"The point is simply that good filmmaking doesnâ€™t have to flay its audience. Ozu, Mizoguchi, Naruse, Dreyer, Renoir, Ford, Tati, Keaton, Hou Hsiao-hsien, Kiarostamiâ€“the list could go on indefinitelyâ€“present distinctive views of the world. They donâ€™t try to be outlaws; they donâ€™t strut; they donâ€™t trail brimstone; they are not cool. Their films display a mature tact that goes deeper than either quirkiness or bleeding-edge daring.
Most Indie Guignol flaunts itself as cynically knowing, tapping into some dark current that the squares canâ€™t face. The filmmakers Iâ€™ve just mentioned have done something thatâ€™s rather different and thatâ€™s becoming increasingly rare. Their subject usually isnâ€™t lifeâ€™s corrupt underbelly but the poetry of the drab and the ordinary. Their work is formally innovative, but in quiet waysâ€“ways that have taken us decades to understand. Their films, even when theyâ€™re pessimistic, have a poise, nuance, and complexity that most independent cinema never approaches. Instead of talking about being radical, these directors have made movies like grownups. Theyâ€™ve counted art more important than attitude."