The Moviegoer is a diary of a local film enthusiast who explores the best of Chicago’s independent and underground film scene. Experimental cinema is often unconventional and rarely reaches a wide audience, as described by the Eye Filmmuseum in Amsterdam. Even the most well-known experimental films struggle to attract a fraction of the viewership that commercial blockbusters do.
Recently, I came across two intriguing films that challenge the traditional definition of experimental cinema. Robert Zemeckis’s Here, despite being made for a wide audience, has been labeled as experimental due to its unique filming techniques. The film, shot entirely from the same camera angle in one room, follows the life of Tom Hanks’s character from childhood to marriage. The nonlinear and fragmented storytelling, with the screen broken up into squares and rectangles, adds a layer of complexity to the narrative. Although Here did not perform well at the box office, I found the film ambitious and entertaining, raising questions about how experimentation is perceived by critics and audiences.
On the other hand, Walt Disney’s Fantasia (1940) remains one of Disney’s most experimental films to date. Set to classical music, Fantasia combines animated vignettes with iconic compositions, showcasing the magic of cinema and the interplay between image and sound. The film’s timeless appeal and imaginative storytelling continue to captivate audiences, demonstrating the enduring power of experimental filmmaking.
In addition to these mainstream examples, I attended an Eyeworks Experimental Animation Series at Block Cinema, curated by artists Alexander Stewart and Lilli Carré. The event showcased a diverse range of experimental animations, drawing a packed audience and highlighting the growing interest in avant-garde cinema.
As a moviegoer, I appreciate the boundary-pushing nature of experimental films and the creative freedom they afford filmmakers. While some experimental works may struggle to find an audience, they play a crucial role in expanding the possibilities of storytelling and visual expression in cinema. I look forward to discovering more innovative and thought-provoking films in the future.
