drive, and the greatest film of all time, Citizen Kane by Orson Welles, are arthouse films.
Here are four flicks that I fell in love with: