Today cinema for the public is fashion, an event studied on the table, all-encompassing marketing, we live in a world where nothing truly settles, everything passes and flows. Barbieneihmer has already passed, it is already memory and it was only a few months ago. Modern artistic production, especially that for the general public of the major labels, sees only a few authors with freedom of movement. Dennis Villeneuve, Christopher Nolan and Ridley Scott are among them, the others are mere executors of projects decided after a set of analyzes and metrics in which artificial intelligence has also begun to play an increasingly key role. All this is connected to the conflict that has seen actors, directors, screenwriters and now even crew members on one side and the major film companies on the other in the last two years. We try to reduce (not only in cinema) the human factorchasing an automation of the creative process which for those in charge means relying more and more on operations such as those of The Ravensafe used, repainted as best as possible.
Fourth estate and that reality filtered by the media
83 years after its release, Orson Welles’ film returns to cinemas in a restored version thanks to I Wonder Pictures
Not exactly the height of creativity but advantageous on an economic and political level. The near future will bring us a new gift Beetlejuice, Joker: Folie à Deux, Furiosa: A Mad Max Saga, another Jurassic World and then the upcoming release of Deadpool 3. Some will earn a lot, others less, but the point is that there are reboots/remakes, sequels and prequels that make sense and others that don’t. And so all eyes are on The Neverending Story. Michael Ende had disavowed Petersen’s film, objectively so iconic for many, as well as full of undeniable flaws and who knows if we will have something more faithful to the book. The Dunes by David Lynch remains a courageous attempt sabotaged by the production, but there is no doubt that Denis Villeneuve was still able to create a good compromise between authorship, entertainment and what Frank Herbert wrote. But what need is there to do it again The Raven? Alex Proyas’ film is a myth untouched by timenor by changes in the audience, by this Generation Z.
This is an audience that despises everything that has come before, without realizing how it is simply presented to him again in a new form. It cannot rain forever, we cannot continue with this senseless drift for long. There HBO (objectively a guarantee) prepare the new series on Harry Potter. Of course, not all films are successful, but it is a transgenerational myth. Was it useful? No. But she’ll make a splash. But as seen with Star Wars and the sequel saga, it’s not always a great idea. The disaster that will be the reboot of Pirates of the Caribbean without Johnny Depp it is difficult to imagine. The Ravenfrom this point of view, is an exercise in cunning which hides the total desperation of the modern audiovisual industry, which pays screenwriters nothing or little, which is managed, as has often been George Lucas, by people who don’t know cinema, don’t love it, don’t understand it. Not a case that he suffered so much. Redo The Raven it’s not just arrogance, it’s total ignorance of what cinema is.
