{"id":11702,"date":"2026-09-04T05:03:13","date_gmt":"2026-09-04T03:03:13","guid":{"rendered":"https:\/\/www.brokenmount.com\/bm\/2026\/09\/04\/the-auteur-comeback-why-movies-feel-like-movies-again\/"},"modified":"2026-09-04T05:03:13","modified_gmt":"2026-09-04T03:03:13","slug":"the-auteur-comeback-why-movies-feel-like-movies-again","status":"publish","type":"post","link":"https:\/\/www.brokenmount.com\/bm\/2026\/09\/04\/the-auteur-comeback-why-movies-feel-like-movies-again\/","title":{"rendered":"The Auteur Comeback: Why Movies Feel Like Movies Again"},"content":{"rendered":"<div><img decoding=\"async\" src=\"https:\/\/nofilmschool.com\/media-library\/how-a-750000-indie-just-shattered-a-53-year-old-box-office-record.webp?id=66831667&amp;width=1245&amp;height=700&amp;coordinates=0%2C0%2C0%2C0\"><\/p>\n<p>Do you remember how fun the press tour for <em>Don&#8217;t Worry Darling<\/em> was? Not the movie itself, just the press tour. I recall so vividly how <a href=\"https:\/\/www.vogue.com\/article\/dont-worry-darling-venice-premiere-drama-explained\" rel=\"noopener noreferrer\" target=\"_blank\"><u>dramatic the red carpet was<\/u><\/a> when the film premiered at Venice, and with this year&#8217;s Venice just kicking off this week, I was reminded of all that wonderful online discourse.<\/p>\n<p>Years later, I&#8217;m still quoting star Harry Styles when he talked about working on the film. &#8220;My favorite thing about the movie is, like, it feels like a movie. It feels like a real, like, you know, go-to-the-theater-film movie,&#8221; he said during one press call (via <a href=\"https:\/\/www.newsweek.com\/harry-styles-dont-worry-darling-movies-quote-goes-viral-spit-drama-1740088\" rel=\"noopener noreferrer\" target=\"_blank\"><u>Newsweek<\/u><\/a>).<\/p>\n<p>It was not a deep quote or anything, and it was widely memed and mocked. But he is actually saying something here that I and many other cinema fans yearn for in film. I want a movie to feel like a movie. I want it to dredge up all the emotions that a visit to a theater can bring. Sometimes you go to a movie, and it doesn&#8217;t feel like a movie.<\/p>\n<p>Are we back in a time when movies feel like movies? Archer Green on YouTube thinks so. Let&#8217;s dive in.<\/p>\n<p class=\"shortcode-media shortcode-media-youtube\"> <span class=\"rm-shortcode\" data-rm-shortcode-id=\"235aa445b4fb4a7e6e8d3b8477b99efb\" style=\"display:block;position:relative;padding-top:56.25%;\"><iframe loading=\"lazy\" frameborder=\"0\" height=\"auto\" lazy-loadable=\"true\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/NwSV8RYaSwc?rel=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" width=\"100%\"><\/iframe><\/span> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">&#8211; YouTube<\/small> <small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\"> <a href=\"https:\/\/www.youtube.com\/watch?v=NwSV8RYaSwc\" target=\"_blank\">www.youtube.com<\/a> <\/small> <\/p>\n<h2>Where Are We Now?<\/h2>\n<p>For years I&#8217;ve been dreaming of a time when indie films and audacious auteurs might be given their flowers and lifted above studio fodder like in ye olden times, aka the 1970s.<\/p>\n<p>But check out what&#8217;s been in theaters in the last couple of years. Christopher Nolan&#8217;s <em>The Odyssey<\/em>, the first feature shot entirely on IMAX 70mm film. Ryan Coogler&#8217;s <a href=\"https:\/\/nofilmschool.com\/sinners-highest-grossing-original-film\" target=\"_self\"><u><em>Sinners<\/em><\/u><\/a>. Curry Barker&#8217;s <a href=\"https:\/\/nofilmschool.com\/obsession-highest-grossing-indie-ever\" target=\"_self\"><u><em>Obsession<\/em><\/u><\/a>, a $750,000 horror film that has out-earned almost every low-budget movie in history. Paul Thomas Anderson finally getting a big budget and turning it into <em>One Battle After Another<\/em>.<\/p>\n<p>These are director-driven, big-swing films, and audiences are showing up in ways that don&#8217;t fit the &#8220;superhero fatigue means people are done with theaters&#8221; narrative.<\/p>\n<p>In the video, Green argues that Hollywood is at a crossroads between films built by directors and films optimized as content. Content, meaning units of viewable material engineered to hit metrics and eventually slot into a streaming grid. And that fear is founded after years of Netflix and Prime Video driving a lot of the action.<\/p>\n<p>But then we&#8217;re inundated. And everything tends to look the same, thanks to the overused look of what&#8217;s been termed <a href=\"https:\/\/nofilmschool.com\/what-is-netflix-lighting\" target=\"_self\"><u>Netflix lighting<\/u><\/a>.<\/p>\n<p>I was just over at a friend&#8217;s house, and we went through every streaming service looking for something to watch, until we finally landed on a 4K restoration of a Harry Dean Stanton movie I&#8217;d never even heard of, <a href=\"https:\/\/www.imdb.com\/title\/tt0081674\/\" rel=\"noopener noreferrer\" target=\"_blank\"><u><em>UFOria<\/em><\/u><\/a>. It wasn&#8217;t on streaming; it was a disc.<\/p>\n<p>But are the tides turning? Maybe. Green&#8217;s fear is that as Paramount Skydance tries to swallow Warner Bros. Discovery in a <a href=\"https:\/\/variety.com\/2026\/film\/news\/david-ellison-breaking-point-paramount-wb-merger-trial-1236828418\/\" rel=\"noopener noreferrer\" target=\"_blank\"><u>$111 billion merger<\/u><\/a> currently paused by 12 state attorneys general, the studio most willing to say yes to the auteur bet could get folded into a machine that has already promised 30 theatrical releases a year.<\/p>\n<p>This particular pipeline doesn&#8217;t really favor a director with a weird vision or unique story. So the question filmmakers should be asking right now isn&#8217;t &#8220;What&#8217;s working?&#8221; It&#8217;s, &#8220;What are we losing if this shift doesn&#8217;t stick?&#8221;<\/p>\n<h2>Is the Marvel Machine Doomed or Not?<\/h2>\n<p>Green brings up <em>Avengers: Doomsday<\/em> as an example of what many see as moviemaking cynicism. The Russo brothers are back, Robert Downey Jr. is back (as Doom this time), the old X-Men are back. Every choice feels defensive, almost, rather than creative.<\/p>\n<p>However, there&#8217;s a counter. <em>Spider-Man: Brand New Day,<\/em> which just released.<\/p>\n<p>Destin Daniel Cretton took a Sony\/Marvel project that had every excuse to be autopilot content and delivered something contained, character-first, and shot with actual intention. Just read our take on why it <a href=\"https:\/\/nofilmschool.com\/spiderman-brand-new-day-mcu-strengths\" target=\"_self\"><u>plays to the MCU&#8217;s most contained strengths<\/u><\/a>.<\/p>\n<p>It opened to $168 million domestically, the biggest opening day ever, per <a href=\"https:\/\/variety.com\/2026\/film\/news\/box-office-spider-man-brand-new-day-opening-day-record-1236825606\/\" rel=\"noopener noreferrer\" target=\"_blank\"><u>Variety<\/u><\/a>. So when <em>Doomsday<\/em> opens Dec. 18 against <em>Dune: Part Three<\/em> in what many have been calling <a href=\"https:\/\/nofilmschool.com\/dunesday\" target=\"_self\"><u>&#8220;Dunesday,<\/u><\/a><u>&#8220;<\/u> I&#8217;m wondering if there&#8217;s a possibility that the auteur infection is spreading, even inside the franchise world. We&#8217;ll have to see.<\/p>\n<p class=\"shortcode-media shortcode-media-youtube\"> <span class=\"rm-shortcode\" data-rm-shortcode-id=\"28934ac60bba553faa3f2ec6cc2361be\" style=\"display:block;position:relative;padding-top:56.25%;\"><iframe loading=\"lazy\" frameborder=\"0\" height=\"auto\" lazy-loadable=\"true\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/C3UbV18z4Ew?rel=0\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" width=\"100%\"><\/iframe><\/span> <small class=\"image-media media-caption\" placeholder=\"Add Photo Caption...\">&#8211; YouTube<\/small> <small class=\"image-media media-photo-credit\" placeholder=\"Add Photo Credit...\"> <a href=\"https:\/\/www.youtube.com\/watch?v=C3UbV18z4Ew\" target=\"_blank\">www.youtube.com<\/a> <\/small> <\/p>\n<h2>What Filmmakers Can Take from This Whole Thing<\/h2>\n<p>If you&#8217;re an indie filmmaker, you&#8217;re probably not interested in ticking boxes for a company and making content. But if you&#8217;re worried you&#8217;re in that territory, here are a few things to remember.<\/p>\n<p>First, cinematography is a decision, not a spec. Movies like <em>The Odyssey<\/em>, <em>Sinners<\/em>, <em>The Batman<\/em>, and <em>Obsession<\/em> are all beautiful in their own way, and they involve a DP and director deliberately choosing contrast, texture, and format.<\/p>\n<p>&#8220;The cinematography in all of these auteur-driven blockbusters is the opposite to the low-effort, bare-minimum ethos of the Netflix look,&#8221; Green says.<\/p>\n<p>You can think about this on any budget, using any camera. Get some contrast into your shots and consider how your choices support your story.<\/p>\n<p>Second, you have to be able to feel that a person made the movie, not a machine. It shouldn&#8217;t just tick boxes or feel algorithmic. That&#8217;s the whole thing people are bumping on.<\/p>\n<p>Coogler put off <em>Black Panther 3<\/em> to make the vampire movie he&#8217;d been sitting on. Barker made a YouTube feature, released it himself, and showed what his voice was and that he could do it. Then he turned around and made a bigger movie, and did it well, and it&#8217;s grossed over half a billion. Kane Parsons has been building the <em>Backrooms<\/em> universe on his own channel since he was 16. He did it for nothing at first, just because he wanted to. Now he&#8217;s an A24 filmmaker.<\/p>\n<p>Whatever the reason you&#8217;re making your film, it has to show up on the screen. You need to care about the story; don&#8217;t just hit beats you&#8217;re told to. Cast the right people. Don&#8217;t rush. Have fun, but also think about <a href=\"https:\/\/nofilmschool.com\/themes-in-a-film\" target=\"_self\"><u>theme<\/u><\/a> and emotion.<\/p>\n<p>If a viewer can&#8217;t feel why you specifically had to make your project, you&#8217;re already losing the battle. Let your movie feel like a movie. Would a metaphorical Harry Styles be excited to work on your project? He should be.<\/p>\n<\/div>\n<p>Author: Jo Light<br \/>\nThis article comes from <i>No Film School<\/i> and can be <a href=\"https:\/\/nofilmschool.com\/auteur-comeback-vibe-shift\" target=\"_blank\"><b>read on the original site.<\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Do you remember how fun the press tour for Don&#8217;t Worry Darling was? Not the movie itself, just the press tour. I recall so vividly&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_customify_content_layout":"","_customify_sidebar":"","_customify_page_header_display":"","_customify_disable_header":"","_customify_disable_header_top":"","_customify_disable_header_main":"","_customify_disable_header_bottom":"","_customify_disable_page_title":"","_customify_disable_content_vertical_padding":"","_customify_disable_footer_top":"","_customify_disable_footer_main":"","_customify_disable_footer_bottom":"","_customify_breadcrumb_display":"","_customify_header_transparent_display":"","footnotes":""},"categories":[35],"tags":[38,37,43,42,39,40,44,41,36],"class_list":["post-11702","post","type-post","status-publish","format-standard","hentry","category-video-news","tag-editing","tag-film","tag-guide","tag-info","tag-news","tag-tips","tag-topics","tag-tricks","tag-video"],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":"Brokenmount","author_link":"https:\/\/www.brokenmount.com\/bm\/author\/sysop\/"},"rttpg_comment":0,"rttpg_category":"<a href=\"https:\/\/www.brokenmount.com\/bm\/category\/video-news\/\" rel=\"category tag\">Video and Film News<\/a>","rttpg_excerpt":"Do you remember how fun the press tour for Don&#8217;t Worry Darling was? Not the movie itself, just the press tour. I recall so vividly&hellip;","_links":{"self":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/11702","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/comments?post=11702"}],"version-history":[{"count":0,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/11702\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/media?parent=11702"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/categories?post=11702"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/tags?post=11702"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}