I love almost all his work even during the much maligned later period. Indeed, there has been some superior work produced post-Sweet Hereafter including Felicia's Journey, Ararat, Chloe and especially his most profoundly underrated (even by himself I suspect) Devil's Knot. I For me at least Where the Truth Lies is the nadir of his entire oeuvre with only the telethon scenes functioning as perfect Egoyan-esque set pieces; the rest of it is entirely miscalculated as far as I'm concerned with Egoyan being incapable of managing a more explicit vein of eroticism (or an eroticism actually meant in part to titillate unlike, say, Exotica in which that element is consistently undercut, complicated and transformed by his entire approach). The later Chloe is the one where he does finally manage to come to grips on how to present material like that in a way that actually contributes to and complements the film it's featured in. Still, I do always appreciate his vast ambitions and efforts, his unwillingness to settle for established forms (often even those he established himself); of course, this artistic restlessness is exactly what got him the troubled reputation he's received over the course of those post-Sweet Hereafter years and when it doesn't come off well you do long for what so often has in the past.beamish14 wrote: ↑Thu Jan 05, 2023 4:49 pmGlowingwabbit wrote: ↑Thu Jan 05, 2023 4:01 pmAny early Egoyan would be great. I was happy to see Calendar (the superior of the two) released with Erotica. Talk about a director that really fell off a cliff. Unfortunately I don't share therewillbeblus enthusiasm for Where the Truth Lies.
I saw him in person while he was promoting the underrated Adoration, and he said (as he does on its commentary), that Family Viewing is his favorite of all his films, and I concur that it’s his most perfect creation, although The Adjuster is close
I would be happy to see new Blu editions of some of these early titles though as the AE set really is a bare bones presentation without even subtitle options. Beyond that they are also most conspicuously missing the commentaries which Egoyan recorded for the Kino releases years ago and those need to be included again for the best and most thorough presentation. But The Sweet Hereafter is missing far more than that from its original releases as well.