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Le Film Artistique
"They speak in the way only the French can, as if it's not enough for a concept to be difficult, it must be utterly incomprehensible."

A Show Within a Show is sometimes the stereotypical artistic independent movie, the kind which practically requires a didactic analysis to convince people that, though it does not aim to entertain the Lowest Common Denominator in any way, it's a profoundly meaningful work of True Art. If one of the main characters makes one, expect Creator Breakdown. These films are likely to have several, if not all, of these elements:

In the best cases, use of this trope is an Affectionate Parody or a sharp Take That to a particular work, director or movement. In other examples, though, it's quite obvious that the writers didn't know what they were referencing.

It's often the goal of the Prima Donna Director.

It has to be said that though that this trope applies to people with Small Reference Pools. For instance although Ingmar Bergman is regarded as an "arty" director, in his lifetime his films were consistent box-office hits as were some of Fellini's films. Also there's Cultural differences in that high concepts and artistic influences as well as education levels may make some audiences have larger reference pools than others, though Rule of Cautious Editing Judgment applies there as to which is which. Put it simply, what's obscure to some is common in other places and vice versa.

Please note that only Show Within a Show examples are objective. Applying this trope to a real work can be considered quite YMMV.


Examples of in-fiction films

    open/close all folders 

    Anime & Manga 
  • The Big O does this with Memories in general, but specifically there is a short film with relative importance to the plot done in the French style, complete with Deliberate Monochrome, subtitles (because the dialogue is silent), and a big curlicue "Fin" at the end. But it's more of a Film Noir with art house symbolism than a true art house film.

    Film 
  • In Mr. Bean's Holiday, the eponymous Mr. Bean puts his holiday movie over the story's antagonist arthouse director's surreal police drama, with the dialogue from the original footage oddly matching with Bean's random images.
  • Brought up in Jay and Silent Bob Strike Back. (Although it also refers to Damon's role in the film version of The Talented Mr Ripley).
    Ben Affleck: (to Matt Damon) I'm sorry I dragged you away from what ever gay-serial-killers-who-ride-horses-and-like-to-play-golf-touchy-feely picture you were gonna do this week.
  • In After the Fox, Peter Sellers plays a master thief who is trying to smuggle gold into Italy. As a cover story, he pretends to shoot an art film in a small coastal village. When the ship carrying the gold is delayed, he has to improvise, shooting scenes at random and trying to come up with explanations for his "artistic vision". At the end, the film is shown at his trial, where a film critic hails it as a work of genius. Of course.
  • The annoying, pretentious hippie art teacher in Ghost World, played by Illeana Douglas, makes such a film and shows it to her remedial art class. It's nothing but a few minutes of the words "mirror, father, mirror" repeated over and over, to black and white shots of a shadow walking up stairs and baby-doll parts being thrown in a toilet.
  • The low-budget indie French movie being made in Irma Vep. So artistique, the lead actress — Maggie Cheung — has no idea what she's doing there, and the angsty director has a nervous breakdown.
  • Woody Allen's character in Hollywood Ending apparently ends up making one of these accidentally: he was blind while directing it. The American critics hate it, but the French love it...
  • Medea's film in Otto; or up with dead people are like this. One is composed only by people dancing weirdly with their faces painted, other is about revolutionary communist gay zombies and the other is about a zombie that roams the city with a Fauxlosophic Narration and they are all in black and white.
  • One of the films-within-a-film in S1m0ne is I Am Pig, an incomprehensible, heavily blue-tinted film which ends with a shot of its star in a wedding dress, Covered in Mud and eating from a pig trough. It's hailed as a masterpiece to the bemusement of the director, who tried to create a thoroughly offensive bomb to tank the fake actress's career.
  • A scene in The President's Analyst (seen on network tv runs but since removed) has James Coburn's character visit an avant-garde movie house. The film is a string of random, squalid imagery that repulses the small audience who all walk out, leaving him and a young lady who grows to share his enjoyment of it. The director angrily confronts them, stating it was meant to be offensive.

    Literature 

    Live-Action TV 
  • Monty Python's Flying Circus has a hilarious example in "Le Fromage Grand", which, underneath its rubbish-dump setting and random selections of violent Stock Footage, contains a profoundly tragic narrative about a man, a woman, and a lettuce. The lettuce explodes in the end, which is claimed to represent the self-destructiveness of materialism.
  • 3rd Rock from the Sun does this once. Mary says the film is very erotic "once you figure out which character is male and which is female".
  • Diane Chambers does this in an episode of Cheers. She creates the short film "Manchild in Beantown" to persuade Woody's parents to allow him to stay in Boston and work at the bar. (Woody's father finds the film too derivative of Jean-Luc Godard's work.)
  • Parodied in The Goodies episode "The Movies". After the Goodies have purchased Britain's remaining film studio, they are watching the films it is producing, which include the very long and very slow Death in Bognor (a spoof of Luchino Visconti's Death in Venice), and the surreal Life of Pablo Casals by Ken Russell, a spoof of his composer biopics (especially Mahler) featuring a nun stripping to a frenzied cello accompaniment, but revealing a whiteface mime.
  • Something similar happened on The Carpoolers, with the son making a surrealist film out of a wedding home video and declared a genius by the Sundance Film Festival jury.
  • Married... with Children's "SHEOS" [sic].
  • A sketch from The Benny Hill Show features Benny as an avant-garde French director being interviewed by a fawning Henry McGee, only to repeatedly burst McGee's bubble about his talent as he reveals that all the artsy stuff was actually the result of a low budget or just laziness, like switching from color to black and white after running out of color film, and casting the producer's girlfriend (who has a lisp, causing her to mispronounce a line where she orders soup and make it sound like a profound philosophical statement) as the lead.
  • Big Train features a parody of French cinema, shot in black and white and spoken in French with subtitles. A woman in a cafe (played by Catherine Tate) tells her boyfriend she's leaving him for "something else" — a set of traffic lights. She eventually decides to return, but the man has taken up with a lawn sprinkler.
    • A similar sketch has the French woman deliver a similarly angsty, introspective monologue to her companion, who sits and nods patiently before, in English, responding with "No, I'm sorry, I don't understand a word you're saying."
  • Similarly, The Smell of Reeves and Mortimer had spoof French arthouse films (actually less surreal than most of the duo's output) starring Le Corbussier et Papin, both remarkably skilled farting artistes.
  • The Fast Show also manages to successfully shoehorn a catchphrase into this trope.
  • One of the running jokes in Arrested Development is a film called "Les Cousins Dangereux", which would appear to fit the trope fairly well. This is arguably more a parody of "classy" European softcore films. The parody isn't so much that it's art as that Europe is more sexually liberated. Compare the American remake where "classy" and "erotic" are filtered through more stereotypically puritanical American values.
  • Howard Moon of The Mighty Boosh is a fan of director Jurgen Haabermaaster, whose film The Doctor and The Pencil, "an exploration of pain and rage... so playful," features a doctor and a man in a pencil costume screaming at each other while an unshaded lightbulb swings between them; the doctor also pounds a piece of meat with a telephone handset while yelling "MAKE THE CALL" (seen in "The Chokes").
  • Abed's film in Community.
    • From what we see, the Dean's commercial — which is supposed to be a 30-second spot briefly introducing a community college and why people should study there — spirals out of control to become one of these, as the Dean gets it into his head that he's somehow combatting racism among other things.
  • iCarly
    • An episode has Spencer hiring a film involving a goat and a balloon in order to impress a hot foreign girl.
    • In the episodes "iQ", Carly falls for a boy, that is presented as highly intelligent and cultured, enjoys these kinds of movies and takes her to one for their date. Carly is horrified to find out that what she thought was the end of the film after several boring hours was only the intermission.
  • Gilmore Girls has "A Film by Kirk", which is hilarious to the title characters.
  • Parodied in The Chaser's War on Everything, which presented an inflight safety video, Creator/IngmarBergman-style.
    "When instructed by your crew member, please adopt the emergency arthouse position."
  • In Being Human, George, in an attempt to be the worst date possible (It Makes Sense in Context), takes a girl to an incredibly long artistic German film. (She loves it.)
  • One of the French Exchange Student sketches in Sorry, I've Got No Head has Philippe insisting on watching "Les Deux Cellos de M. Gravice", which is black and white and features a man playing two cellos.
  • Parodied as far back as the 70's in the german sketch show by Loriot. Two critics talk about a 5 second clip from Buster Keaton's short film Cops that shows Keaton standing up in a trash can with the lid on his head and falling over when trying to move, similar to "Man being hit by a football". It turns into a heated debate about whether the movie is a masterpiece of cinematography or a political allegory for the exploitation of the working class by the establishment.
  • SCTV featured an extended sketch entitled "Rome, Italian Style" which sent up Italian art films, with many references to Federico Fellini films and The Tenth Victim. Joe Flaherty does a devastatingly accurate parody of prolific Italian actor Marcello Mastroianni.
  • The "M. Piedlourde (Mr. Heavyfoot)" shorts in The Kids in the Hall.
  • The trailers for season 9 of It's Always Sunny in Philadelphia are shot like a pretentious art film, with black and white photography, a maudlin soundtrack, and the cast speaking in Swedish.
  • Italian comedians Leonardo Manera and Claudia Penoni mock this (Ingmar Bergman and Aki Kaurismaki movies in particular) with their sketches involving Petrektek and Cripztak
  • The Masters of Horror episode "Cigarette Burns" was about a guy searching for a movie, La Fin Absolue du Monde, that was only shown once because it was so extreme it drove people insane. It's the typical black-and-white French movie of this trope.
  • Parodied in the A.N.T. Farm episode "the ANTagonist", in which Fletcher's initial attempt at filmmaking turns out to be one of these films.
  • In the Father Ted episode "The Passion of Saint Tibulus", the film for which the episode is named is a (subtitled) French arthouse film which the Catholic Church has banned for blasphemy but which is showing on Craggy Island due to a legal loophole. Father Ted and Father Dougal go to a screening ostensibly to protest the film on behalf of the Church, but afterwards they are more concerned with trying (unsuccessfully) to make sense of it.
    Ted: What was all that about?
    Dougal: You're asking the wrong person there, Ted. I couldn't make head nor tail of it.
    Ted: I know for a fact that Saint Tibulus wore more clothes than that. He was from Norway or somewhere, he'd have frozen to death!
    Dougal: And d'you remember that bit when Saint Tibulus, he tried to take that banana off the other lad?
    Ted: (sighs) That wasn't a banana, Dougal.

    Puppet Shows 
  • From The Muppet Show special The Muppets Go to the Movies: Sam the American Eagle is translating what he thinks is the latest masterpiece by Ingmar Bergman, Silent Strawberries. (It's actually by his brother, Gummo.) It stars the Swedish Chef (who else?), who confronts Beaker, who is the Angel of Death. When the Swedish Chef asks to not die, Death gives him a rubber chicken instead. Now he can join a traveling show, and sure enough, in comes a Swedish Kermit presenting a Swedish Fozzie Bear, who tells a joke about Swedish meatballs. It ends with a sing-along to a Swedish version of "Hooray for Hollywood"; by then, Sam has left the stage in disgust.

     Theater 
  • Mark from Rent begins the show by announcing that he is no longer shooting with a script, instead deciding he is making a documentary. He ends up documenting the year in the friend's lives, even quitting his high paying job to do so, and the end result is basically a montage of the characters/actors smiling at the camera.
    • In the movie version the film it has more to it, including being more about the HIV certain members are dying from and being dedicated to Angel, who passes away from AIDS, but the end result is still mainly a montage.

    Video Games 

    Web Animation 
  • Homestar Runner
    • The Brothers Chaps made an animated music video for They Might Be Giants's song "Experimental Film", starring the Homestar Runner cast. It's presented as an in-universe film made by Strong Sad and The Cheat.
    • In the Strong Bad Email "narrator", Strong Bad narrates a trailer for "a four hour film with no dialogue and no plot" from "some smelly French studio".
    • Strong Sad makes another in "independent", which consists of black and white stills of a dying potted plant and Homestar Runner saying things like "I just... don't think I can handle... eating this... asparagus", accompanied by Strong Sad crying into the wrong end of a saxophone.
    • Don't forget "A Staple-Down Life", from DVD exclusive Puppets on the Road.
  • The French segment of the Red vs. Blue Going Global video is a classic skewering of this trope (the other segments parody other national stereotypes in a very silly, but very "artsy" way).
  • Moody in Weebl & Bob. "My boner has returned!" They also parodied this earlier with "Death".

    Web Comics 
  • In Bobwhite, it is Marlene's ambition to create one of these.
  • Sinfest has a parody of this type of "art house movie". Notable for the pig in a ballerina outfit at the end.

    Web Original 

    Western Animation 
  • Animaniacs at one point plays this for laughs in an episode themed around a drive-in theater, with one film that matches up the description. It was in black-and-white, and in French, but the dialogue was made up entirely of lines from French children's songs - resulting in three people in a train car talking about preparing a bird for the oven as if it was a matter of dire importance. (Quoth Yakko, "This is the worst French film I've ever seen! It's also the only French film I've ever seen.")
  • In Clone High, Joan of Arc made one of these types of films for the student film festival. Said film is comprised of stereotypical symbolism and also weird noises, such as "Whisper Whisper", and, oddly enough, "Céline Dion... Celine Dion..." The funniest part of that was at the end, only Freud got it.
  • Jay's college film in The Critic, "L'Artiste est Morte."
  • Family Guy
    • The college art film that featured Diane, the female newscaster. Filmed entirely in black and white in Anachronic Order and ended with her slumped at a table while a clown flipped a pancake on a stove. It's also worth noting that said pancake was flipped in slow-motion.
    • In one episode, Peter makes Carter announce from the Eiffel Tower: "People of France, a good-looking depressed guy smoking a cigarette is not a movie!", to which the French took some offence.
  • Sort of in Foster's Home for Imaginary Friends; Bloo writes a trope overdosed hilariously over-the-top movie for a student film festival called T-Rexatron Alienwolf 3: A Prequel in Time, the Unrelenting, with weird scenes and purposely Narm-y lines.
  • In Rugrats: All Grown Up, all of Tommy's films are like this. One episode features a film called Gesundheit, which was basically 2 hours of closeups of people sneezing followed by the reply "Gesundheit".
  • Several episodes of Home Movies parody these as well. They even made a film about "zee finest artistes of Europe!" that culminated in a musical number.
  • Parodied in Monkey Dust where the lead actor in such a movie stops and tells the director he can't go on filming because there is no plot whatsoever to the movie. When the director says that the leading lady's breasts are the plot, the actor threatens to take it up with the scriptwriters — only to find out that the entire thing has been written by chickens on a typewriter.
  • An episode of Pinky and the Brain makes fun specially of Fellini on their fake reunion/clip show.
  • The Chameleon Brothers from Rocko's Modern Life made one of these, "La Vie moderne de Pinto", out of Rocko's home movies, adding shots of flowers blooming, pretentious narration, and title cards saying "Regret" and "Pineapples", among other things. Of course, the only thing Rocko was concerned about was that the film featured his (pre-censored) nudity. More Hilarity Ensues when he discovers that the chameleons sent it to an Australian Film Festival, which it wins! Even more Hilarity Ensues when Rocko gets a letter from his parents, who saw the film at the festival. Rocko is mortified, but to his amazement his parents absolutely loved it.
  • The Simpsons
    • Barney Gumble's film, Pukeahontas: "Don't cry for me; I'm already dead."
    • Also the "Itchy and Scratchy" replacement, "Worker and Parasite" is a faux-Eastern European variant of this trope.
    • And the foreign films that Lisa loves, including one about two soldiers and a goat complaining morosely about the ongoing war ("I am older than time itself").
    • Also in "The Italian Bob", Homer is seen watching a Fellini movie which features a midget feeding a fat lady spaghetti.
    Homer: Oh I get it. The midget represents dwarfs.
  • The South Park episode "Chef's Salty Chocolate Balls" has a film festival showing movies such as "A Bunch of Gay Cowboys Eating Pudding", confirming Cartman's claim that this is what independent movies tend to be about.
  • One Tiny Toon Adventures episode revolves around Plucky's attempt to win a student film festival. After struggling to make a really elaborate film, he loses all but the last few seconds of footage at the last moment, and is forced to enter just that. He's saved by the fact that the second-to-last film to be shown to the judges is an unbearably tedious arthouse-style film made by Cloudcuckoolander Shirley the Loon, which takes up all but a few seconds of the festival that day. The judges are so relieved by the brevity of Plucky's film that they immediately declare him the winner.

    Gogo Dodo's film sort of subverts the trope when it surprises everyone by not being as wacky as they expected (it's actually footage from an old black-and-white Warner Bros. comedy short). He says it was "realism".
  • One King of the Hill episode has Peggy treating the family to an incomprehensible French movie. Bobby enjoys it, but Hank is not impressed: "That guy just sprouted wings!"

Examples of Real Life films

    Films — Animation 

    Films — Live-Action 
  • Some early Federico Fellini's films are like this, such as
  • Ingmar Bergman's Persona (thanks to Pop-Cultural Osmosis pretty much everyone doing this trope makes fun of it). Film focuses on two women, one of which made a conscious decision not to ever talk, and the second is her nurse. The first part of film is pretty easy and straightforward, but later it descends into seemingly absurd talks between two women and long, incomprehensible silent scenes of, for example, nurse cutting her wrist, forcing the other woman to lick her blood and then slapping her face a few dozen times.
    • It could be argued, however, that the film averts this, as its incomprehensibility is used more for Surreal Horror than anything else.
  • Many fictional examples seem to borrow inspiration from "French New Wave", a film movement that used many of characteristics shown above,

  • Céline et Julie vont en bateau (Celine and Julie Go Boating) is a perfectly straight example of this trope. It's French, three hours long, includes seemingly completely unnecessary scenes, has a plot (when you get to it) whose closest comparison would be Eternal Sunshine of the Spotless Mind, and the ending... borrows heavily from Theater of the Absurd, that's all we'll say. It's actually un film très charmant, if you're patient with it. Jacques Rivette, the director, glories in this trope. Go ahead, see if you can sit through all of "Out One".
    • Actually it has been described as having an almost identical, though comedic, story which Mulholland Dr. later revisited, adding a more explicit lesbian subtext.
  • Alejandro Jodorowsky made many such movies. His first, Fando and Lis, fulfils all criteria other than "absurd length or brevity" and putting a Black Comedy spin on the angstiness. The Holy Mountain boosts the imagery to such freakish heights of psychadelia that even the sternest viewer will not get all of it.
  • Warum läuft Herr R Amok?, a film where absolutely nothing happens, despite the fact that the main character kills his family and then himself. Although, the film does a pretty good job of illustrating why Herr R. runs amok. It's just not the violent crime film or psychological thriller everyone expects from the title.
  • Jean Genet's Un Chant d'Amour: 30 dialogue-free minutes of homosexual erotica.
  • The Soviet Armenian film The Color of Pomegranates, which you might be familiar with from the clips that were used in a Juno Reactor music video. It's a biopic, kind of, about a famous medieval Armenian wool-dyer/courtier/monk/poet/troubador/martyr (in approximately that order). It's filmed to resemble an illuminated manuscript, there's almost no dialogue, and a female actor plays six roles, including the poet himself at one point. It's undeniably a work of integrity, and of significant artistic and spiritual accomplishment, as well as a fascinating ethnography of Armenian costume, art, music, textiles, folklore, monastic life, and religious custom. (A lot to get done in an hour and a half!). Quite beautiful, too. But if you aren't at least vaguely familiar with Sayat Nova's life, the film will make no sense, and if you are, it'll only make maybe 85% sense on a good day. It was initially banned in the USSR it because they couldn't figure out what the hell it was about, and decided that therefore it was probably some kind of dangerous nationalist parable. So they cut a few minutes from it at random, and released it under the title Red Pomegranates.
  • David Lynch's works, most notably Inland Empire and Eraserhead. Lynch's features actually largely make sense, at least on a plot level. His short films fits the trope much more closely than his features.
  • My Dinner With Andre is 110 minutes of Wallace Shawn and Andre Gregory sitting in a restaurant and talking. Aside from a brief voice-over at the beginning and end, as Wallace Shawn is travelling to/from the restaurant, that's it. Thanks to director Louis Malle's dynamic camera work, and the sheer intensity of Wallace and Andre's conversation, the movie is quite engaging.
  • Andy Warhol's Empire is an exterior shot of the Empire State Building for 24 hours. He made dozens upon dozens of films like these, many of them static shots of one person. Remember the "Oscar-winning" movie Ass from Idiocracy? Consider that Warhol did a film called "Taylor Mead's Ass" (albeit as a Take That at a film critic who complained about his films being - you guessed it - based on shots of Taylor Mead's ass).
  • The Cure for Insomnia. It has a running time of 87 hours. One could argue that it's Exactly What It Says on the Tin, and thus, not intended to be artistic at all.
  • Bob Dylan's Renaldo and Clara: it's four hours long, and alternates between being a concert film/rockumentary, cinema verité documentary, improvised drama (with a cast full of non-actors), and surreal home movie. Even among Dylan fans it's a Love It or Hate It work, with a lot more Love Its than you might expect.
  • Most films by Guy Maddin fit this trope. His film Brand Upon The Brain was silent, shot with grainy, black and white 16 mm film, and narrated and orchestrated live... all that without getting into the plot. Nearly all of his films are in grainy black and white. Some of them condescend to have a plot, say, The Saddest Music in the World. Others... not so much. If you want Guy Maddin in all his mind-screwing grandeur, try Arkangel. It's what David Lynch would have shot if a particularly deranged Dostoievsky handed him a script.
  • Calamari Union, the first major movie of Finnish director Aki Kaurismäki. Filmed in black and white, in eighties Helsinki, with very little dialogue. All its sixteen protagonists are guys with black glasses, all called "Frank", except for one called Pekka (who speaks in English). In a very Warriors fashion, they cross the city at night, trying to reach the Eira neighbourhood, which is a kind of promised land according to one of the Franks. Not all of them make it. No calamari (squids) appear or are even mentioned (though the title might be a play on the historical Kalmar Union). Diverging from the Le Film Artistique purest tradition, however, the movie is not serious but humorous in a very quirky, unsettling, playful and deadpan (thus Finnish) manner, and presents intelligent criticism of consumerism and urban life. An European Cult Classic, like pretty much any movie by Kaurismäki, who admitted he was drunk for the most of the shooting. It shows.
  • Vase de Noces. A lone farmer who may be the last man on earth slots the heads of dolls onto the heads of doves, collects vegetable matter in jars, sodomizes his pig — which gives birth to what are presumably human/pig hybrids, tries to raise said hybrids as humans by feeding them at the dinner table, hangs them when he is unable to — prompting the pig to commit suicide, buries himself alongside the pig with his clothes on and reemerges — clothes now mysteriously absent, tosses all the vegetable matter from the jars into a pond, fills them with his feces and urine instead, makes tea out of said feces and urine and consumes it, hangs himself. Belgian, black and white, no dialogue, the church choir chanting of medieval composers Perotinus and Monteverdi supplies the soundtrack alongside electrically-generated bleeps and bloops. According to the director, it's about an alchemical quest for immortality. We wish we were making this up.
  • Dogtooth: a Greek film in which a couple keep their children imprisoned in their home to adulthood, teaching them that the outside world is incredibly dangerous, while trying to maintain a completely different world inside, ranging from different vocabulary to incest. Features lesbian incest, passionless sex scenes, long stretches without dialogue and no real ending.
  • Begotten, an American black and white movie with almost no contrast at all (the colours shown are dirty white or dirty black, nothing between), no dialogue, no music, and a story showing an allegory of the Creation of Life through a succession of enigmatic and very gory scenes.
  • Minimalist cinema, and Chantal Ackerman in particular. One of Ackerman's films, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is three and a half hours long of a woman doing the same things over and over again. That length is the entire point, but it's still put generations of film students to sleep.
  • Michaelangelo Antonioni is another king of this trope. For example, Blow Up, a movie involving a murder mystery and a swinging London photographer at one point being molested by two female models.
  • Most of Peter Greenaway's oeuvre fits this trope. While some films, such as The Draughtsman's Contract and The Pillow Book are fairly well rooted in reality and understandable (for the most part) to the average audience, works like Prospero's Books take neo-baroque to an incomprehensible new level.
  • Dusan Makavejev generally makes movies that fall into this.
  • Salvador Dali and Luis Buñuel's film Un Chien Andalou is a prime example. Of course, given the artist... Warning: Eye Scream and major Mind Screw abound.
  • Tetsuo: The Iron Man This cult film series use unusual films techniques, such as stop motion, fast editing, POV shots that looks like video on TV, have very minimal dialogue and a small budget.
  • Tree Of Life fits this trope, possibly being the most abstract film to get such major stars and a $30 million+ budget.
  • Ironically, due to being French, silent, and black and white, a lot of people mistook The Artist sight unseen as one of these when it's actually an incredibly simple and accessible comedy to the point a lot of critics thought it was too light to be deserving of Best Picture and campaigned for the actual Le Film Artistique in the running that year.
  • The Green Elephant, a memetic Russian film, infamous for its gory content. It is filmed on handheld VHS camera, have only 4 characters, and is very depressing, although it has some comedy value.
  • Catherine Breillat's Sleeping Beauty starts out similarly to its namesake fairytale with the eponymous beauty being cursed to sleep by a malevolent witch, but very soon, the movie diverges into a strange sort of crossover between Alice in Wonderland, The Lion, the Witch, and the Wardrobe, and Pan's Labyrinth as its child protagonist goes on an inexplicable and fantastic adventure that, allegedly, represents a woman's sexuality. When she wakes up from her enchanted sleep, she finds she is suddenly a full-grown adult (despite having slept for one hundred years), and she is quick to randomly engage in sexual acts with both a young man and a young woman. To add to the Mind Screw, the man is the grandson of her adoptive brother and the woman is a grown up version of a childhood friend, both of whom are characters she met in her dream. And that's all without even mentioning the movie's very inconclusive ending...
  • French director Robert Bresson has a Signature Style that involves meticulous attention to mechanical motions and the use of nonprofessional actors who give intentionally lifeless and mechanical performances. His themes are almost always depressing, to top it off. Of course, he's a critical darling.
    • Because his films are among the greatest ever made. Au hasard, Balthasar is the greatest movie ever made with an animal as the main character (a donkey); Pickpocket is a mesmerising study of crime and guilt, and his final film L'argent is about how a rich kid passing a forged banknote ultimately leads to a guy axe-murdering an entire family.
  • Leos Carax's Holy Motors is a deconstruction of this.
  • The Lovers, a well-made 1958 drama by Louis Malle about upper-middle-class alienation, ennui, and the liaisons of bored housewives, managed to be permanently recorded in United States judicial history by being the subject of Jacobellis v. Ohio, which thanks to a sex scene ran afoul of Ohio's obscenity laws. The US Supreme Court determined that movies and other works with explicit content but redeeming artistic merit cannot, under the First Amendment, be censored. However, it is most noted for Justice Potter Stewart's famous statement about "hard-core pornography", viz., "I know it when I see it". Stewart went on to say that this film does have artistic merit and thus is not porn, making The Lovers one of the few works ever to officially be declared to be of serious artistic value in a government document.
  • Perceval le Gallois from Eric Rohmer is very much this. In a attempt to stay faithful to Chrétien de Troyes's text (and to be as literary and unrealistic as possible), it's very distanced : all the effects are intentionally obvious, all the decors are made of monochrome painted cardboard and aren't on scale (to emulate Medieval illustration), the background is plain blue etc.To be more up to the trope, Rohmer modernized the text of Chrétien de Troyes in a way that it is technically modern French, but with the original syntax and metric (octosyllabic versification) and often with an archaic (but correct) vocabulary.
    • All the music is, off course, from the period and played by in-universe musicians. Though it is a great film for those familiar with Medieval literature, it's Le Film Artistique on LSD for most.
    • This kind of thing inspired Gene Hackman's famous line from Night Moves: "I saw a Rohmer film once. It was kinda like watching paint dry."
  • Many "arthouse" independent short films on YouTube are heavily artistique. See this for a radiant example. The only thing missing is the "Fin" at the end.
  • Just about everything ever made by American Writer-Director Harmony Korine, most known for Gummo, Julien Donkey-Boy, Spring Breakers, and Trash Humpers.
  • Much of Pier Paolo Pasolini's work, especially Salo or the 120 Days of Sodom and Teorema.
  • Luchino Visconti occasionally, with La Terra Trema and Death In Venice as outstanding examples. The latter could be a trope codifier (slow-paced, ponderous arguments on art and beauty, little dialogue) if not for its modest length. Not necessarily his better-known films though: Rocco and His Brothers and The Leopard, say, are certainly long but relatively conventional on a narrative and photographic level.
  • Joseph Losey in his later career; he rarely met a baroque camera angle or overwrought symbol he didn't like. The results vary from excellent (The Servant) to atrocious (The Assassination of Trotsky).

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