Greatest Modern Directors

Who is the greatest active director? Who will be known for leading the 90s-10s through rough times with consistent masterworks?

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Speilberg?
Bit on the nose, but you know. He is still whipping out very good films.

I'd say Kairostami but he's dead now. Hard to say, but maybe Villeneuve can stop pandering to Hollywood and start making good films agaon

wew

Tarintino, fincher and Scorsese

>this shite opinion
climb out of your arse.

Paul Thomas Anderson, Malick on the patrician end
Villanueve and Innaritu on the pleb end

Malick is the only correct answer.

Refn

90-beyond
Scorsese
Coens
Pta
Von trier
Hanake
Hirokazu koreeda
Wes Anderson

Zack Snyder

...

HAHAHAHAHAHAHAHAHAHAHAHAHAHA

>those misspellings

Samefag?

Jesus, I've never seen so many shit opinions. And you guys call yourselves better than reddit?

Kairostami is the correct answer. Other acceptable answers are Kieslowski, Tarr, Wong, and Koreeda

If you must go American, Malick and perhaps PTA are your top 2. But you shouldn't.

>being this stupid
yeah go recommend those directors to all your friends and family.

>But you shouldn't

Eat shit and die, Eurocuck.

Fuck off you faggot, the directors you listed are good, but you're not superior for liking them.

>Kairostami
>KAIrostami

same spelling mistake as a comment you criticised...

This thread is hella suspicious.

>Kiarostami
>active

>12 Posters ITT

>19 (now 20) replies.

hella suspicious

James Benning and Shin'ya Tsukamoto, as far as I'm concerned.

Herzog could still eaculate a couple more worthwhile pictures before kicking the bucket, too

Lo and Behold was lacklustre for me.
I think Herzog is getting sucked into his own meme.

Haneke, Tarr, Kiarostami, Yang, Denis, Hsiao-Hsien

(answering your second question, of course)

I've yet to see that, where did you find it?

He probably is fucking himself over in the name of some made-up image of his directorship he adheres to (no self-respecting director advertises his classes on facebook, come the fuck on) but I've got somewhat high-ish hopes for Into the Inferno, as well as the fact he's claimed he'll be doing some big project with Oppenheimer next year, maybe

Was just about to say, Tarr's totaling himself and Hsiao-Hsien will be doing the same soon until I was your second post.

My personal additions would be James Benning and Ben Russell, though my idea of what shapes cinema is a bit more peripheric than others are.

>Ignoring Mike Leigh and Apichatmeme

What are you even talking about?

American here.

The difference between myself and you is that I am not satiated by cut-rate films and you are. I hold myself superior because of that reason exactly.

I don't memorize how the spelling of director's names so I took his, forgive me.

I don't think Herzog will ever make another good film. It's a shame.

I never felt the same about Haneke. I loved The White Ribbon but his other films felt lacking to me. Funny Games was mediocre and Cache had a disappointing latter half after doing extremely well in setting up an unconventional (for Haneke) film. How's Amour?

>ITT everyone posts the most obscure director they can think of, even if their films are a bit rubbish

Who the fuck are you trying to impress on an anonymous imageboard?

I have seen Naked and Tropical Malady and didn't care for either

Linkater

I haven't seen Amour but Caché is very interesting

Stop posting. You're posting on a television and film board and don't recognize, at least in name, almost every director mentioned here?

These are not obscure directors.

>I never felt the same about Haneke. I loved The White Ribbon but his other films felt lacking to me. Funny Games was mediocre and Cache had a disappointing latter half after doing extremely well in setting up an unconventional (for Haneke) film. How's Amour?

Pretty good, also give The Piano Teacher a shot. It's misanthropy done right

>wes anderson

hey, what if (what if) people like actually (actually) like those directors (I know, it sounds crazy) more than your beloved capeshit meme directors?

>Kairostami is the correct answer
>active

I've got bad news for you.

i really like the cohen brothers, and gibson. cohen brother, whether the film is well received or not always have a very nice finish or touch to them. hard to put my finger on but it seems like theyre trying to convey a message to the audience without it dominating the plot or characters. and gibson because he is the last "real man" in hollywood. makes movies that truly speak to a mans soul, fighting for god, country, family, and/or honor. something these nu-male cucks deprive modern hollywood from

Changing a bit OP's intent, what about sharing the films we think will be remembered as classics of our time? No dick measuring contests, just sharing what we love and think will be immortalized. Starting off with a small gem

youtube.com/watch?v=mmoh-x4dDTw

why we have to lose him user

Well I think Naked is his best work, so perhaps he's not for you. I personally think his films are imbued with a sincere humanism that is incredibly rare. Most of the names ITT are either very cynical or use abstractions and surrealism to expand upon their themes.

>makes movies that truly speak to a mans soul, fighting for god, country, family, and/or honor. something these nu-male cucks deprive modern hollywood from

hahahaha people like this actually exist?

It's easy to see the Coen brothers have the talent, I just wish they got lucky enough to realize it consistently.

that's just a music video

I just hated every single character in the film, but I could tell that Leigh has talent

This.

Not really, it's him manipulating thousands of hours of tapes to create an image of this American Rapture, the moment of End and Paradise suction in a purely, true (read, found footage-ly) American way

Mann hasn't had the best record in the last 2.6 decades, but he's had good highs in Heat, Last of the Mohicans, and Collateral. I'm sad to say I doubt he'll ever make another good film.

Wong Kar-Wai, on the other hand, belongs up there at the top

no, it's actually just a music video

Von trier. Hate him or not, he'll go down as one of the greats

didnt knew this, thanks

not really

Yes really. You can wait and see or try to explain on why not

never understood the love for Mann. Why is he liked so much in here?

I sincerely doubt that. The only movies he's made that have had any consensus of approaching greatness are his first two. He's way too controversial and not in a good way.

I think you may be a bit narratologically challenged on this particular issue, but it also may be my own bias on the video talking.

Not him and I love Von Trier, but he just doesn't do enough with the medium in itself to warrant being recognized as one of the greats, in my opinion, though I still need to watch a fair share of his stuff.

You're welcome mate, look at his other stuff. It's worth it.

I don't like him perse. He's directed some of the worst films I've ever seen (I still can't believe I managed to sit through Blackhat) but he has moments of brilliance with high-intensity, high-emotion films. And they're just so easy to watch.

He won't have any underlying themes and the movies don't go any deeper than the screen, but he's shown he can tackle the age-old format of simple narrative films better than most

per se

Malick
Everyone else is trash

>He's way too controversial and not in a good way
I think that this is the main reason on why he'll be looked as a great director decades from now. He has a lot to say, and interesting and varied ways to say it, i can feel him cooking up a masterpiece

>just doesn't do enough with the medium in itself
Like what? He's very inventive and i'd say this is one of his strongest points. With the dogme movement, the boss of it all "self directing" thing, the dogville "gimmick", he's very much an auteur.

Well okay, I'll give you Dogma 95 - that was a decent experiment, but its area of existence was "outside the camera", so to speak. It was a set of ethical instructions for directors.

I was talking about stuff like Benning's movies (Natural History or Ten Skies, for instance) or maybe even The Blair Witch Project (because of its iteraction with the antropocentric narratives we so often regard as central to cinema, without reason - I can explain further, if you like). Stuff that deals with the inherent conditions of capturing images, so to say.

>people have this opinion
yikes

DARREN ARONOFSKY

>its area of existence was "outside the camera", so to speak. It was a set of ethical instructions for directors.
I didn't get what you meant by this. It's a set of arbitrary "rules" that directly affect the movie itself, even if you say it's "outside the camera", it's observable in the film itself

ikr? and i like malick

>no Nolan
come on, I don't even like his films that much other than Memento but he's definitely one of the biggest names this generation

yeah, in the lines of michael bay and zack snyder

>It's observable in the film itself
Of course, but that doesn't mean they interact with cinema itself, only with the recorder of the image - that is to say, it's not something inherent to the image portrayed. If you were ignorant of its existence, you'd think you were watching a "normal" movie (of course, with the obvious particularities of the case).

Sorry if I'm being an extremist, my only interest is trying to explain the difference between this and, to repeat what I said above, Benning.

Adam mckay

Stephen Chow

as meme as this post is, that movie is kino

The opening scene before pig alley or whatever alone was better than anything Scorsese's ever done

because the "The Greats" list is already full

What does this even mean?

Bump

>not recognizing Zack Snyder's genius

clearly you didn't understand his kino