Welcome to The Queue — your every day distraction of curated video content material sourced from throughout the online. As we speak, we’re watching a video essay that explores why movies from 1999 really feel so iconic.
If you happen to’re a longtime reader of this advantageous web site, chances are you’ll keep in mind that in 2018 we tried to determine a really, very essential query: what was the best year for movies ever?
Considered one of our distinguished crew made a strong case for 1939, a 12 months that welcomed the likes of licensed bangers like Gone With the Wind, The Wizard of Oz, and Mr. Smith Goes to Washington. Another person went all in on 1974, a 12 months that claims Blazing Saddles, Chinatown, and The Texas Chain Noticed Bloodbath. If I’d thrown my hat within the ring, however 1987 — objectively the very best 12 months — already had a champion. RoboCop, Moonstruck, Wings of Want, and The Princess Bride? Are you kidding me?
We made the case for an excellent variety of unimaginable years. However we didn’t go to bat for 1999, which, because the video essay under proves, was gangbusters so far as American filmmaking is anxious. From the position of Miramax within the rise of impartial motion pictures to the creation of the Megaplex to the Y2K mentality, right here’s a take a look at why 1999 was such an important 12 months for American movie.
Watch “Why Movies From 1999 Are So Iconic”
Who made this?
This video essay on why 1999’s motion pictures are so iconic is by Broey Deschanel, a self-described “snob (and a YouTuber)” whose video essays cowl every thing from new releases like Licorice Pizza and Euphoria to camp classics like Showgirls. You may subscribe to their YouTube account here and you’ll comply with them on Twitter here.
Extra movies like this
- For one more pattern of Broey Deschanel’s work, take a look at this video essay on Sofia Coppola‘s dangerous religion critics and why she’s as much an auteur as any of her male friends. Heck, buddy of the column Hannah Sturdy even wrote a whole book about her!
- Right here’s one other video essay from Broey Deschanel on what Portrait of a Woman on Hearth can educate us about the ever-illusive “gaze.”
- And eventually, right here’s Broey Deschanel’s video essay on what Spring Breakers can inform us about the end of indie sleaze.
Meg has been writing professionally about all issues film-related since 2016. She is a Senior Contributor at Movie Faculty Rejects in addition to a Curator for One Excellent Shot. She has attended worldwide movie festivals equivalent to TIFF, Scorching Docs, and the Nitrate Image Present as a member of the press. In her day job as an archivist and information supervisor, she repeatedly works with bodily media and is dedicated to making sure ongoing bodily media accessibility within the digital age. Yow will discover extra of Meg’s work at Cinema Scope, Lifeless Central, and Nonfics. She has additionally appeared on a variety of film-related podcasts, together with All of the President’s Minutes, Zodiac: Chronicle, Cannes I Kick It?, and Junk Filter. Her work has been shared on NPR’s Pop Tradition Glad Hour, Enterprise Insider, and CherryPicks. Meg has a B.A. from the College of King’s School and a Grasp of Data diploma from the College of Toronto.
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