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While a few hundred cinephiles wandered around a small mountain town watching movies at the Telluride Film Festival, other people wrote them off for good. “Someday we may look at 2016 as the year the movies died,” wrote Boston Globe critic Ty Burr in an essay bemoaning a summer movie season filled with “pure product from an industry that has lost its ability to speak in any meaningful way to an audience.”
And it was “Moonlight” — not a big studio hopeful like Paramount’s well-crafted but dramatically inert sci-fi drama “Arrival” — that lit up Telluride with buzz about its artistic brilliance and awards season prospects. “The two-hour movie is becoming a relic,” Burr wrote, but that’s only true if you’re looking in the wrong places. I also took this year’s Telluride as a good indication of the way movies are evolving to meet the needs of changing viewing patterns. Setting aside studio titles like “Arrival” and Clint Eastwood’s “Sully,” which only provide a perspective on the above-average studio filmmaking, other films provided a different perspective.
Netflix made a strong showing by getting into the Werner Herzog business. His digressive look at volcanoes around the world, “Into the Inferno,” finds the filmmaker and volcanologist Clive Oppenheimer digging into both the scientific ramifications of these natural monstrosities as well as their spiritual ramifications. (See David Ehrlich’s review here.) It’s not the most cohesive Herzogian achievement — the film’s lengthy tangents in North Korea and a fossil hunting expedition in Ethiopia could sustain full-length projects on their own — but it provides a uniquely entertaining and unpredictable alternative to the rigid formula that mars so many nature documentaries. It’s a natural fit for the Netflix model of impulse viewing at home, allowing one of cinema’s most distinctive figures to find a conduit into 21st century habits.
Meanwhile, Amazon Studios brought its $10 million Sundance acquisition “Manchester By the Sea” to Telluride, where it found further acclaim and awards season momentum. A dreary two hour-plus story of healing old wounds in a small Massachusetts town, Kenneth Lonergan’s observant character study exists a world away from the thundering spectacles that have Burr fearing mass extinction. It’s also not the easiest sell. But Amazon has the resources to slowly release “Manchester” for the smaller set of audiences who may want to take a chance on it (partnering with Roadside Attractions for the theatrical release), even as it can count on the financial prospects of its digital release. These kind of movies can play on the big screen for those who want to see them that way, but they won’t get lost there.
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