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The rise of new candid cinema

By Mark Cousins   April 2004

It has long been the immodest contention of this column that the changing relationship between escapism and realism is becoming the defining issue for modern cinema. Movies have always idealised their subjects, but the digitisation of the filmic process, the triumph of the Iranian para-realist directors, and the rhetorical challenge of Lars von Trier’s Danish movement Dogme – all of which took place in the late 1980s to mid-1990s – as well as the more recent revival of pure documentary, constitute a cinematic reorientation towards the real which is unparalleled in film history. The naturalist directors of the 1920s didn’t…

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