Last Thursday, the British magazine Sight and Sound unveiled its influential 10-year ranking of the 100 greatest films of all time. Published since 1952, the list this year includes a record number of filmmakers from diverse backgrounds. In addition, for the very first time, a film by a female director — Jeanne Dielman, 23, Quai du Commerce, 1080 Brussels (1975), by Chantal Akerman — sits at the top.
Many experts believe that the results of this poll, conducted among 1,639 critics, programmers, curators, archivists and academics, are emblematic of a broader evolution in the way we define the history of auteur cinema worldwide. to include formerly marginalized artists.
“It is certain that the tide is turning,” said Claire Valade, president of the Quebec Association of Film Critics (AQCC) and critic for magazines Panorama-cinema and Sequences. She observes that the forces that determine “must see” films, such as the ranking of Sight and Soundsome streaming platforms, or movie theaters that show “classic” programs, are “increasingly” redefining the history of cinema to accommodate greater diversity.
Mme Valade recognizes, however, that these changes take place more slowly with “auteur” cinema than with popular cinema. “There have always been all kinds of auteur cinema all over the world, but the way we decided to [le classer] in the West has long remained homogeneous. Popular cinema reaches the masses. It is in this cinema that people especially needed to recognize themselves more quickly. »
A controversial poll
Stating that she speaks on her own behalf and not for all AQCC members, Ms.me Valade remains divided on the classification of Sight and Sound: ” get-out (2017), by Jordan Peele, is in 95e position, and I certainly wouldn’t have included it in the top 100 movies. »
The role of a list is above all to encourage discussion, to broaden horizons. Putting get-out in 95e position, that doesn’t mean that we love the film, but it does open up a debate, and that’s a good thing
Directed by an African-American filmmaker, this satirical drama deals with racism in the United States. It addresses both contemporary issues, such as racial profiling, and the historical roots of racism, such as slavery. “The role of a list is above all to promote discussion, to broaden horizons. Putting get-out in 95e position, that doesn’t mean we love the film, but it does open up a debate, and that’s a good thing”, nuance Mme Valade.
Not all industry players share the same opinion, however. The eminent director Paul Schrader (Taxi Driver1976) called the list a “reassessment woke distorted” on its Facebook page, accusing the experts polled of wanting to redefine a “politically correct” cinema history.
“This list still represents the zeitgeist of the opinion of moviegoers, says Benjamin Pelletier, head of programming at Cinéma Moderne in Montreal. She may be politicized, but that’s not a bad thing. People no longer value the same criteria as 20, 30 or 40 years ago, in the history of cinema. »
Mme Valade specifies that “certain great works remain essential”, but that “the way in which we interpret cinematographic language has changed”, in particular because the academic circles, which determine what we retain from history, have changed. “What I learned at university 30 years ago is still valid, but I apply it in a different way, based on what I’ve seen and learned since then,” she adds.
The new players
Dara Jade Moats is a young programmer from Regina, Saskatchewan. Settled in Montreal for a few years, she founded Celluloid, in 2016, a series of films directed by women “who defend the place of women in cinema”. His films have been presented punctually at the Cinéma Public, in Montreal, for a little over a year. Mme Moats thus uses his academic knowledge of the classics to respond to contemporary issues of representation.
However, when she tries to schedule older films directed by women, she runs into obstacles. “I just have less choice. Women’s cinema has long been underfunded,” she laments.
“Fortunately, adds Mr.me Moats says more and more theaters and festivals are deliberately looking to diversify their crews to include women and people of color, which helps rebalance content and unearth lesser-known films. »
Benjamin Pelletier is showing “more and more classics” at Cinéma Moderne. He therefore tries to present the most “varied” films possible, while avoiding setting precise “quotas”. “Of course we think [à la diversité], he says, because people come to us for our “curation” work. And this work, believes Mr.me Valade, can certainly “change perceptions”.
Chance has precisely wanted that the Modern Cinema presents wanda (1970) by Barbara Loden, and The Little Daisies (Daisies, 1966) by Věra Chytilová, in the last year. Both have just been listed on the list of Sight and Soundand Mr. Pelletier is very proud of it: “These are two magnificent films made by women”.