The BB effect - the Bertrand Bonello effect

You know what bugs me? There’s very old young people and very young old people. In cinema, you’re not allowed to be old. To be old means to be out of touch - and making movies, you cannot ever be.

You know what bugs me? There’s very old young people and very young old people. In cinema, you’re not allowed to be old. To be old means to be out of touch. And making movies, you cannot ever be out of touch. Chris Marker, Jean-luc Godard, Olivier Assayas: these people continue (or have continued until their death) to evolve their filmic language without ever being out of touch with reality and the overall zeitgeist. That’s the triumph of one of the greatest things about art - and about life: people from different generations dialoguing in the most natural and mutual way - getting close to all of the things that sound too far away from one’s own comprehension and capability of interpretation - to help each other grasp the mysteries of the world, without ever looking at each other from the ground up or viceversa. But in cinema, you’re not allowed to be old. What does it mean? You can watch at the old with new eyes, but you cannot ever watch at the new with old eyes. The director’s eye must be new every time. Because cinema has this quality: it gives the impression of twisting onto itself and staying exactly the same, but it actually goes fast, it outruns and overruns, it runs frantically and at incredible speed - even faster than the gaze of those who call themselves the image-makers.