And that unalterable fact means that I’ll be obliged — okay, forced — again and again to sit through high-aspiring films that Variety ‘s Guy Lodge will praise to the heavens but which will also try my patience, at the very least, and may, in all probability, compel me to endure serious anguish and perhaps even misery.
The next film by Mascha Schilinski, director of the agonizing Sound of Falling, will probably subject me to great viewing difficulty. The next Park Chan–wook film will almost certainly cause some degree of suffering. Ditto the next cinematically ambitious smarthouse film from Brutalist helmer Brady Corbet, and definitely the next equally ambitious effort from Mona Fastvold, whose The Testament of Ann Lee put me through the ringer a couple of months ago at the Venice Film Festival.
Who are the other guaranteed pain-giving directors? All I know for sure is that they’re out there, waiting to lower the boom. And as William Holden’s Pike Bishop said in The Wild Bunch, I wouldn’t have it any other way.
Because grade-A film festivals, of course, are generally dependable forums for the richest, most far-reaching and most delightful films emerging at a given moment. You can’t have one without the other. Suffering and deliverance go hand in hand.