When
Do We ‘Get It’?
LOOK
past the award-season hype and the current bounty of decent, good, great
movies, and one thing becomes clear: We live in interesting narrative times,
cinematically. In “Cloud Atlas”
characters jump across centuries, space and six separate stories into a larger
tale about human interconnectedness. In “Anna
Karenina” Tolstoy’s doomed heroine suffers against visibly
artificial sets, a doll within an elaborate dollhouse, while in “Life of Pi”
a boy and a tiger share a small boat in a very big sea amid long silences,
hallucinatory visuals and no obvious story arc. In movies like these, as well
as in “The Master”
and “Holy
Motors,” filmmakers are pushing hard against, and sometimes
dispensing with, storytelling conventions, and audiences seem willing to follow
them. The chief film critics of The New York Times, Manohla Dargis and A. O.
Scott, consider this experimental turn.



























