The Canyons Review: A Prescient Sign of the Times, 11 Years Later

By. Kai Swanson

Paul Schrader's The Canyons may have seemed like a blip on the radar in 2013, but looking back from 2024, it emerges as a prescient critique of the film industry's technological trajectory. Opening with eerie shots of abandoned movie theaters, the film immediately immerses us in a world where the magic of the cinema is fading, replaced by the cold, digital glare of screens in almost every scene. At the time of its release in 2013, The Canyons was widely panned, with several reviews labeling it as one of the worst films ever made. While many of these critiques were justified, the film’s striking imagery now serves as a poignant metaphor for the decline of traditional moviegoing experiences and the rise of digital platforms. Today, The Canyons can be considered a digital classic, directly engaging with the state of the industry in 2024.

The Canyons follows the lives of Christian (James Deen), a generationally wealthy film producer, and his girlfriend Tara (Lindsay Lohan). Their relationship becomes increasingly strained as Christian's manipulative and controlling nature comes to the fore. The film nosedives into the dark side of Hollywood, exploring themes of power, deception, and betrayal in the digital, indie Hollywood film scene. Tara's interactions with Ryan (Nolan Gerard Funk), an aspiring actor, and Gina (Amanda Brooks), Ryan's girlfriend and Christian's assistant, reveal the interconnected and often toxic relationships within the ever-evolving, but persistently corrupt industry.

The opening title credits of The Canyons immediately establish a 70s aesthetic but are rendered in the muted, degraded colors of VHS tape, pointing directly to the cheapening of cinema from film to tape, and then tape to digital. This aesthetic choice aligns with the film's commentary on the industry's shift from the tangible richness of celluloid to the ephemeral, often lower-quality realm of digital media. Schrader's decision to shoot the film on digital for a fraction of the cost traditionally associated with Hollywood productions further highlights this transition. The film's production, funded partly through Kickstarter, embodies the democratization and consequent devaluation of film brought about by digital technology.

Lindsay Lohan, a relic of Disney's golden age, and James Deen, an adult film star, are perfectly cast to symbolize the clash between old Hollywood and the new digital influencers. Their performances capture the essence of a transitional period in cinema, where traditional stars are overshadowed by social media personas. Lohan's portrayal of Tara (Lindsay Lohan), especially in scenes where she toggles between watching classic films she watches on the television that sits across from her bed and texting, perfectly portrays the growing dominance of digital interaction over physical experiences. There’s a particular moment when Tara, discussing movies and questioning if anyone really goes to them anymore unless it’s a premiere or a friend’s film, is later seen watching a movie on a streaming platform. This sequence mirrors the film's core themes.

In the era of influencers, The Canyons stands out as a meta-commentary on the evolution of celebrity culture. It was ahead of its time in predicting the rise of internet fame and the decline of traditional movie stardom. This shift is encapsulated in Lindsey Lohan/Tara's character arc, where her descent into paranoia mirrors the industry's increasing reliance on digital personas and online engagement rather than human interaction.

The Canyons is often miscategorized as a neo-noir due to Schrader’s legacy of directing erotically charged films in the '80s. However, this film is more a reflection of our contemporary digital dystopia. The noir elements underscore the sleaziness and moral decay brought about by neoliberal economic policies that started in the Reagan era and trickled down to the current economic landscape.

The film’s portrayal of characters like Christian, who embody the sociopathic tendencies of Hollywood producers, serves as an indictment of the industry's systemic issues. This narrative can be linked to the broader critiques of capitalist structures that have allowed such figures to thrive unchecked. The dialogue, peppered with phrases like “running a train on you,” instead of acknowledging the violent implications of rape, reveals the casual misogyny that pervades both the industry and society at large.

The economic policies of the 1980s, particularly those initiated under Reagan, have had lasting impacts on various industries, including film. The trickle-down economics theory, which promised that benefits for the wealthy would eventually trickle down to everyone else, is reflected in the portrayal of Christian's character. His wealth and power, coupled with his sociopathic behavior, represent the failings of these policies. The deregulation and tax cuts for the rich led to increased inequality and corruption, which are themes subtly woven into the fabric of The Canyons.

Schrader's Blue Collar previously tackled the corruption within auto unions, mirroring his critique of the corrupt producers in The Canyons. This film can be seen as a continuation of Schrader’s exploration of the consequences of neoliberal policies on various eras of American society. The bleak depiction of Hollywood’s elite serves as a microcosm for the broader societal issues stemming from these economic policies.

Funnily enough, I watched this film on The Criterion Channel streaming platform with a curated list titled “Directed by Paul Schrader” alongside: Affliction (1997), Blue Collar (1978), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Hardcore (1979), Cat People (1982), Patty Hearst (1988), Light Sleeper (1992), Auto Focus (2002), and Touch (1997). The Criterion Collection, established in 1984, is renowned for its dedication to gathering the greatest films from around the world and presenting them in the highest technical quality with supplemental features that enhance the appreciation of the art of cinema. Films included in the Criterion Collection are often held in high regard due to the collection's reputation for curating works of significant cultural, historical, and aesthetic importance. Some would say that it’s ironic and somewhat amusing to find The Canyons among these critically acclaimed works, given its initial reception and the controversy surrounding its production. The juxtaposition of this film with Schrader’s more established body of work highlights its unique place in his oeuvre—a digital era experiment that diverges from his traditionally more polished, thematically dense works.

Something I’ve discovered from reflecting on Schrader’s body of work is that his films often serve as a cultural barometer, reflecting the zeitgeist or addressing issues that are culturally significant in mainstream conversations of their respective eras. With Blue Collar (1978), his directorial debut, examined the personal toll of union labor strikes, shedding light on the struggles of the working class during a period of intense labor disputes. With Hardcore (1979), he explored the impact of widely distributed pornography, a subject that was becoming increasingly pervasive and controversial. Patty Hearst (1988) went into the real-life saga of Patty Hearst, capturing the public's fascination with her story. Each of these films touches on themes that resonate deeply with the societal issues and cultural phenomena of their times, making The Canyons inclusion in his body of work fitting, as it addresses the rise of digital media and the changing landscape of celebrity culture.

The very fabric of The Canyons critiques the devaluation of cinema in the digital age. This film, shot on digital for a mere $250,000, represents a significant departure from the grandeur of 16mm and 35mm, which all of Schrader’s films had been shot on previously. By opting for a low-budget digital production, Schrader not only navigates the economic constraints of modern filmmaking but also comments on the accessibility and subsequent cheapening of the art form. This shift is poignantly captured in the film’s aesthetic, where the lush, immersive quality of celluloid is replaced by the cold, detached feel of digital video.

The cinematography of The Canyons is as flat as its characters, which seems less a budgetary constraint and more an intentional stylistic choice considering its persistence across each frame. Is Schrader using this film as a warning about the future of digital cinema? Could this be a deliberate echo of Gus Van Sant’s near shot-for-shot remake of Psycho—a project undertaken to forewarn against tampering with cinematic classics and to showcase the soullessness of modern reproductions? My desire is for it to be intentional so that I can The Canyons might be Schrader’s way of illustrating the emptiness that comes with the digital age, where the richness of film is sacrificed for the convenience and cost-efficiency of digital.

The film was mostly released on video on demand, further emphasizing its place in the new digital era of cinema. Lindsey Lohan shines, as always. In a film filled with porn stars (a form of acting), and untrained hot, young talent – she stands out. Had I watched it at the time with all the media on her partying and drug issues, would I have considered her to be as wonderful as so many reviews from the time seem to state? To be honest, I don’t think so. She’s a revelation, and her casting was undoubtedly intentional. The Canyons holds a mirror to the contemporary entertainment industry, which continues to grapple with the aftermath of the MeToo movement and the shifting dynamics brought about by digital media. Lindsay Lohan's era of partying and its lingering impact on her career, as discussed in a recent Variety article, highlights the ongoing struggles of actors who navigate the treacherous waters of public perception and media scrutiny. Lohan's performance in The Canyons, viewed through the lens of her tumultuous career, intersects with the film's exploration of fame and its consequences in the digital age.

Lohan’s attempts to stage a Hollywood comeback, as mentioned in a recent Life & Style article, are emblematic of the resilience and perpetual reinvention demanded by the entertainment industry today. Her role in The Canyons becomes even more poignant when we consider her real-life narrative—one that intertwines with the very themes of redemption, downfall, and the quest for relevance in an ever-changing media landscape.

Even the film's ending, with its stark portrayal of a fragmented Hollywood, serves as a reminder of the industry's uncertain future. The desolate theaters bookending the movie are more than mere set pieces; they are Schrader’s prophetic vision of an industry at a crossroads. As Paul Schrader's career continues with films like Oh, Canada! (2024), The Canyons remains a pivotal work that captures the zeitgeist of a transitional period in cinema—a transition we are still experiencing a decade later.

References

Variety. “Bette Midler Says Not Suing Lindsay Lohan for Sitcom Mistake Was a ‘Huge Regret’.” 2024. Variety.
Life & Style. “Lindsay Lohan Hoping to Make Hollywood Acting Comeback.” 2024. Life & Style.
Vault. “Industry Outlook: Film.” 2024. Vault.
NPR. “Is the TV & Film Industry Collapsing or Just Reshaping Itself for the Future?” 2023. NPR.

Crew

Director: Paul Schrader
Writer: Bret Easton Ellis
Producers: Braxton Pope, Bret Easton Ellis, Paul Schrader
Cinematographer: John DeFazio
Editor: Tim Silano
Music: Brendan Canning
Production Designer: Alicia Maccarone
Costume Designer: Matt Chase
Makeup Department: Ashley Cline, Craig Lindberg
Art Department: Thomas M. Hammock

Cast

Lindsay Lohan as Tara
James Deen as Christian
Nolan Gerard Funk as Ryan
Amanda Brooks as Gina
Tenille Houston as Cynthia
Gus Van Sant as Dr. Campbell
Jim Boeven as Jon
Victor of Aquitaine as Randall

For more information about above the line and below the line crew and additional cast, here is a link to the film’s IMDb page.