![]() ![]() And somehow, the filmmakers that adapted it into a movie managed to get me (at the time I first watched it, a remarkably oblivious 10-year-old) to understand, and still remember to this day, every single detail of its all engulfing plot. “Holes” is based on a book, a very complex one, plot wise. The script for “Holes” should be studied at every respectable film school. I know you’re probably thinking, “Why is this kid’s movie being featured in a list with such a transcendental introduction and subject matter?” Well, let me tell you something, my perceptive and prejudiced friend, do not judge a movie by its shitty poster, or casting of Shia Labeouf. The filmmakers responsible for the films featured on this list revolutionized the way we think about audiovisual storytelling and pushed the medium forward in significant ways. These events constituted the fundamentals of all contemporary cinema, making all the following movies possible. That way they guaranteed the future of films as an independent art. Then came a generation of cinematic geniuses, led by Orson Welles, who figured out how to reconcile dialogue-driven drama with meaningful cinematic language. We’re talking about the classic Hollywood days when an awkward transition was taking place. So it came a point in which cinema was considered a hybrid between literature and theater, not really an art form by itself. The audience would be comfortable and the artists behind the pictures could communicate their messages without finding a way to express them visually. Now you could tell a whole story through dialogue, much like theater. Then, when the talkies came around, things got a bit muddier. Cinematic language was easily defined by its strict limitations. ![]() When movies were silent, everyone agreed that film was, above all else, visual media. If it doesn’t, then its future as an art form may be in danger due to the difficulties that arise if one tries to define traditional filmmaking without almost completely relying on plain plot. In a book that I refer to as the Bible of cinema, “Sculpting in Time,” Andrei Tarkovsky states that contemporary film should separate itself (as much as possible) from literature. ![]()
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