The Guardian takes a look at cinema of the 90s with any eye to understanding why culture is increasingly nostalgic for the decade's films.
It’s natural, of course, to be nostalgic for the era of film-making that accompanied your adolescence, as the 90s did mine, but there is a breadth and brilliance to much of the decade’s output that is unrivalled. In this paper last year, Steve Rose described the early 90s as a “golden age” for black cinema, as film-makers such as John Singleton and Julie Dash broke through. The 90s saw the emergence of an LGBT cinema movement, with mainstream, award-winning films such as The Birdcage and Boys Don’t Cry as well as cult slow-burners such as But I’m a Cheerleader. Spike Jonze, Quentin Tarantino, Paul Thomas Anderson, David O’Russell, Noah Baumbach, Wes Anderson, Lisa Cholodenko, Alexander Payne, Lynne Ramsay, Darren Aronofsky, Sam Mendes and Todd Haynes all made their directorial feature debuts. Odd, experimental films with wild structures and often a leaning towards verbosity, such as Magnolia or Pulp Fiction or Being John Malkovich, were relatively mainstream successes.
(via: It's Nice That).