The auteur whose movies Paul Schrader compared to torture: “My definition of a room in hell”
Paul Schrader continues to be one of the most miserable filmmakers working today, with an endless stream of negative comments about films being released today and the current cinematic climate. From his controversial statement about using AI for screenwriting and cynical Letterboxd reviews, Schrader seems to be another person in the business who hates films and everything the medium should represent.
However, he is perhaps better known for creative achievements such as the writing of Taxi Driver and Raging Bull, as well as turning his hand to directing and making films such as Hardcore, First Reformed and Mishima: A Life in Four Chapters.
However, while he loves his own films and occasionally sings the praises of projects he had no hand in, he can usually be found spouting hateful comments about some of the most revered actors and directors, whether it be Joaquin Phoenix or one harmless French auteur whose films he compared to the experience of being in hell.
France has given birth to some of the most influential filmmakers of all time, from the likes of Jean-Luc Godard and Eric Rohmer in the new wave movement and modern auteurs such as Julia Ducournau and Claire Denis. Over the years, the country has given birth to many artistic masterpieces and shown its dedication to nurturing a thriving creative industry, with everything from Pierrot Le Fou to Irreversible and Titane forever shaping not just French cinema, but global cinema.
One of the most influential forces in French cinema was Jacques Tati, who created endearing classics such as Mon Oncle and Playtime. With a playful and humorous style, the director combined his light-hearted comedy with a timely commentary on modernisation and consumerism, with his films shining a light on the many changes happening in France. However, while his films are widely loved for their effortless charm and comedic timing, Schrader was unsurprisingly not a fan of his work, citing a deep hatred for his films and the qualities that many people love.
When discussing this, Schrader said, “I never really cared much for that cutesy stuff. Jacques Tati did these films, and a lot of people love them. They are whimsy, so my definition of a room in hell would be where they only show Jacques Tati movies. And then go to the next room where they constantly play”.
Films like PlayTime are globally renowned for their absurd and chaotic style, capturing a world on the cusp of great changes as people grapple with the impending uncertainty of their future and a world looming on the edge of huge technological advancements.
There is so much going on in each frame that it seems impossible to be bored, with Tati capturing the true essence of life in its most uncontained and organic form. Given the depressing overtone of Schrader’s work, perhaps he is just a miserable human incapable of feeling joy, and if even Tati can’t lift his mood and inject a sense of optimism, then maybe there is no chance in hell that any film will be able to achieve this.
