When André Bazin co-founded the film journal Cahiers du Cinéma in 1951 along with the contributions of his fellow writers, Francios Truffaut and Jean-Luc Godard, the concept of the auteur director was a rebuke of the traditions that defined “quality cinema” in Europe. Their theory and criticism sought to expose a medium ensconced in elitism by shattering narrative structure and revealing the construct of cinema. They pioneered a modern, self-aware approach to the art form, laying the foundation for contemporary editing and storytelling. As a result, 21st century cinema owes its form to the provocative, revolutionary filmmakers of the Left and Right Bank groups who ignited the French New Wave. Today, we stand at a similar crossroads in cinema. However, now, IP franchises, such as comic book films, have eclipsed even the tradition of talent-driven studio contracts which fostered the likes of Alfred Hitchcock and Orson Welles, noted inspirations to Cahiers du Cinema. Most insidious of all, art-lovers and independent artists of the 2020s have lost the tool the New Wave wielded for reflection and evolution in film: critique. Amongst the endless, isolated tweets, Letterboxd reviews, and personal blogs, all discussion of film fades to white noise, foregrounded by Rotten Tomatoes – an aggregate review website that thrives on assigning discussion-ending, quantitative values to new releases. Blockbuster trailers and posters boast their approval rating as a major selling point on an easily identifiable and effortlessly marketable scale of “Fresh” to “Rotten.” Behind each percentage, hides the successor to 1950s invisible, American cinema. In the spirit of the French New Wave, prospective and independent filmmakers need a venue to once again critique and experiment with the idea of filmmaking. As with most industries in America, budding critics, theorists, and filmmakers would benefit from joining together to connect, invent, and voice progressive ways of thinking and creating that are not subservient to the financial needs of corporate monopolies or venture capitalists. I don’t simply want to differentiate my own writing from the sea of information and opinion online. I intend to build a coalition of artists and creatives to collaborate on a greater cinematic movement to push one of our most ontological art forms forward. Through the internet, our Cahiers du Cinema could be constructed and written not just by national talent, but worldwide alliance. Mining the thoughts of film students and cinephiles around the globe, together, we could innovate and democratize cinema again. If there’s one thing I firmly believe, it is that art, and specifically film theory or review should not be reserved for exclusive academic or journalist institutions. Over the past year, I’ve participated in a weekly media show-and-tell over video call with everything from history majors to political campaign advisors. For me, it has affirmed that watching and talking about a film is a uniquely human experience which we are all inherently qualified to participate in. But, more than ever, it has taught me how vital it is that we all have a space to do so.