My Own Private Idaho
If certain decades of American cinema are immediately identifiable, this is not quite the case for the 1990s and early 2000s, which form a sort of continuum of films straddling two centuries. It is as if the idea of a new era was an occasion for the American cinema to search for and reinvent itself, between the blockbuster era of the 1990s and the digital revolution that began in the 2000s. While some big names prove that they have not said their last word (David Lynch, Martin Scorsese, Terrence Malick), young filmmakers begin their career (Quentin Tarantino, Michel Gondry, Gus Van Sant), confirm their talent (Todd Haynes, Gregg Araki, Steven Soderbergh) or make the highlight of their filmography before disappearing (Tony Kaye, Lodge Kerrigan). Still, there is an undeniable pleasure in revisiting some of the major works of this moment, oscillating between new imaginations, a taste for quotes and the reappropriation of some cinematic styles.
Scott and Mike are prostitutes and lovers. But if Scott, whose father is very rich and whom he hates, has a future all mapped out, Mike remains stalked by his memories and sinks into narcolepsy crises.
Gus Van Sant
Gus Van Sant is an American director, screenwriter, producer, editor, photographer, and musician. He spent much of his life in Portland, Oregon, a city that serves as the backdrop for many of his films. After starting out as an independent filmmaker, notably with My Own Private Idaho (1991), he moved closer to Hollywood with commissioned films like To Die For (1995) and the Academy Award winner Good Will Hunting (1997). He then returned to a cinema far from financial pressures and artistically independent, including Elephant (2003), loosely inspired by the Columbine massacre (Palme d'Or at the 2003 Cannes Film Festival), and Last Days (2005), which depicts his vision of Kurt Cobain's final days. His career took another turn in 2008 with Milk (2008), a very personal yet popular film. It won several Academy Awards and was a great commercial success.
