History
Jonathan Romney traces a long line of (mainly French) painters and writers influencing these directors, beginning with the Marquis de Sade, and including Gustave Courbet's 1866 L'origine du monde, Comte de Lautréamont, Antonin Artaud, Georges Bataille, William S. Burroughs, Michel Houellebecq, and Marie Darrieussecq. He locates filmic predecessors in Luis Buñuel and Salvador Dalí, Roman Polanski, Jean-Luc Godard's Le weekend, Andrzej Zulawski's Possession, and Michael Haneke. Quandt also alludes to Arthur Rimbaud, Buñuel, Henri-Georges Clouzot, Georges Franju, Michelangelo Antonioni, Pier Paolo Pasolini, Guy Debord, Walerian Borowczyk, Godard, Psycho, Zulawski, Deliverance, Jean Eustache's La maman et la putain, and Maurice Pialat's A Nos Amours as models, but criticizes that the contemporary filmmakers so far lack the "power to shock an audience into consciousness".
John Wray notes that some of these filmmakers show less affection for Hollywood films than their New Wave predecessors, and take after Jean Renoir as well as Bresson. He also notes the long shots and enigmatic story-telling style of Dumont and the Dardenne brothers.
The expanded term "The New Extremism", referring to European filmmakers such as Lars von Trier, Lukas Moodysson, and Fatih Akın, has subsequently appeared.
Read more about this topic: New French Extremity
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