inside the niche world of independent black and white films of the 21st century
In a world constantly chasing the latest CGI marvels and bombastic blockbusters, there's a quietly thriving subculture dedicated to the purist art form of black and white filmmaking. This article explores a few notable gems from the last two decades, focusing on their artistic contributions and unique storytelling techniques. We delve into the minds of directors like Noah Baumbach, who challenged audiences’ perceptions with films like 'Frances Ha' (2012), shot entirely in monochrome. Baumbach’s use of black and white plays a pivotal role in complementing the story’s nostalgic and quirky narrative, giving his characters an almost timeless quality.
Another fascinating case study is 'The Lighthouse' (2019) by Robert Eggers. Eggers’ decision to use black and white not only reinforces the film’s eerie, atmospheric setting but also amplifies the psychological tension between the two main characters. It’s a modern-day homage to German Expressionism, seen vividly in the sharp contrasts and bleak tonality.
The allure of black and white films in the 21st century also lies in their ability to break the mold of conventional storytelling. Take 'Roma' (2018) by Alfonso Cuarón, for instance, a film that merges personal memory with socio-political commentary. Shot in luminous black and white, the film’s aesthetics align with its reflective, almost sepia-toned narrative, presenting a dual reflection of intimacy and grander socio-economic strokes.
Equally notable is the work coming out from emerging filmmakers who embrace this timeless format. Young directors such as Andrew Ahn ('Driveways', 2019) and Alexandre Rockwell ('Sweet Thing', 2020) use black and white to emphasize the raw, unfiltered emotions of their characters while providing a stark canvas against which the stories play out. These films often tap into a more visceral part of the human experience, offering little distraction from the core narrative, and instead pulling the viewer into an immersive, almost tactile experience.
We would be remiss not to mention the impact and consideration of black and white cinematography in the horror genre. Nicolas Pesce’s 'The Eyes of My Mother' (2016) and Ana Lily Amirpour’s 'A Girl Walks Home Alone at Night' (2014) utilize monochromatic visuals to deepen their sense of dread and underline their respective scripts' emotional beats. The stark contrasts in lighting serve as stand-ins for the binary oppositions of good versus evil, pushing the envelope of visual storytelling in an era of color-saturated media.
Through these films, we also see how black and white can offer an escape from the overwhelming bombardment of high-definition color that dominates most mainstream productions today. This stripped-back approach allows both filmmakers and audiences to explore the richness of subtlety - the delicate play of light and shadow, nuanced expressions, and expressive compositions.
In sum, the charm of contemporary black and white cinema lies in its ability to inspire a deeper connection with its audience. While the industry trends towards visual extravagance, these filmmakers recognize the enduring power of monochrome in evoking emotional, psychological, and intellectual responses that are unique to the human experience.
Another fascinating case study is 'The Lighthouse' (2019) by Robert Eggers. Eggers’ decision to use black and white not only reinforces the film’s eerie, atmospheric setting but also amplifies the psychological tension between the two main characters. It’s a modern-day homage to German Expressionism, seen vividly in the sharp contrasts and bleak tonality.
The allure of black and white films in the 21st century also lies in their ability to break the mold of conventional storytelling. Take 'Roma' (2018) by Alfonso Cuarón, for instance, a film that merges personal memory with socio-political commentary. Shot in luminous black and white, the film’s aesthetics align with its reflective, almost sepia-toned narrative, presenting a dual reflection of intimacy and grander socio-economic strokes.
Equally notable is the work coming out from emerging filmmakers who embrace this timeless format. Young directors such as Andrew Ahn ('Driveways', 2019) and Alexandre Rockwell ('Sweet Thing', 2020) use black and white to emphasize the raw, unfiltered emotions of their characters while providing a stark canvas against which the stories play out. These films often tap into a more visceral part of the human experience, offering little distraction from the core narrative, and instead pulling the viewer into an immersive, almost tactile experience.
We would be remiss not to mention the impact and consideration of black and white cinematography in the horror genre. Nicolas Pesce’s 'The Eyes of My Mother' (2016) and Ana Lily Amirpour’s 'A Girl Walks Home Alone at Night' (2014) utilize monochromatic visuals to deepen their sense of dread and underline their respective scripts' emotional beats. The stark contrasts in lighting serve as stand-ins for the binary oppositions of good versus evil, pushing the envelope of visual storytelling in an era of color-saturated media.
Through these films, we also see how black and white can offer an escape from the overwhelming bombardment of high-definition color that dominates most mainstream productions today. This stripped-back approach allows both filmmakers and audiences to explore the richness of subtlety - the delicate play of light and shadow, nuanced expressions, and expressive compositions.
In sum, the charm of contemporary black and white cinema lies in its ability to inspire a deeper connection with its audience. While the industry trends towards visual extravagance, these filmmakers recognize the enduring power of monochrome in evoking emotional, psychological, and intellectual responses that are unique to the human experience.