John Waters, renowned as the “King of Filth,” embodies the spirit of unabashed cinematic excitement and critique. In a landscape riddled with conventional opinions and tepid critiques, Waters stands out for his fearlessness in expressing his love for unconventional storytelling. His recent praise for **Joker: Folie à Deux**, despite its lackluster reception from mainstream critics, underscores his unique perspective on film as an art form that should challenge norms rather than simply conform to them. By labeling the film a “well-directed” follow-up and celebrating Lady Gaga’s performance, Waters offers a refreshing counterpoint to the prevailing negativity, inviting audiences to reconsider their preconceived notions.
Decoding Waters’ Top 10 List
Waters’ annual Top 10 list is always an event worth noting, as it showcases his eclectic taste and his knack for elevating those films that may have slipped through the cracks of mainstream appreciation. At the top of his 2023 list, **Love Lies Bleeding** captured his adoration, characterized as a “hilarious, bloody film noir” reminiscent of a Russ Meyer film, but with a twist of modern sensibilities. This description alone speaks to Waters’ ability to merge nostalgia with contemporary critique, positioning the film as not just a work of entertainment but a platform for deeper discourse on society’s quirks and follies.
Waters’ commentary frequently challenges societal norms and expectations, a trend that continues with his assessment of films like **Queer**. By lauding Daniel Craig, who portrays the legendary William S. Burroughs, Waters opens a conversation on identity and representation in cinema. His reflections on a seemingly forgotten aspect of queer life inject humor and authenticity into the discourse, demonstrating how films can serve not only as a mirror to society but also as a vehicle for overdue conversations.
Waters does not confine his praise to traditional narratives alone; he embraces originality in storytelling, as seen in his recognition of **Emilia Pérez** as “The Rocky Cartel Horror Picture Show.” This film—described as a unique blend of musical and crime drama set against the backdrop of the Mexican drug trade—serves as a testament to the variety of stories that can capture and retain audience interest when they are well-executed. Waters boldly proclaims that creativity knows no bounds, presenting a compelling case for filmmakers to break free from conventional molds.
Waters’ fearless expressions in his film reviews encourage a reevaluation of how cinema is perceived and critiqued. By elevating unconventional voices and narratives, he serves not only as a critic but also as a champion for the radical side of cinema that often goes unnoticed. His selections underscore a call for authenticity and courage in filmmaking, reminding both creators and audiences that the essence of film lies not merely in its commercial success but also in its power to provoke thought, elicit strong reactions, and reflect the complexities of the human experience with unwavering honesty. In Waters’ hands, the world of cinema becomes a space for celebration, anarchy, and joy.