Film scholar David Bordwell aptly calls art film as “a film genre, with its own distinct conventions”. With progressing time we have come to know the myriad optimistic possibilities, chances of hoping, a leap of faith art films can cause. Art film suffices the purpose by letting you integrate all your remaining positive vibes and letting you quench the absence which you previously analysed in yourself. It makes itself one of a kind by gratifying audiences with its versatile taste which normal commercial movies don’t do.
So there was this movie ‘Baahubali’ which was a typical commercial movie engaged in vigorous dramatic action thereby becoming a blockbuster. Another side, there was ‘Lipstick under my Burkha’ with its unorthodox plot, some mind-blowing sequences which apparently portrays the authentic feelings of four women. There is a fine line between the two genres of movies where the commercial movies serve for entertainment and drama and the art films signify living values and meanings. It is independent of its approach, often involves aesthetic works, contains inner meanings, and so more.
Profoundly unconventional, art films render a different vibe of feeling which makes people give a second thought about the film’s message. Escapism and art film do the twinning because that is what the audience crave for when watching it. Or some phenomena like the inevitability of death in ‘The Sixth Sense’.
The concept of art film came into limelight mainly by the hands of the renowned Bengali directors Satyajit Ray, Mrinal Sen, Ritwick Ghatak, Bimal Roy. Films like Guru Dutt’s ‘Pyaasa’(1957) still makes it to Times’ magazine’s ALL TIME favourite 100 movies. Mira Nair’s ‘Salaam Bombay’ represents life’s adversity which otherwise films fail to depict. We generally are hesitant and feel uneasy when we come across the topic of prostitution but how nicely we watch the movie ‘Chameli’ and then after being engrossed in it, realize that everything happens for a reason.