Beineix started his career as a assistant director on fifteen adverts before releasing his first feature in 1981 ‘Diva’, which attracted the attention of key post-modernism theorist Frederic Jameson, who identified it as the first French postmodern film. Despite ‘Diva’ becoming a cult film for the youth of the time, the French film critic establishment did not appreciate the superficial aspects of its postmodern aesthetics. It was simply considered an irrational attachment to visually pleasing imagery at expense of character development or moral purpose.
‘I think France is a very strange country. There is great intelligence there yet narrowness at the same time… In America, "Diva" is taught in the university. In France they 're told not to like it.’ Beineix http://www.nitrateonline.com/2001/fbeineix.html
As a result of this supposed incoherent attachment to style and surface, Beiniex was stablished as the representative of Cinéma du Look. ‘When people understood cinema and disco; film and video-clips, were no longer separate domains, but elements of an explosive cocktail, cinema took a historical turn. In France, Beiniex represesnts that turn’ (Bonitzer 1983:9). Cinéma du Look was positioned by many including …show more content…
Despite the bad reviews, Beineix’s third project, ‘37º2 le matin’ (1876) had the same influence and cult-film effect on the youth culture in France and internationally as ‘Diva’ had. This was mainly due to Beatrice Dalle’s unanticipated performance where she managed to flawlessly capture the perfect combination of innocence and rebelliousness characteristic of 1980’s youth Zeitgeist as well as portraying an “icon of femininity in the 1980s” (Wilson,