![]() This complexity and contradictory quality only fuels the mystery and fascination that the oeuvre continues to arouse. ![]() 2 Hardly ever eliciting sheer indifference, the master and his films lay probably at the crossroads of these many portraits and assessments: infinitely rich, complex, and not devoid of shadows. Sometimes, these celebrations are conducted in a mode bordering on the reverent or even panegyric, while elsewhere Kubrick is treated with contempt if not hatred. Following the market logic, the director’s legacy is fetishized and vigorously exploited commercially, not least with last year’s fiftieth anniversary of 2001’s release and this year’s commemorations. ![]() As such, he is one of the very few directors to have straddled the line of critical praise as auteur and mainstream success. Kubrick’s chiselled-out yet endlessly open and “visionary” filmography has since its inception kept asking crucial questions, making a lasting impression on a large number of people, from the regular cinemagoer to the global film auteur. But his death also came just as the ‘reunited’ world was lapsing, faster and faster, into globalization, a far cry from the prophecies of 2001: a Space Odyssey (1968) – for better or for worse. 1 In essence, the fabled perfectionist and obsessive master had worked himself to death. ![]() Stanley Kubrick (1927-1999) passed away twenty years ago – on Ma– while in the process of completing post-production on Eyes Wide Shut (1999), leaving his grand oeuvre somewhat unfinished. “We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?” ![]()
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