Introduction

This book of film criticism is inspired by the pioneering work of philosopher and film theorist Stanley Cavell. I have three primary objectives in writing this book. First, I explain the methods and procedures of Cavellian philosophical film criticism and the key role that his analysis of the filmic relationship between reality and fantasy plays in that practice. Second, I apply his methods and procedures to the interpretation of four prominent American indie films released in 2014: Only Lovers Left Alive, directed by Jim Jarmusch, Birdman, directed by Alejandro G. Iñárritu, The Grand Budapest Hotel, directed by Wes Anderson and Boyhood, directed by Richard Linklater. Third, my interpretation of the indie response films pays special attention to their exploration of the filmic relationship between reality and fantasy. I also explain why I believe that several of them deserve consideration as masterpieces of contemporary film art in the US, in large part, because of their examination of the roots of film magic and fantasy.