John Waters is a name synonymous with provocative cinema. Known for his unabashedly outrageous style and fearless commentary, Waters has once again made headlines by defending films that critics have largely panned. The recent sequel, *Joker: Folie à Deux*, directed by Todd Phillips, received a cold reception from reviewers, yet Waters hailed it as an audacious and well-executed addition to the cinematic landscape. His unabashed support mirrors the films he himself is known for—those that challenge societal norms through a unique combination of humor, artistic vision, and sheer audacity.
In his 2023 Vulture Top 10 list, Waters threw his weight behind *Joker: Folie à Deux*, describing it as “so insane, so well thought out, so well directed.” His description indicates that he sees merit where others see folly. He openly states it as “finally, a love story I can relate to,” emphasizing that for Waters, cinema must resonate on some deeper, often eccentric level. This is not just critical commentary; it serves as a reminder that art is deeply subjective. While the film earned a dubious 32% score on Rotten Tomatoes and failed to recoup its budget with a global gross of $206 million, Waters’ approval showcases his affinity for films that push boundaries and defy conventional expectations.
Waters’ praise of Lady Gaga’s performance underscores another vital aspect of his critique: the celebration of unconventional heroes. Gaga, often lauded for her versatility, embodies a queer ethos that resonates with Waters. The filmmaker’s commentary is not merely about appreciating a performance but about championing a cultural moment that defies the dullness of mainstream narratives. It raises a crucial question about the role of cinema in society: should we value it for its popular appeal or for its ability to provoke thought and challenge norms?
Waters did not stop at just one controversial pick; he extended his reflections to other films, ranking *Love Lies Bleeding* as the best film of the year. He describes it with hyperbole that only he can muster, noting it’s as if “Russ Meyer might have made it if he had been a lesbian intellectual addicted to steroids.” Waters’ blend of humor and sharp critique captures the essence of what he values in cinema: originality and daring storytelling. His choices reveal a penchant for films that eschew the safe route in favor of daring, often bizarre narratives that demand the audience engage on more than a surface level.
In a cinematic landscape often dominated by sequels and remakes, John Waters remains a refreshing voice advocating for bold storytelling. His critiques and fondness for unconventional films challenge audiences to reconsider what they deem worthy of attention. As cinema continues to evolve, Waters embodies the spirit of artistic rebellion—inviting viewers to embrace the eccentric, the audacious, and the controversial. In a world that increasingly prefers the familiar over the wild, Waters calls for an appreciation of film’s potential as a medium for wild expression and radical ideas.