This chapter argues that it would be wisest to posit the cinema of Richard Linklater as the cinematic bridge between European Modernism and American Postmodernism—the “little space in between” Godard and Tarantino. Yet the collaborative, cooperative working practice that renders communities and couples onscreen is rather particular to Linklater, whose way of exploring limited time-frames by limited means results in films in which “somehow it all feels true and accurate in a composite sort of way”. Because Linklater is prompted to make his financial and creative limitations as part of his craft, his cinema often reflects the experience of a specific time from all sides. Although none of them are nostalgic, they are all fleeting, immanent, transient, and ephemeral. Any leaning towards nostalgia is curtailed by meaninglessness in Waking Life (2001), and by madness in A Scanner Darkly (2006).
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