Despite a relentless marketing campaign running up to its long-awaited release, Nope came and went. Sure, it endeared a good cross-section of the critically-inclined viewership (here’s my take on this movie), but it somehow failed to leave a lasting mark on general audiences, thus disappearing from the collective cultural consciousness within a span of a few short weeks, and at this point it might be a good idea to ask why that is.
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WARNING: The following article contains spoilers for M. Night Shyamalan’s Old
It took me longer than I would like to admit to come up with a title to this text that wouldn’t immediately ruin the film for anyone who has not seen Old yet. And although I think did a good enough job in remaining slightly vague while still making sure the title corresponds to what I wanted to touch on, something tells me (based on the dwindling conversation surrounding the film and the negative word-of-mouth extinguishing the film’s presence in the zeitgeist) that there aren’t many people left in the world who would care that much anyway.
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Film directors have inserted themselves into their work ever since they figured out that somebody else was able to keep the camera rolling. In fact, quite a few have become known for doing so (you can find a more or less comprehensive Wikipedia list here). While most of these instances of director cameos are barely noticeable and can be easily filed as interesting curiosities to bring up during a podcast recording, some filmmakers have become well-known for sliding themselves into the frame. Naturally, the go-to example is Alfred Hitchcock who did this in the vast majority of his features (again, a comprehensive Wikipedia list is a great resource), but even the most vaguely informed movie-goer would be able to name Quentin Tarantino, Steven Spielberg, Richard Donner or Martin Scorsese as filmmakers known to have appeared in front of the camera in their own movies for a brief moment in time.
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I don’t think we often tie in the topics of what we cover on the show to a theatrical release. The closest we have ever come to acknowledging the outside world (though I might be wrong) was when we talked about Solo – A Star Wars Story around May the 4th and Alien 3 around April the 26th. But that’s about it. This time we made a conscious choice to tether ourselves to the discourse surrounding the release of Old (brief as it may be in the grand scheme of things) and decided to have a conversation about M. Night Shyamalan’s The Village.
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Flasz On Film 