The Unlikely Savior of Cinema: Ruben Östlund’s Ambitious Platform for Human-Curated Film Discovery

Ruben Östlund, the Swedish filmmaker behind The Square and Triangle of Sadness, has been making waves in the film industry with his incisive satires on modern life. His latest venture, MyList, is an ambitious platform that seeks to revolutionize the way we discover new movies by putting human taste back into the equation.

On its surface, MyList appears as a straightforward recommendation site where filmmakers and industry professionals can share their favorite movies with the public. However, beneath this façade lies something more profound: Östlund’s attempt to tackle the scourge of algorithm-driven film discovery that dominates our streaming habits. “Today you almost rate everything — you rate the beach, you rate streets, restaurants, your kids, your wife,” Östlund observes wryly. “It’s not a good way of looking at life.”

By contrast, MyList offers a refreshing respite from the endless rankings and ratings that define our online interactions. The platform puts faith in something fragile: the personal relationship between a filmmaker and their audience. As co-founder Felix Herngren notes, “The internet has no borders,” but this borderlessness allows MyList to bypass gatekeepers and connect viewers directly with movie makers.

MyList’s emphasis on human curation over algorithmic recommendation is its most distinctive feature. In an era where streaming services tout their ability to “learn” our tastes through data analysis, Östlund’s platform offers a more nuanced approach. As co-founder Johan Kindblom notes, “The value of personal reflection and context that MyList brings to the table cannot be overstated.”

However, there are risks involved in putting human taste back into the equation. What if we disagree with our favorite stars or directors? Can their recommendations be trusted? These questions notwithstanding, Östlund’s confidence in his platform is infectious.

As the site prepares for its international rollout – an English-language version is imminent, with plans for broader European and global expansion in the works – it’s worth asking what this means for the film industry. Will MyList disrupt the established order of online streaming, or will it simply offer an alternative route to discovery? One thing is certain: by putting human taste back into the equation, Östlund has sparked a conversation about the very nature of film discovery itself.

The current state of film discovery is a curious one. We’re told that algorithms can predict our tastes with uncanny accuracy, but in reality, these systems often rely on simplistic assumptions and incomplete data. This obsession with ratings has created a culture where viewers feel pressured to conform to industry norms rather than trust their own instincts. As Herngren notes, this culture is characterized by “a relentless focus on evaluation and ranking, even for the most mundane aspects of life.”

MyList offers a refreshing respite from this algorithmic madness by putting human curation front and center. By inviting filmmakers, actors, and industry professionals to share their personal recommendations, the platform creates a space for genuine connection between creators and audiences. This eclecticism is precisely what sets MyList apart from more rigid recommendation systems.

The success of MyList will depend on its ability to balance human curation with the needs of its users. As Östlund notes, “It’s interesting when you can mix professionals from the industry — actors, film critics — next to people working with something completely different.” This blend of perspectives is essential for creating a platform that truly represents the diversity of tastes and preferences in the movie-watching public.

As MyList prepares for its international rollout, it’s worth asking what this means for the future of film discovery. Will we see a shift away from algorithm-driven platforms and towards more human-centered approaches? One thing is certain: by putting human taste back into the equation, Östlund has sparked a conversation about the very nature of film discovery itself.