26 Jan 2015

Film-Sentimentalism

Whether a film operates outside or within the commercial parameters of cinema, it should always treat an audience with some form of respect. When you simply ‘give in to’ and ‘enjoy’ a film, within that set moment you may find yourself satisfied with the interest and emotion it has somehow provoked. When the houselights immediately burn back reality, all of the buzz and sparks are smothered and the sentimentalism is immediately dispersed. To use the common phrase and say that the film is ‘over’ would be quite an understatement; the film experience is well and truly finished with, extinguished, terminated. Nothing exists beyond that final frame. Your human emotions were systematically provoked and your intelligence was heavily undermined, you were in fact held in some form of suspended animation and abused, exploited and in a manner of speaking, ‘film-raped’.

Films that take you for granted while you watch them are not worth a moment of your time. On paper they map a very blunt and sequential chart built on the foundations of sentimentality. You traverse highs and lows at various strategic positions that eradicate any potential dialogue between the film and you, the viewer. With visuals, score and script, you are being told the same information simultaneously on three different fronts and your emotions are taken hostage. When the houselights come on, the film releases its grip and nothing can be taken away from the experience. It is an entirely disposable act. Films must treat the viewers as intellectual beings rather than constantly attempting to manipulate and emotionally hijack them. The ability and potential of the audience is as vast, endless and uncharted as the ocean.

There are so many films out there being discovered and so many more that have yet to be made, but the only films that are truly worth your time are the ones that begin after you leave the cinema. These are films that will grow with you everyday for your entire life, and in the end they will outlive you.