Jakarta – Timothée Chalamet is facing backlash online, despite a successful marketing strategy for his latest film, *Marty Supreme*. A resurfaced video is at the center of the controversy.
The video features Chalamet in conversation with Matthew McConaughey for a Variety event, discussing the current attention spans of audiences and whether slower-paced films can still succeed.
Chalamet noted that younger fans still appreciate those types of films, citing Netflix’s *Frankenstein* as an example.
He also expressed feeling a pressure to promote films as “serious” events to attract audiences seeking instant gratification.
“I’m in the middle, Matthew,” Chalamet said. “I admire people—and I’ve done it myself—who go on talk shows and say, ‘We need to keep movie theaters alive, we need to preserve this genre.’ But I feel like if people want to see something, like the phenomenon of *Barbie* or *Oppenheimer*, they’re going to reach and they’re going to be proud of it.”
The criticism arose when Chalamet compared film to opera or ballet. With a laugh, he said:
“I don’t want to be in a situation where it’s like, ‘Hey! Please go see ballet or opera, because nobody cares anymore,’” he joked.
Realizing his comment could spark debate, he quickly added, “Sorry to the ballet and opera people. Oh man, I’ve probably lost some fans. I’m creating problems that don’t need to be created.”
Despite the intention being humorous, many felt Chalamet’s remarks were arrogant and disrespectful to other art forms, which they believe are thriving.
Prominent institutions like the Metropolitan Opera and Royal Ballet responded by posting evidence of sold-out performances, subtly rebuking the actor.
Film critic Angelica Jade Bastién responded with a sharp essay for Vulture titled “Film Is in Its Own Crisis, Timothée.” Bastién argued that Chalamet may not have fully grasped the irony of his statement.
According to Bastién, Chalamet’s comments reflect anxieties within the film industry itself, which is currently grappling with an identity crisis, a reliance on sequels, and a significant decline in cinema attendance.
The article highlighted how Chalamet, often seen as a representative of a new generation of “serious” actors, seemed to overlook the history of the arts.
“Chalamet may not realize it, but he is expressing a fear that is unacknowledged by his peers. There is a clever anxiety behind the public mess he has made.”
The controversy prompted a promotional opportunity for the worlds of opera and ballet, with some venues offering discounts using the code “CHALAMET” as a playful protest and invitation for the actor to experience the art forms firsthand.
Artists in the performing arts community also responded to Chalamet’s comments, objecting to the suggestion that ballet and opera are fields “nobody cares about” anymore.
Canadian opera singer Deepa Johnny called Chalamet’s remarks disappointing, stating that the magic of live theater, ballet, and opera is unparalleled.
“We should be supporting each other across artistic disciplines, not tearing each other down,” Johnny emphasized.
Irish opera singer Seán Tester shared his thoughts on Instagram, arguing that Chalamet’s comments equated “popularity” with “cultural value.” He maintained that ballet and opera are not relics of the past.
“This is a living art form, constantly evolving and being reinterpreted,” Tester wrote. “It’s strange that a global artist like him would consider opera and ballet irrelevant. These art forms have survived countless wars.”
Tester also offered a pointed critique:
“Saying that these art forms are irrelevant says nothing about the art itself, but rather about how little time that person has spent actually experiencing it firsthand.”
The debate underscores a broader conversation about the value of art in the age of social media and the pursuit of viral trends, and how different art forms navigate the challenge of maintaining relevance in a rapidly changing cultural landscape.
(ass/tia)
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