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Harper’s, the director bemoans what he sees as the art of cinema being reduced to its basest commercial elements, at the expense of more serious filmmaking. He rails against the idea of “content” as a term leveling all culture—film, pop music, TikToks—into a pernicious and false equivalency that removes the “art” from art in favor of the universal ideology of capitalism and consumerism. More personally, he champions curation over algorithms: the combination of passion and expertise that leads to sharing what you love. “An act of generosity,” as he puts it. This is in contrast to algorithms, code that impersonally treats the audience as consumer and the content (as opposed to “content”) of a film as an assemblage of discernible units—meaning, if you liked one movie about a tempestuous romantic relationship (