Becoming The Ultimate Cinephile With Arthouse Cinema
Written by Esther Smith
For someone who likes and works in film, my knowledge is lacking a bit in certain areas. Today, that changes. I’m diving headfirst into arthouse cinema; a genre I naturally pushed away during my university days because I thought it was pretentious. But is it? Or have I judged something before giving it a real chance… yes, perhaps I am guilty of judging a book (film) by its cover (genre).
Before I start my journey, I need some context. What is arthouse film? The definition will vary depending on your source but the overall consensus is that they tend to be experimental and driven by a creative vision rather than appealing to mass audiences. I don’t have any textbooks at hand so I resorted to the next step, a YouTube video that proved to be quite educational: arthouse films are thought-provoking and challenge the audience – they leave a lasting impression long after the closing credits. It sounds rather ambiguous, doesn’t it?
Modern Cinema and Arthouse
Whether it’s your favourite genre or perhaps not your cup of tea, arthouse has been influential. The style has been passed down generations and still thrives in film today, Netflix has even included it in their filtering system. Because arthouse cinema has a fluid definition it only seems natural the genre has sometimes crossed into mainstream audiences – such as the success of Everything Everywhere All At Once (2022).
There’s also sub-genres: Art horror, arthouse musical, arthouse Sci-Fi, arthouse animation. Arthouse doesn’t exist in a neat box, the lines are blurry distant and it’s given filmmakers creativity and freedom in their storytelling.
Short Films
Here at Festival Formula, we live and breathe short films and regarding Arthouse, filmmakers can explore the genre in, well, a short medium. Rewinding the calendar all the way back to the 1940s, Maya Deren has been an influential filmmaker, experimenting with cinematography through her short films. MUBI, the streaming service known for arthouse films, even has a collection for them, and YouTube has made Arthouse accessible for everyone: audiences and filmmakers.
It’s worth noting that while experimental films do not automatically equal arthouse, but they often crossover – so it’s also worth diving into Shorts of The Week and Directors Notes to find experimental short films.
Onto The Watching!
Now that I have a brief understanding of the genre (or style, as some would argue), it’s time to dive in. I could poll 100 people on where to start and they’d all give me different answers, so whether you agree with my approach or not, this Letterboxd list and Reddit thread – along with a couple of recommendations – will shape my journey.
I’ve also found a roadmap on how to appreciate arthouse cinema, giving me tips and points I should be thinking about – so I’ll be revisiting this for every film to make sure I’m getting the most out of my watching. Notebook in hand, under a cosy blanket, cat snuggled in the lap… it’s time to start.
Cléo From 5 to 7 (1962)
While we’re used to films twisting the concept of time to serve the plot, Cléo From 5 to 7 leans into this by using real-time to show the restless nature of Cléo’s anxiety as she waits on test results. Cléo from 5 to 7 is certainly not the first film to use this method but I’m impressed with the consideration gone into each scene as we learn so much about her character, the people around her, and society in these snippets.
It’s easy to digest the themes of feminism, superstition, and mortality; making it an interesting watch without it being overwhelming.
“When you laugh, it reminds me of the old days, our old hopes, our laughs.”– Dorothée
In The Mood For Love (2000)
In The Mood For Love captures the complex human feelings as two people learn their spouses are having an affair – with each other’s partners. The film doesn’t shy away from exploring the morality of wedding vows as the two characters start to fall in love but refuse to act on it.
This film is slow-paced, allowing the audience to take in every detail while we watch the two main characters yearn for one another, accompanied by a spectacular score and a beautiful colour palette.
“You notice things if you pay attention.” – Su Li-zhen Chan
Bicycle Thieves (1948)
Watching Bicycle Thieves was quite an experience for a rainy Tuesday morning; It was tense, fast-paced, and heartbreaking – not the cosy, slow, coffee-sipping morning I’m used to. The film is set in post-war Italy and our protagonist is on a wild chase to find the thief who stole his bicycle, without which, he cannot continue his job – the stakes are high as his family are in poverty and employment isn’t stable.
The father and son relationship is explored in the slower moments while the underlying tension of the hunt remains. This film is an exploration piece on society – and an ending that’s soul-crushing.
“You live and you suffer.” – Antonio Ricci
Breathless (1960)
On the theme of thieves, how about we follow a protagonist who steals a car? While the previous films have given audiences an insight into a character’s thoughts, Breathless goes one step further by giving us unfiltered access into Michel’s head. This is achieved when Godard took one of the golden rules of editing and broke it: jump cuts allowed us to see Michel’s hasty decisions and how there is no room for rationale in his mind.
I really liked the documentary style using handheld cameras, real locations, and natural lighting. From my research, Godard wasn’t the first filmmaker to do this, but this move pioneered the style for modern day filmmaking.
“I don't know if I'm unhappy because I'm not free, or if I'm not free because I'm unhappy.” – Patricia Franchini
Blue Velvet (1986)
This was a very uncomfortable watch and not the way I’d recommend starting your Monday morning – when Jeffrey discovers a severed human ear, he finds himself falling into a dangerous world when investigating the source.
The film contrasts beautiful colours with dark themes, making the eerie atmosphere also dreamlike. Make no mistake, Blue Velvet does not shy away from the darkness of society and very much leans into the disturbing secrets hidden in America’s suburbia.
“It’s a strange world, isn’t it?” – Jeffrey Beaumont
Chungking Express (1994)
Chungking Express shows us why love is sometimes tricky. Told in two stories that intertwine effortlessly: we see how grief holds progress back in He Zhiwu’s story as he waits for his ex-girlfriend to come back. While the second story also includes Cop 663’s grief, we see how Faye’s love brought him back to life.
While there are some beautiful shots in the film, I’m drawn to the opening scene. The slow-motion camera blurring on the surroundings as we struggle to follow He Zhiwu chase reminds me that love can sometimes feel like that – thrilling and fragmented. And that soundtrack? Beautiful.
“If memories could be canned, would they also have expiry dates? If so, I hope they last for centuries.” – He Zhiwu
Aftersun (2022)
I hold onto memories tightly, which is why perhaps Aftersun hit me quite hard. We follow a father and daughter, Calum and Sophie, on holiday and see the cracks in Calum’s façade as he tries to hold it together. The film leans heavily into memories: from experiencing them firsthand through childhood to looking back on them on VHS as an adult to gain a new perspective.
The ending sequence stood out to me; the disorientating feeling of adult Sophie reaching for Calum with child Sophie dancing with Calum is beautifully shot, while the ending completely punches you in the gut.
“And there's this feeling, once you leave where you're from, like, where you grew up, that, um, you don't totally belong there again.” – Calum Patterson
Am I The Ultimate Cinephile Now?
It seems fitting that there’s no fixed definition for arthouse cinema, because each of these films are very distinct. While they all deal with very real and heavy topics (death, poverty, love, etc), there’s a different approach in telling these stories. My trusty travel guide told me: “Some films need time to digest – don’t rush to conclusions,” and I completely agree because almost all of my initial thoughts had changed after I gave it a few days.
So, have I come out of this experiment a brand new person? Yes and no: I should’ve held better expectations. It’s become very clear to me that arthouse cinema is something you acquire a taste for over the course of many films and research on the history of cinema – perhaps not something you dive head-first into over the course of a couple weeks and expect to understand it all.
My journey certainly isn’t ending here. I definitely plan on exploring the genre more and maybe even making it to the High-Level Grade of arthouse films… but give me some time to get there.
