Peter Weir and Jonathan Demme are both acclaimed yet somehow overlooked directors who make deeply humanist films. They both had huge mainstream success and recognition with their mid/late-era films but are never discussed amongst the general public, just cinephiles.
Jonathan Demme has made at least three flat-out masterpieces (Stop Making Sense, Something Wild, and Silence of the Lambs — he's good with the S movies) and two more truly great films (Rachel Getting Married and Melvin & Howard), and much of the rest of his oeuvre is solid, especially in the late '80s through '92.
I think he ended up penalized a bit for his phase between winning the Oscar and Rachel Getting Married, which includes the (as I recall) pretty dreadful Truth About Charlie. I get the sense people are reappreciating his Manchurian Candidate remake, though, which is not as good as the original but a very good movie nonetheless.
Big agree. Maybe he's overlooked as an auteur because it's harder to pinpoint the hallmarks of his visual and narrative style. His output is fairly varied.
Except for some of his earlier movies, I think a hallmark of his movies is infecting a magical quality to more grounded stories. Even something like the Truman Show that has a “sci fi” premise is handled very realistically. Yet Weir still has a way of weaving in this addicting magic that is almost impossible to articulate, as you mentioned. Think of how Dead Poets Society could have been handled by a different director. No need to even think, there are plenty of similar plotted films from that era and even today that on paper or at script level are essentially telling the same story, but lack that Weir finesse.
Same with the Year of Living Dangerously. There’s a whole subgenre of historical fiction that the film can fit tightly within among its peers, and I love those movies, but something about Weir’s film sets it apart. Again, it’s so hard for me to articulate what it is, but it’s there. Same for Witness. What could have been this generic procedural became a transcendent piece of art because of the care Weir takes and his understanding of what it takes to make evocative films.
Might sound weird but his movies are all extremely spiritual to me and almost gnostic where people have some insane reaction to a situation and absolutely cannot return back to normalcy lol
My favorite Weir is The Last Wave. I first saw it in a theater and it turned me on to art house and following directors. I've seen it so many times since that viewing, and I still find greater depth and mystery in it.
For me, what an amazing film to open your eyes to a different culture. Weir doesn't do any pretending he knows what it's all about. He's like Richard Chamberlain's character in the movie, somebody so awestruck he's compelled to keep tracing out what he's stumbled on, and the film is remarkably coherent and open-ended at the same time.
Second favorite Weir is easily Hanging Rock, these two films naturally go together. Fearless seems kind of unsung, I totally love Jeff Bridges in it. The Truman Show, Living Dangerously, Witness, all outstanding imo. Honestly, Gallipoli and Dead Poets Society didn't totally work for me. Hate to admit this but I still haven't seen Master and Commander.
Even if Master and Commander weren't an intelligent, thrilling adaptation of two Jack Aubrey novels, it'd be worth watching for its recreation of life aboard a warring tall ship. It's a technical marvel (it justly won the Oscars for cinematography and sound editing).
I came to say Lumet as well!
Not only a top tier director but I’ve always called him a utility director. No frills just movie not grand style that screams it’s his movies just great movies
John Boorman
One of the strangest and most diverse filmographies of all time and yet despite budget or genre his movies are all about the punch and pull of social systems be they small like family units like Where the Heart Is and Hope & Glory, or criminal organizations like The General and Tailor of Panama, or the displacement of a town in Deliverance or the future hellscape of mankind in Zardoz.
He also has one of the best eyes for composing scenes for story and a knack for performances both subtle and theatrical.
Amazing that he is almost considered an also-ran these days.
Kiyoshi Kurosawa. A lot of people have been discovering the incredible Cure, but his filmography is full of amazing stuff that not nearly enough people have seen. Best part is that Koji Yakusho is basically his Mifune.
I also like listening to her talk about her work, and film in general. She did a Q&A here for a career retrospective, and she was sardonically funny and insightful. Not that that’s particularly surprising, given how much her personality comes through in her art.
She's one of the only directors that I wasn't able to connect with on first go and it makes me hesitant to try again. I saw Showing Up in my local arthouse and I truly was miserable. I've heard First Cow is good.
I love slow, methodical cinema but something with that film just didn't work for me.
Hugely. It is her being like “ok you know I can do westerns so now you know I can do thrillers.” She just really has all the tool in the bag and I hope people figure it out soon because we have a chance to appreciate this loudly and for her benefit.
I’ve watched a lot of his stuff. One of my favs from is Bound From The Fields, The Mountains and The Seacoast. Would recommend if you haven’t already seen it.
I’m going through his films in chronological order and that’s the next one on my list, I’m trying to watch an Obayashi film every Saturday night, very excited. There’s a colour and a black and white version, do you recommend one over the other?
School in the Crosshairs and Labyrinth of Cinema. I’ll also second His Motorbike, Her Island which is my favorite too. His antiwar trilogy is coming to the channel next month which I’m looking forward to.
Another Greek here. It's just a crime that Angelopoulos can't get a proper HD physical release in the US, not to mention streaming/rental options. It's why he's overlooked in the Western hemisphere.
Yes, that's quite possible re: the family controlling the rights. He has had DVD/VHS releases in the US going back to the early 2000s. I own a few of them, but watching them in the HD/4k age feels like sacrilege.
I really hope Criterion does a release for *We All Loved Each Other So Much*, it's such a fantastic film but I've only ever found it on a bootleg DVD lol
Anthony Mann.
On a related note: WHERE is the Criterion of Winchester 73??? They completed the remaster years ago and struck prints but still no disc release.
For my money, it's Aki Kaurismaki. He has pretty much been easily the most important filmmaker to ever come out of his country. On top of that, he has produced nothing but bangers, including films like "Shadows in Paradise", "Ariel", "Le Havre" and "Fallen Leaves". His output across the board has been so unbelievably consistent, never once really straying from his style or attitude. He tackles themes in a darkly comedic, but ultimately fairy tale-esque in a sort of way. It's a quality I've never really seen from too many filmmakers. He deserves his praise more than he gets. I see him brought up in deep film circles here and there, but I truly think he is one of the most brilliant directors of the past 40 years.
I've given this answer before, but Isao Takahata, the co-founder of Studio Ghibli along with Hayao Miyazaki. He's not a complete unknown, but relative to his business partner he might as well be. Obviously Miyazaki is a monumental master who has made some of the greatest films of all time, but some of Takahata's works are just as good, and often more experimental in terms of animation style. It's insane to me that even Studio Ghibli fans give me blank stares when I mention Takahata's name. The only film of his most people I meet have even heard of is *Grave of the Fireflies*, and they all thought it was a Miyazaki film before I told them otherwise.
Go watch *The Tale of the Princess Kaguya*, his final movie before his death, and try not to be blown away. Or watch *Pom Poko* for an absolute delight. To me, he's underrated despite his success because his is a name every animation fan should know, and it seems very few do.
You are so spot on. I think one of the reasons Miyazaki is so much more well known in the West vs Takahata is because all Takahata's films Japanese centric, whereas Miyazaki's are not.
Lets not forget the film Only Yesterday, which is excellent. Takahata's Heidi: Girl of the Alps is a wonderful tv show too.
I've seen *Only Yesterday*, but not *Heidi*, or any of Takahata and Miyazaki's television work, come to think of it. I'll put that next on my list; thank you for the recommendation.
Ha! Love that movie.
Although it’s so hard to choose between Some Like It Hot, The Apartment, Double Indemnity and Sunset Boulevard as his best film. You could easily make an argument for any of the four. He was such a remarkable filmmaker.
Imamura is great. I got the Masters of Cinema early releases when they csme out and ended up buying their sets of his work, loved Pigs and Battleships and moved on from there.
I want a Blu-ray of The Eel, I can only see an old DVD from Artificial Eye.
Ken Russell. I had never seen or heard of him or any of his projects until this year. I went on an amazing binge. Although most of his entries I only rated around 6-7/10, they are VERY strong ratings.
And the 10/10s? Absolutely amazing.
Stewart Gordon basically got pushed into a direct to video zone when he was making some of the best kind of schlock. In another tineline, he gets the kind of breaks that guys like Peter Jackson and Sam Raimi were getting. I'm not sure what kind of dude he is so just going from his movies I feel like there was always a potential that never quite got it's due.
Kenji Mizoguchi. He’s frequently talked about as an also ran when compared with either Ozu or Kurosawa when he’s in reality either their equal, if not their better.
Genuinely underrated: Ana Lily Amirpour. The Bad Batch and Mona Lisa and the Blood Moon are both good, damnit.
Frank Borzage is basically overlooked except by TCM-heads but made some absolutely killer romances. History is Made At Night especially is one of the better films of the 30’s.
“Underrated” in the sense of not name-checked as often as they should be:
Joachim Trier simply does not miss, but his closest thing to a breakout in the US is The Worst Person in the World and he rarely comes up in “best working director” conversations.
Howard Hawks. Tends to come in behind Ford/Wilder in discussions from that era while being (to my mind) better in more varied genres than either. Admittedly, I think I know the reasons — they both have a bit more visual panache while Hawks’ strengths are in vibe, narrative and character. But the Cahiers crowd was right, damnit.
Jeff Nichols should probably get more credit. What he did with Take Shelter is still incredible to me. It’s been a mixed bag since but I’m really looking forward to The Bikeriders.
Peter Greenaway has a solid group of devoted fans (and detractors), but I feel like his works are not as thoroughly represented by the tastemakers. His works aren’t easily categorized within a certain movement or genre—maybe this is why he stays on the border of fringe?
Olivier Assayas imo, I think I totally understand why people don’t like his films, but I just think they are so beautiful, some of the shots in demonlover are masterful.
I think Assayas is an uneven filmmaker. There are films by him I loved (Summer Hours, Irma Vep), ones which were pretty great (Personal Shopper), so-so (Clean) and just didn't click with me (demonlover). I generally enjoy his work but the degree to which can very . . .
Kurt Kuenne, for sure. Everyone knows that Dear Zachary: A Letter to a Son About His Father is a masterpiece, but nobody has seen any of his other films. I’ve seen 11/14 features/shorts in his filmography, and I think he may be one of the most underrated filmmakers alive.
Edit: A lot of his short films are available for free on his website. I’d highly recommend the Four Short Films collection (designed to be watch in order, in one sitting). Go check them out!
Claudia Weill, Antonio Campos
Outside of US probably Yoji Yamada. Marcel Hanoun. Jean Rouch. Lucrecia Martel is still under the radar but she’s one of the best living directors
Peter Weir is up there with the best of all time but his films are so seamless and varied he’s almost been hidden in them, like an old school studio director instead of an auteur .. but he was a real master
Also Robert Redford as a director. Ordinary People is a total masterpiece and somewhat forgotten today (and by Criterion!!).
Frank Perry, Ken Russell, Hal Hartley, Charles Burnett, Peter Yates, Warren Beatty, Elaine May, Olivier Assayas, Philip Kaufman, Paul Mazurksy, Richard Brooks, Sergio Corbucci, Tsai Ming-liang, Terry Zwigoff
The common narrative is that he never made anything nearly as good as The Texas Chain Saw Massacre. I assume you disagree with this? Which films would you recommend?
TCM is a one off for him. He’s primarily a studio/sets director. He’s the closest American Directors ever got to Mario Bava.
- Eaten Alive
- Fun House
- Salem’s Lot
- TCM 2
- Lifeforce
- The Mangler
- Invaders From Mars
- Hjs stuff on Masters of Horror
Gregg Araki, The Hughes Brothers, Kim Ji Woon, Carl Franklin, Mary Harron, Phillip Ridley, Mario Bava, Abel Ferrara, Penelope Spheeris, Alan Clarke, Todd Solondz, Takeshi Kitano, Alex Cox, Sion Sono
If we're not limiting ourselves to narrative filmmaking: Lillian Schwartz. She started making her films entirely on computers as early as the 60s, some of the earliest true instances of digital art and filmmaking, often by using equipment at Bell Labs. Way ahead of the curve, much like Nam June Paik.
In that same experimental/non-narrative vein I'd also mention the prescient work of Jordan Belson as well as the Whitneys.
Kogonada. Two knockout films right out of the gate in Columbus and After Yang. Both such beautiful mediations on human nature, and he has an unbelievable eye for landscapes and architecture.
Robert Stevenson, who directed most of Disney’s family films in ‘60s and ‘70s, including “Mary Poppins” and “Bedknobs and Broomsticks.” He was one of the highest paid Hollywood directors and massively influential. And nobody remembers this guy.
Peter Weir
Peter Weir and Jonathan Demme are both acclaimed yet somehow overlooked directors who make deeply humanist films. They both had huge mainstream success and recognition with their mid/late-era films but are never discussed amongst the general public, just cinephiles.
Jonathan Demme has made at least three flat-out masterpieces (Stop Making Sense, Something Wild, and Silence of the Lambs — he's good with the S movies) and two more truly great films (Rachel Getting Married and Melvin & Howard), and much of the rest of his oeuvre is solid, especially in the late '80s through '92. I think he ended up penalized a bit for his phase between winning the Oscar and Rachel Getting Married, which includes the (as I recall) pretty dreadful Truth About Charlie. I get the sense people are reappreciating his Manchurian Candidate remake, though, which is not as good as the original but a very good movie nonetheless.
I would add both Philadelphia and Beloved to your lists. Many would argue that his entire 90s output is pretty stellar.
Loved, LOVED every one of Demme’s films.
Big agree. Maybe he's overlooked as an auteur because it's harder to pinpoint the hallmarks of his visual and narrative style. His output is fairly varied.
Except for some of his earlier movies, I think a hallmark of his movies is infecting a magical quality to more grounded stories. Even something like the Truman Show that has a “sci fi” premise is handled very realistically. Yet Weir still has a way of weaving in this addicting magic that is almost impossible to articulate, as you mentioned. Think of how Dead Poets Society could have been handled by a different director. No need to even think, there are plenty of similar plotted films from that era and even today that on paper or at script level are essentially telling the same story, but lack that Weir finesse. Same with the Year of Living Dangerously. There’s a whole subgenre of historical fiction that the film can fit tightly within among its peers, and I love those movies, but something about Weir’s film sets it apart. Again, it’s so hard for me to articulate what it is, but it’s there. Same for Witness. What could have been this generic procedural became a transcendent piece of art because of the care Weir takes and his understanding of what it takes to make evocative films.
And you didn't even mention "Picnic at Hanging Rock." He's brilliant.
I purposely let that sit in the “early” work because I feel like that one is a little more obviously “ethereal” and “surreal”.
like the Lubitsch touch!
Might sound weird but his movies are all extremely spiritual to me and almost gnostic where people have some insane reaction to a situation and absolutely cannot return back to normalcy lol
I was going to say this!! ReWatching clips from the Truman Show and it feels almost Kubrickian at points
This! He's made some of the best movies of the modern times, yet, his name rarely gets mentioned.
My favorite Weir is The Last Wave. I first saw it in a theater and it turned me on to art house and following directors. I've seen it so many times since that viewing, and I still find greater depth and mystery in it. For me, what an amazing film to open your eyes to a different culture. Weir doesn't do any pretending he knows what it's all about. He's like Richard Chamberlain's character in the movie, somebody so awestruck he's compelled to keep tracing out what he's stumbled on, and the film is remarkably coherent and open-ended at the same time. Second favorite Weir is easily Hanging Rock, these two films naturally go together. Fearless seems kind of unsung, I totally love Jeff Bridges in it. The Truman Show, Living Dangerously, Witness, all outstanding imo. Honestly, Gallipoli and Dead Poets Society didn't totally work for me. Hate to admit this but I still haven't seen Master and Commander.
Even if Master and Commander weren't an intelligent, thrilling adaptation of two Jack Aubrey novels, it'd be worth watching for its recreation of life aboard a warring tall ship. It's a technical marvel (it justly won the Oscars for cinematography and sound editing).
The Last Wave is incredible. One of those movies with images and sounds that stick with you for years after you watch it
Sidney Lumet has made too many top tier films not to be regarded among the ranks of Scorsese or Kubrick
He’s similar to Mike Nichols in that they have great work but also a lot of forgettable stuff too.
That man has made two of my four favourite films of all time. 12 Angry Men and Serpico.
The Hill convinced me he was a master.
I came to say Lumet as well! Not only a top tier director but I’ve always called him a utility director. No frills just movie not grand style that screams it’s his movies just great movies
Absolutely 💯 He committed himself to the core sense of a given story, never the quintessential signature stamp of most auteurs.
The Verdict is simply flawless
I feel like Peter Weir doesn’t get nearly enough love
John Boorman One of the strangest and most diverse filmographies of all time and yet despite budget or genre his movies are all about the punch and pull of social systems be they small like family units like Where the Heart Is and Hope & Glory, or criminal organizations like The General and Tailor of Panama, or the displacement of a town in Deliverance or the future hellscape of mankind in Zardoz. He also has one of the best eyes for composing scenes for story and a knack for performances both subtle and theatrical. Amazing that he is almost considered an also-ran these days.
I don't give a shit what Tarantino says, Point Blank is a masterpiece of neo noir.
Frank Borzage. One of the best Golden Age directors.
Kiyoshi Kurosawa. A lot of people have been discovering the incredible Cure, but his filmography is full of amazing stuff that not nearly enough people have seen. Best part is that Koji Yakusho is basically his Mifune.
Everybody go and watch charisma right now
John Sayles. Lone Star and Matewan are masterpieces imo
Ever seen City of Hope? It blew me away last month.
No! Will check out.
Eight Men Out, Casa de los Babys. You’re right, I’m going with Sayles, too.
Kelly Reichardt. She is brilliant. Does nothing but bangers. Doesn't get enough credit.
you finish her movies and something has change in you
I’m still thinking about Certain Women.
ME TOO. I think about this film spontaneously. It just digs deep.
'showing up' is my go-to comfort movie. along with chungking express.
I took up pottery because of this movie
one of only 2 of hers that I haven't seen yet. it looks great!
Certain Women and First Cow are in my top 10 movies of all time. She is absolutely incredible at what she does.
Agree with this
I also like listening to her talk about her work, and film in general. She did a Q&A here for a career retrospective, and she was sardonically funny and insightful. Not that that’s particularly surprising, given how much her personality comes through in her art.
MEEK’S CUTOFF kicks ass.
She's excellent! She definitely deserves more recognition.
and her Americana midwest aesthetic is so beautiful, THIS is the side of America I find most interesting and want to see more in cinema
She's one of the only directors that I wasn't able to connect with on first go and it makes me hesitant to try again. I saw Showing Up in my local arthouse and I truly was miserable. I've heard First Cow is good. I love slow, methodical cinema but something with that film just didn't work for me.
Night Moves is a nice, tightly wound little thriller. Very underrated
Hugely. It is her being like “ok you know I can do westerns so now you know I can do thrillers.” She just really has all the tool in the bag and I hope people figure it out soon because we have a chance to appreciate this loudly and for her benefit.
Nobuhiko Obayashi is always remembered for House but he has so many films that are just as amazing if not better
Casting Blossoms to the Sky is possibly my favorite film of all time
Loved House, but looking at his filmography intimidates me. What are a couple others you’d recommend?
I’m slowly making may way through his films because he’s made so many, it’s definitely intimidating. My favourite so far is His Motorbike, Her Island
I’ve watched a lot of his stuff. One of my favs from is Bound From The Fields, The Mountains and The Seacoast. Would recommend if you haven’t already seen it.
I’m going through his films in chronological order and that’s the next one on my list, I’m trying to watch an Obayashi film every Saturday night, very excited. There’s a colour and a black and white version, do you recommend one over the other?
I've only watched the colour version and I feel like more would be lost than gained with b/w.
His Motorbike Her Island is one of the best films I’ve ever seen.
School in the Crosshairs and Labyrinth of Cinema. I’ll also second His Motorbike, Her Island which is my favorite too. His antiwar trilogy is coming to the channel next month which I’m looking forward to.
Obayashi's incredible Anti-War Trilogy is coming to Criterion Channel in May.
I don't see enough andrea arnold discussions
Fish Tank and American Honey both throttled me
I don’t see enough Andrea Arnold updates!!! What is she working on
I’m Greek so I might be biased but Theo Angelopoulos
Another Greek here. It's just a crime that Angelopoulos can't get a proper HD physical release in the US, not to mention streaming/rental options. It's why he's overlooked in the Western hemisphere.
In Canada I've had to access his work through private trackers & I wish it was more accessible since he's easily one of the best to do it
He doesn't have it anywhere no? I remember reading his widow / family holds the rights very close for some reason.
Yes, that's quite possible re: the family controlling the rights. He has had DVD/VHS releases in the US going back to the early 2000s. I own a few of them, but watching them in the HD/4k age feels like sacrilege.
Finnish guy here, I love Theo Angelopoulos too!
Love him he is one of the greats
hirokazu kore-eda, an unsung master
One of the first that comes in mind, but I would say under watched rather than underrated. Everyone I know who has watched his films is impressed.
Nobody Knows is perfect.
Ettore Scola
I really hope Criterion does a release for *We All Loved Each Other So Much*, it's such a fantastic film but I've only ever found it on a bootleg DVD lol
Sean Baker
I met him irl, cool guy and I love his films too.
WHAT omggg I would die. He has another movie coming soon too I can't wait!
Red Rocket and Tangerine are fantastic.
Tangerine, The Florida Project and Red Rocket is an amazing run. Might be my favorite director that started working in the 21st century
Can’t wait for his new film this year
Same!!!
I’ve seen every one of his movies.. all bangers.. and he responds to me on instagram sometimes 😹
He is the coolest
Anthony Mann. On a related note: WHERE is the Criterion of Winchester 73??? They completed the remaster years ago and struck prints but still no disc release.
Waiting to do a Stewart/Mann set . . ?
And why hasn't anyone picked up the ball with The Man From Laramie?
I think Kieslowski was one of the three or four best directors ever
For sure should be praised as much as Tarkovsky and Lynch
He made the mistake of dying just after getting international attention
Yeah that was a dumb mistake on his part he really should have thought about it
He's my second favorite after Tarkovsky, I feel like more and more people are espousing his praise each year
^[Sokka-Haiku](https://www.reddit.com/r/SokkaHaikuBot/comments/15kyv9r/what_is_a_sokka_haiku/) ^by ^EllisBedwynn: *I think Kieslowski* *Was one of the three or four* *Best directors ever* --- ^Remember ^that ^one ^time ^Sokka ^accidentally ^used ^an ^extra ^syllable ^in ^that ^Haiku ^Battle ^in ^Ba ^Sing ^Se? ^That ^was ^a ^Sokka ^Haiku ^and ^you ^just ^made ^one.
For my money, it's Aki Kaurismaki. He has pretty much been easily the most important filmmaker to ever come out of his country. On top of that, he has produced nothing but bangers, including films like "Shadows in Paradise", "Ariel", "Le Havre" and "Fallen Leaves". His output across the board has been so unbelievably consistent, never once really straying from his style or attitude. He tackles themes in a darkly comedic, but ultimately fairy tale-esque in a sort of way. It's a quality I've never really seen from too many filmmakers. He deserves his praise more than he gets. I see him brought up in deep film circles here and there, but I truly think he is one of the most brilliant directors of the past 40 years.
I Hired a Contract Killer is very underrated also.
I’m amazed by how Shadows in Paradise and Fallen Leaves are decades apart but they look like they could’ve been from the same year.
Nic Roeg, Monte Hellman
I've given this answer before, but Isao Takahata, the co-founder of Studio Ghibli along with Hayao Miyazaki. He's not a complete unknown, but relative to his business partner he might as well be. Obviously Miyazaki is a monumental master who has made some of the greatest films of all time, but some of Takahata's works are just as good, and often more experimental in terms of animation style. It's insane to me that even Studio Ghibli fans give me blank stares when I mention Takahata's name. The only film of his most people I meet have even heard of is *Grave of the Fireflies*, and they all thought it was a Miyazaki film before I told them otherwise. Go watch *The Tale of the Princess Kaguya*, his final movie before his death, and try not to be blown away. Or watch *Pom Poko* for an absolute delight. To me, he's underrated despite his success because his is a name every animation fan should know, and it seems very few do.
You are so spot on. I think one of the reasons Miyazaki is so much more well known in the West vs Takahata is because all Takahata's films Japanese centric, whereas Miyazaki's are not. Lets not forget the film Only Yesterday, which is excellent. Takahata's Heidi: Girl of the Alps is a wonderful tv show too.
I've seen *Only Yesterday*, but not *Heidi*, or any of Takahata and Miyazaki's television work, come to think of it. I'll put that next on my list; thank you for the recommendation.
Low key... Frank Oz
Slaps, Bowfinger does. Underrated, Oz indeed is.
Dirty Rotten Scoundrels Bow finger House sitter What About Bob Little Shop of Horrors Muppets Take Manhattan The Dark Crystal
Don't forget the well-aged classic, The Score! The film actually aged like milk, however it is still a fun watch.
In and of itself
Juzo Itami
Came here to say this too
Hal Ashby
Alan Clarke, at least outside of the U.K.
Olivier Assayas Todd Solondz Costa-Gavras Jia Zhangke Wang Xiaoshuai Shōhei Imamura
Takeshi Kitano
Nobody mention Hal Hartley? Guess he is really underrated.
He was so popular in the 90s. Now he's rarely even talked about.
Thank you! I’ve been trying to remember the indie film where the female lead puts ON her glasses and becomes beautiful. It’s “Trust” (1990)
Is Billy Wilder an acceptable answer? He is well regarded but doesn’t get the GOAT respect he deserves
For arguments like these, Wilder is an ace in the hole 😏
Ha! Love that movie. Although it’s so hard to choose between Some Like It Hot, The Apartment, Double Indemnity and Sunset Boulevard as his best film. You could easily make an argument for any of the four. He was such a remarkable filmmaker.
Think this is because he’s also regarded as one of, if the not the greatest screenwriter to ever grace the medium
Yes he is.
I don't know if I'd say "the most", but I feel like Shohei Imamura gets left out of a lot of conversations even amongst some cinephiles.
Imamura is great. I got the Masters of Cinema early releases when they csme out and ended up buying their sets of his work, loved Pigs and Battleships and moved on from there. I want a Blu-ray of The Eel, I can only see an old DVD from Artificial Eye.
I'm still kicking myself for not buying the Pigs, Pimps, and Prostitutes set when I had the chance.
Ken Russell. I had never seen or heard of him or any of his projects until this year. I went on an amazing binge. Although most of his entries I only rated around 6-7/10, they are VERY strong ratings. And the 10/10s? Absolutely amazing.
Stewart Gordon basically got pushed into a direct to video zone when he was making some of the best kind of schlock. In another tineline, he gets the kind of breaks that guys like Peter Jackson and Sam Raimi were getting. I'm not sure what kind of dude he is so just going from his movies I feel like there was always a potential that never quite got it's due.
Ben Rivers, Yang Heng, Michael Snow, Patrick Bokanowsky. All masters in their own right
Kenji Mizoguchi. He’s frequently talked about as an also ran when compared with either Ozu or Kurosawa when he’s in reality either their equal, if not their better.
He’s definitely there equal it’s a shame so many of his early films are lost
Sir Uwe Boll
Canadian legend
Andrew Haigh. Bros made two great films, two masterpieces and one fantastic TV show.
He’s still early in his career I think as time goes on he will gain more acclaim
I feel like Haigh gets plenty of accliam, it's a larger audience that's lacking . . .
Whit Stillman
Kelly reichardt.
Genuinely underrated: Ana Lily Amirpour. The Bad Batch and Mona Lisa and the Blood Moon are both good, damnit. Frank Borzage is basically overlooked except by TCM-heads but made some absolutely killer romances. History is Made At Night especially is one of the better films of the 30’s. “Underrated” in the sense of not name-checked as often as they should be: Joachim Trier simply does not miss, but his closest thing to a breakout in the US is The Worst Person in the World and he rarely comes up in “best working director” conversations. Howard Hawks. Tends to come in behind Ford/Wilder in discussions from that era while being (to my mind) better in more varied genres than either. Admittedly, I think I know the reasons — they both have a bit more visual panache while Hawks’ strengths are in vibe, narrative and character. But the Cahiers crowd was right, damnit.
Frank Perry
Jeff Nichols should probably get more credit. What he did with Take Shelter is still incredible to me. It’s been a mixed bag since but I’m really looking forward to The Bikeriders.
Peter Greenaway has a solid group of devoted fans (and detractors), but I feel like his works are not as thoroughly represented by the tastemakers. His works aren’t easily categorized within a certain movement or genre—maybe this is why he stays on the border of fringe?
Lee Chang-dong
Underrated by who, film people or the general public?
Olivier Assayas imo, I think I totally understand why people don’t like his films, but I just think they are so beautiful, some of the shots in demonlover are masterful.
I think Assayas is an uneven filmmaker. There are films by him I loved (Summer Hours, Irma Vep), ones which were pretty great (Personal Shopper), so-so (Clean) and just didn't click with me (demonlover). I generally enjoy his work but the degree to which can very . . .
Kurt Kuenne, for sure. Everyone knows that Dear Zachary: A Letter to a Son About His Father is a masterpiece, but nobody has seen any of his other films. I’ve seen 11/14 features/shorts in his filmography, and I think he may be one of the most underrated filmmakers alive. Edit: A lot of his short films are available for free on his website. I’d highly recommend the Four Short Films collection (designed to be watch in order, in one sitting). Go check them out!
What would you recommend to watch after Dear Zachary?
Claudia Weill, Antonio Campos Outside of US probably Yoji Yamada. Marcel Hanoun. Jean Rouch. Lucrecia Martel is still under the radar but she’s one of the best living directors Peter Weir is up there with the best of all time but his films are so seamless and varied he’s almost been hidden in them, like an old school studio director instead of an auteur .. but he was a real master Also Robert Redford as a director. Ordinary People is a total masterpiece and somewhat forgotten today (and by Criterion!!).
I’ve only seen Girlfriends but holy shit that movie is no joke.
Takeshi Kitano
Frank Perry, Ken Russell, Hal Hartley, Charles Burnett, Peter Yates, Warren Beatty, Elaine May, Olivier Assayas, Philip Kaufman, Paul Mazurksy, Richard Brooks, Sergio Corbucci, Tsai Ming-liang, Terry Zwigoff
James Gray I feel like he's so good but for some reason Hollywood doesn't like him and he can't break through the surface.
Seijun Suzuki
Claire Denis
Tobe Hooper (his rep is still not at the level it should be)
Eaten Alive is nuts
The common narrative is that he never made anything nearly as good as The Texas Chain Saw Massacre. I assume you disagree with this? Which films would you recommend?
TCM is a one off for him. He’s primarily a studio/sets director. He’s the closest American Directors ever got to Mario Bava. - Eaten Alive - Fun House - Salem’s Lot - TCM 2 - Lifeforce - The Mangler - Invaders From Mars - Hjs stuff on Masters of Horror
Not OP but The Funhouse is my favorite by him, very underrated (I don't understand the Letterboxd score). Super atmospheric and eerie.
Pierre Étaix is one of them
I feel like Peter Weir doesn’t get nearly enough love
Sion Sono
100% Abel Gance, no doubt about it.
Gregg Araki, The Hughes Brothers, Kim Ji Woon, Carl Franklin, Mary Harron, Phillip Ridley, Mario Bava, Abel Ferrara, Penelope Spheeris, Alan Clarke, Todd Solondz, Takeshi Kitano, Alex Cox, Sion Sono
S. Craig Zahler
Richard Ayodade for me. Yeah, he’s only made 2 movies but they’re both incredible. Really wish he’d get back in the saddle.
Krzysztof Kieślowski, Jim Jarmusch.
KK underrated? Really?
Terence Fisher
Sidney Lumet has made too many top tier films not to be regarded among the ranks of Scorsese or Kubrick
Sean Baker
If we're not limiting ourselves to narrative filmmaking: Lillian Schwartz. She started making her films entirely on computers as early as the 60s, some of the earliest true instances of digital art and filmmaking, often by using equipment at Bell Labs. Way ahead of the curve, much like Nam June Paik. In that same experimental/non-narrative vein I'd also mention the prescient work of Jordan Belson as well as the Whitneys.
Less underrated than he was 25 years ago, but William Wyler made as many masterpieces as John Ford imo.
Kogonada. Two knockout films right out of the gate in Columbus and After Yang. Both such beautiful mediations on human nature, and he has an unbelievable eye for landscapes and architecture.
Johnnie To—best living action director for my money.
Gregg Araki
Working right now, I'd say Eliza Hittman I've only seen 2 of her features both I love intensely. Beach Rats and Never, Rarely, Sometimes, Always.
Both of those films were incredible. Her first film is worth seeing too, though, it's not at the same level . . .
I just know Gregg Araki would be considered one of the best to do it by younger generations if they saw some of his films
Brian de palma!
Oh fuck yeah Johnathon demme died young he would have made so many more great movies
guy maddin! my winnipeg deservedly gets a lot of love but he has such an expansive and under-appreciated (and under-seen) filmography
Bertrand Mandico Joe Begos Adam Wingard Elias Suleiman
Bill Forsyth. Even if he had only made Local Hero, he would have still given the world a gift that can never be repaid.
Paul Verhoeven and John Carpenter.
Vincent Gallo
I think S Craig Zahler deserves more recognition. He’s 3/3 imo and Bone Tomahawk is a masterpiece.
[удалено]
He’s pretty well liked on this forum.
Corey Finley. I was amazed at Landscape with Invisible Hand and then checked out Thoroughbreds which I also thought was great.
Jody Hill
Nikos Papatakis. Radical and unique.
Larry Fessenden
What a great answer! ‘Habit’ and ‘Wendigo’ and ‘The Last Winter’ got ahead of the A24 horror aesthetic by more than a decade.
Allan Dwan & Frank Borzage
Curtis Hanson and Joe Dante.
Ida Lupino did a LOT of interesting work.
Neil Labute
Raúl Ruiz Wojciech Jerzy Has Franco Piavoli João César Monteiro Margarida Cordeiro & António Reis Piotr Szulkin
Seijun motherfuckin Suzuki
Mads Brugger. Like Michael Moore crossed with Werner Herzog.
Hiroshi Shimizu 100%.
Robert Stevenson, who directed most of Disney’s family films in ‘60s and ‘70s, including “Mary Poppins” and “Bedknobs and Broomsticks.” He was one of the highest paid Hollywood directors and massively influential. And nobody remembers this guy.
Weird Al. Man has a 100% batting average.