Video: The unique cinematic reality in the films of Roy Andersson and Wes Anderson

The Swedish filmmaker Roy Andersson and the American director Wes Anderson in addition to a very similar last name, also both have a very recognizable style. Their auteurscinema is uitgespit in this video essay.

The Magnificent Other(s)us © –

A film by Roy Andersson or Wes Anderson you will recognize immediately the visual style. Both directors have a very good eye and exceptional interest to detail. Some shudder of this kind are very geësthetiseerde films, others can’t get enough of it.

The worlds that Andersson and Anderson creation are far from realistic, but nevertheless have the power to give ideas and to convey emotions that are more conventional ways of filming have not. Roy Andersson explains in a clip in the video below that he took the more realistic form of cinematography as a blockage experienced.

By the form of the hyperbola insulate the directors, certain elements, making the truth or the reality of a scene comes to the fore. By completely moving away from a realistic aesthetics, they approach reality in a different, refreshing way.

Ernst Lubitsch said: “I am in Paris in France and I am in Paris at Paramount studios. The Paris of the Paramount studio’s is better.”

Luc Moullet wrote in Cahiers du Cinéma about this phenomenon in 1958. “In art there is only the artificial. Let us, then, the artificial prices that is cultivated without remorse, which consistently a greater sincerity reached than the artificial that is masked by themselves and by others under hypocritical pretexts. The truth is as fake as the fake; only the archi-fake is authentic.’

This art of managing the two Different(s)to us as the best. That also proves this video essay by Luís Azevedo’s Beyond the Frame.


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