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Daryush Shokof's film ''[[Seven Servants]]'' (1996) is an original high art cinema piece about a man who strives to "unite" the world's races until his last breath. One year after ''[[Seven Servants]]'', [[Abbas Kiarostami]]'s film ''[[Taste of Cherry]]'' (1997),<ref name="ReferenceB">In 1990, Kiarostami directed ''[[Close-Up (1990 film)|Close-up]]''.</ref> which won the Palme d'Or at the Cannes Film Festival, tells a similar tale with a different twist; both films are about a man trying to hire a person to bury him after he commits suicide. ''[[Seven Servants]]'' was shot in a minimalist style, with long takes, a leisurely pace, and long periods of silence. The film is also notable for its use of long shots and overhead shots to create a sense of distance between the audience and the characters. [[Zhang Yimou]]'s early 1990s works such as ''[[Ju Dou]]'' (1990), ''[[Raise the Red Lantern]]'' (1991), ''[[The Story of Qiu Ju]]'' (1992) and ''[[To Live (1994 film)|To Live]]'' (1994) explore human emotions through poignant narratives. ''[[To Live (1994 film)|To Live]]'' won the Grand Jury Prize.
Several 1990s films explored existentialist-oriented themes related to life, chance, and death. [[Robert Altman]]'s ''[[Short Cuts]]'' (1993) explores themes of chance, death, and infidelity by tracing 10 parallel and interwoven stories. The film, which won the [[Golden Lion]] and the Volpi Cup at the [[Venice Film Festival]], was called a "many-sided, many mooded, dazzlingly structured eclectic jazz mural" by ''Chicago Tribune'' critic Michael Wilmington. [[Krzysztof Kieślowski]]'s ''[[The Double Life of Véronique]]'' (1991) is a drama about the theme of identity and a political allegory about the East/West split in Europe; the film features
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''Quality artistic television'',<ref>{{cite book|first=John|last=Thornton Caldwell|title=''Televisuality: Style, Crisis, and Authority in American Television''|url=https://archive.org/details/televisualitysty00cald|url-access=registration|publisher=Rutgers University Press|year=1995|page=[https://archive.org/details/televisualitysty00cald/page/67 67]|isbn=9780585241135 }}</ref> a [[television genre]] or style which shares some of the same traits as art films, has been identified. Television shows, such as David Lynch's ''[[Twin Peaks]]'' and the [[BBC]]'s ''[[The Singing Detective]]'', also have "a loosening of causality, a greater emphasis on psychological or anecdotal realism, violations of classical clarity of space and time, explicit authorial comment, and ambiguity".<ref>{{cite book|first=Kristin|last=Thompson|title=''Storytelling in Film and Television''|publisher=Harvard University Press|location=Cambridge, Massachusetts|year=2003}}</ref>
As with much of Lynch's other work (notably the film ''[[Blue Velvet (film)|Blue Velvet]]''), ''Twin Peaks'' explores the gulf between the veneer of small-town respectability and the seedier layers of life lurking beneath its surface. The show is difficult to place in a defined television genre; stylistically, it borrows the unsettling tone and supernatural premises of horror films and simultaneously offers a bizarrely comical parody of American soap operas with a [[Camp (style)|campy]], melodramatic presentation of the morally dubious activities of its quirky characters. The show represents an earnest moral inquiry distinguished by both [[Surreal humor|weird humor]] and a deep vein of [[surrealism]], incorporating highly
[[Charlie Brooker]]'s [[Emmy Award]]-winning UK-focused ''[[Black Mirror]]'' television series explores the dark and sometimes satirical themes in modern society, particularly with regard to the unanticipated consequences of new technologies; while classified as "speculative fiction", rather than art television, it received rave reviews. HBO's ''[[The Wire]]'' might also qualify as "artistic television", as it has garnered a greater amount of critical attention from academics than most television shows receive. For example, the [[film theory]] journal ''[[Film Quarterly]]'' has featured the show on its cover.<ref>{{cite web|first=D.|last=Driscoll|url=http://machines.pomona.edu/152-2009/2009/11/02/the-wire-being-taught-at-harvard/|archive-url=https://web.archive.org/web/20110720033154/http://machines.pomona.edu/152-2009/2009/11/02/the-wire-being-taught-at-harvard/|archive-date=20 July 2011 |title=''The Wire'' Being Taught at Harvard |publisher=Machines.pomona.edu |date=2 November 2009|access-date=6 October 2010}}</ref>
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