I find it easy enough to sell people on a film I love when it’s widely hated. The bad reputation of a film like The Happening is obviously an obstacle to selling people on it, but it’s also kind of a hook. At the very least, it saves me some explaining and gives me an initial impression to subvert. People also get a bit of a thrill from contrarianism. It feels good to reject the consensus, especially in such a low-stakes way as liking a film most people – or most critics – think is shit. Discovering a hidden gem or a misjudged masterpiece makes you feel like you’re in on a cool secret. It’s countercultural in the most literal sense. I know exactly how I’d pitch someone on the surprisingly moving Adam Sandler comedy Click or the director’s cut of the 2003 Daredevil movie with Ben Affleck.
But sometimes films aren’t just hated or underrated. Sometimes, they’re not even forgotten: no one paid them enough attention in the first place to forget them. They’re the tough sell. It’s one thing to have been received with disdain, but to have simply been ignored? At least films that were panned were deemed worthy of recording in the annals of pop cultural history. If no one even took the time to hate something, I think our instinct is to assume it’s probably bad, and not even bad in interesting ways. Boringly bad. But even if that’s likely true of most such films, just as it’s likely true of most art ever, there’s nothing fundamentally meritocratic about what gets left in or out of history. The sheer volume of production over the last century-and-change of cinema practically guarantees some good films – maybe even some of the best films ever made – have managed to come into the world with very little notice. Even films by critically well-regarded directors. Even films by Palme d’Or winners.
Figures in a Landscape is one of my favourite films of all time. One of the best films I’ve ever seen. And no one else seems to give a shit about it.Continue reading “You Should Watch Figures in a Landscape”