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CrÈme de la CrÈme 2011

by Filipe F. Coutinho
2011 was a very interesting year. Far from being the best in the last decade, it offered films with a strong artistic inclination to mainstream audiences, films which were surprisingly well received in the box office. In fact, the worldwide success of pictures like The Artist, Drive and Midnight in Paris may very well reflect a change in the way audiences perceive cinema or, hopefully, their increasing distaste for products exclusively created for quick and innocuous consumption. In fact, 2012 has been the year of confirmation for the commercial and critical success of films that usually were considered an ‘acquired taste’. I’m hopeful that… Read more

2011 was a very interesting year. Far from being the best in the last decade, it offered films with a strong artistic inclination to mainstream audiences, films which were surprisingly well received in the box office. In fact, the worldwide success of pictures like The Artist, Drive and Midnight in Paris may very well reflect a change in the way audiences perceive cinema or, hopefully, their increasing distaste for products exclusively created for quick and innocuous consumption. In fact, 2012 has been the year of confirmation for the commercial and critical success of films that usually were considered an ‘acquired taste’. I’m hopeful that that erroneous expression is becoming a standard. Cinema may have a reason to smile again.

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