Jeff Goldblum, Laura Dern, Sam Neill, Bryce Dallas Howard, Chris Pratt, DeWanda Wise, and Isabella Sermon in Jurassic World: Dominion (2022)

Media that is listed as coming out before 2010.

Kirstie Alley and John Larroquette in Madhouse (1990)

Teri Hatcher, Keith David, Dakota Fanning, Dawn French, Ian McShane, Jennifer Saunders, Christopher Murrie-Green, and Harry Selick in Coraline (2009)

Ralph Fiennes, Angela Bassett, and Juliette Lewis in Strange Days (1995)

The decade when megaplex colossi and Sundance-born shoestrings share the same marquee, just as pixels start to rewrite what a moving image can look like.


* The Indie Boom & Miramax Mojo – sex, lies, and videotape (1990) swings the festival gates open; Tarantino’s Reservoir Dogs (1992) and Pulp Fiction (1994) reload grind-house cool with pop-culture chatter; the Coens go neo-noir gorgeous in Fargo (1996); PTA’s Boogie Nights (1997) and Soderbergh’s Out of Sight (1998) prove “indie” can flex studio gloss without losing attitude.



* Blockbuster + Byte = Box-Office Supremacy – Spielberg’s Jurassic Park (1993) lets digital dinosaurs roam free, Cameron’s Titanic (1997) drowns the record books, and the decade closes with The Matrix (1999) bullet-timing reality itself. Franchise reboots—Batman Returns (1992), Star Wars Special Editions (1997)—turn nostalgia into an ATM.



* Cartoons Reborn, Pixels Take Over – Disney’s renaissance belts out Beauty and the Beast (1991), The Lion King (1994), Mulan (1998); meanwhile Pixar’s Toy Story (1995) and A Bug’s Life (1998) introduce feature-length, all-CG worlds. Anime leaps West with Ghost in the Shell (1995) and Miyazaki’s Princess Mononoke (1997).



* World-Cinema Cross-Pollination – Hong Kong’s kinetic fever peaks with John Woo’s Hard-Boiled (1992) and Wong Kar-wai’s neon heartbreak Chungking Express (1994); Iran’s Abbas Kiarostami wins Cannes with Taste of Cherry (1997); Denmark’s Dogme 95 manifesto strips cinema to raw nerve in The Celebration (1998). In Britain, Trainspotting (1996) injects rave culture into social realism.



* Genre Gets Self-Aware – Kevin Williamson’s Scream (1996) stabs slasher tropes in the mirror; Fincher’s Se7en (1995) and Fight Club (1999) push noir into nihilist pop art; Groundhog Day (1993) loops comedy into metaphysics, while Being John Malkovich (1999) makes the fourth wall a revolving door.



* Docs, DV & DIY – Portable cameras and cable outlets birth breakout docs: Hoop Dreams (1994), Crumb (1994), Buena Vista Social Club (1999). Digital video lowers the bar for entry—first for Lars von Trier’s frenetic The Idiots (1998), soon for a legion of micro-budget heirs.


By 1999, cinema speaks fluent postmodernism, wields CGI like a magic wand, and knows a $1-million Sundance darling can share cultural oxygen with a $200-million studio leviathan. The screen is primed for the millennium: half anarchic zine, half global theme park, all light pulsing at 24 frames per second.

Screenprints on My Mind – The Indie-Digital Nineties (1990-1999)

Boris Lehman in À la recherche du lieu de ma naissance (1990)

John Cleese, Terry Gilliam, Graham Chapman, Eric Idle, Terry Jones, Michael Palin, and Monty Python in Monty Python and the Holy Grail (1975)

Marcello Mastroianni and Anita Ekberg in La Dolce Vita (1960)

John Cusack and Samuel L. Jackson in 1408 (2007)

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