<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Film Movements - vo.rs</title><link>https://vo.rs/tags/film-movements/</link><description>Latest from the Film Movements desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Mon, 05 Feb 2024 13:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/film-movements/" rel="self" type="application/rss+xml"/><item><title>New French Extremity: Shock With a Thesis</title><link>https://vo.rs/screen/new-french-extremity-shock-with-a-thesis/</link><description>&lt;p&gt;The phrase was an insult before it was a genre. The critic James Quandt coined &amp;ldquo;New French Extremity&amp;rdquo; in a 2004 essay for &lt;em&gt;Artforum&lt;/em&gt;, and he meant it with a curled lip — a scolding aimed at a cluster of French filmmakers he saw wallowing in rape, mutilation and bodily disgust as if provocation were the same thing as depth. The label stuck, as the good insults do, and then something awkward happened. The films it described turned out, on closer inspection, to be among the most intellectually serious genre cinema Europe produced in a generation. The extremity was real. The disdain was misplaced.&lt;/p&gt;</description><pubDate>Mon, 05 Feb 2024 13:00:00 +0000</pubDate></item></channel></rss>