Fifty years after “Taxi Driver” first stunned audiences with its bleak portrait of urban alienation and psychological decline, the film’s principal creators reunited in New York on Friday to reflect on a work they said continues to resonate in an era shaped by digital isolation and fractured human connections.

Director Martin Scorsese, actor Robert De Niro, actor Jodie Foster and screenwriter Paul Schrader gathered at the BMCC Tribeca Performing Arts Center during the 25th anniversary celebrations of the Tribeca Festival, revisiting the legacy of the 1976 film that remains one of American cinema’s most influential works.

Speaking after a special anniversary screening, Scorsese said the film’s enduring relevance stemmed from its exploration of loneliness and social disconnection.”It’s a sense of being isolated, it’s about being lonely and not being able to communicate or connect,” Scorsese told the audience. “For me, that’s universal.

It’s always going to speak to young people.”The reunion brought together the creative figures behind a film that transformed the careers of many involved and became a defining work of the New Hollywood era. Released in February 1976, “Taxi Driver” followed Travis Bickle, a troubled Vietnam War veteran portrayed by De Niro, whose descent into obsession and violence unfolds against the backdrop of a deteriorating New York City.

The film quickly became a critical and commercial sensation, earning the Palme d’Or at the Cannes Film Festival and receiving four Academy Award nominations, including Best Picture. De Niro was nominated for Best Actor, while Foster, who was 12 years old during production, received a nomination for Best Supporting Actress.

For screenwriter Schrader, the film’s continued relevance remains remarkable given the passage of time.”Obviously there is something in this film that doesn’t die,” Schrader said during the discussion. “If we marked the 50th anniversary of a film in 1976, we’d be talking about a 1926 movie. So it is very peculiar.”The anniversary discussion frequently returned to the themes of isolation, alienation and social fragmentation that underpin the story.

While the film was rooted in the urban realities of 1970s New York, participants suggested that its depiction of disconnected individuals searching for meaning has found new relevance in the digital age.The enduring cultural influence of “Taxi Driver” has extended far beyond cinema.

The film’s imagery, dialogue and character archetypes have been referenced across decades of filmmaking, television, literature and popular culture. Travis Bickle’s alienation and sense of dislocation have become touchstones in discussions of modern loneliness and social estrangement.For Tribeca, the screening carried additional significance.

The festival was co-founded by De Niro in 2002 as part of efforts to revitalize lower Manhattan following the September 11 attacks. The 25th anniversary celebrations have featured retrospectives and discussions highlighting landmark films connected to New York City and American cinema.Friday’s event underscored the unique place “Taxi Driver” occupies in film history. Few movies continue to generate sustained discussion five decades after their release, and fewer still retain such contemporary relevance.

The filmmakers acknowledged that audiences continue to discover new meanings in the story, particularly as technology reshapes the ways people communicate and interact.Although the cultural and technological landscape has changed dramatically since 1976, the participants suggested that the film’s central concerns remain largely unchanged.

Feelings of loneliness, isolation and the search for connection continue to shape modern life, even as they manifest through new platforms and social environments.

As the audience reflected on the film’s legacy, the discussion highlighted how a story rooted in one moment of American history has continued to speak to successive generations. Half a century after its release, “Taxi Driver” remains a subject of analysis not only for its cinematic achievements but also for its examination of the human condition.

The growing presence of YouTube creators in feature filmmaking is prompting fresh debate over whether the platform has become a new pathway into the film industry or simply another venue for aspiring directors to build audiences before moving into more traditional forms of storytelling.

Recent years have seen several high-profile online creators transition from producing digital content to directing feature-length films, reflecting broader changes in how emerging filmmakers develop skills, attract attention and secure financing.

The trend has coincided with a period in which concerns about declining attention spans and the dominance of short-form video have raised questions about the future of theatrical filmmaking, particularly among younger audiences.The shift has led some observers to characterize YouTube as a modern equivalent of film school.

Yet the comparison remains contested. While the platform provides creators with direct access to audiences and allows them to experiment with narrative techniques, it does not function as a formal training environment.

Instead, it serves primarily as a distribution platform where creators learn what attracts viewers and sustains engagement.The distinction is significant because success on YouTube often depends on factors different from those traditionally associated with filmmaking.

Algorithms, audience retention metrics and platform-specific viewing habits can shape creative decisions in ways that differ from the demands of feature-length storytelling. As a result, building a large online following does not necessarily equate to acquiring the technical or artistic skills historically associated with directing films.

The phenomenon has drawn comparisons to MTV’s role during the 1980s and 1990s. Music television provided an influential showcase for directors whose visually distinctive work later translated into feature filmmaking careers.

MTV itself did not teach filmmaking, but it offered exposure and opportunities to experiment with visual storytelling in front of large audiences.Many of the directors who emerged from the music-video era followed conventional industry routes before reaching wider recognition. Others arrived from less traditional backgrounds.

Film-makers such as Spike Jonze and Michel Gondry built reputations through highly original music videos before transitioning into feature films. Their earlier careers reflected alternative creative paths, with Jonze working as a skateboarding photographer and Gondry coming from a music background before establishing himself as a director.

Among contemporary filmmakers, Boots Riley is often cited as an example of a director whose work reflects a similarly unconventional sensibility. Riley’s upcoming film “I Love Boosters” has drawn attention for its visually ambitious style and political themes. His work stands apart from that of many online creators who have recently entered feature filmmaking, reflecting a different creative lineage despite sharing an interest in unconventional storytelling.

The backgrounds of emerging YouTube-based filmmakers have also highlighted broader questions about access and representation within the entertainment industry. Many of the creators receiving significant attention for transitioning into feature directing are white men.

Markiplier, one of the most prominent figures associated with the trend, has Asian heritage, but the broader pattern has led some observers to question whether digital platforms have fundamentally altered long-standing disparities in access to filmmaking opportunities.

Although launching a YouTube channel generally requires fewer financial resources than attending film school, barriers to entry remain. Producing content consistently over long periods often depends on access to equipment, free time and financial support. These factors can influence who is able to devote sufficient resources to building an audience and developing a public profile.

The reality has complicated narratives that portray digital platforms as purely meritocratic environments where talent alone determines success. While YouTube has expanded opportunities for creators to reach audiences without traditional gatekeepers, the platform does not eliminate economic and social advantages that can affect creative careers.

At the same time, the migration of creators from online video into feature filmmaking has revealed a continuing interest in cinema among younger generations. During the COVID-19 pandemic and its aftermath, analysts and industry observers frequently questioned whether younger audiences retained the patience or inclination to engage with feature-length films.

The rise of mobile devices and short-form content contributed to concerns that traditional moviegoing habits were becoming increasingly outdated.Recent projects associated with younger creators have challenged some of those assumptions. Productions such as “Backrooms” and “Obsession” have attracted audience attention despite emerging from internet-native creative cultures.

Their reception suggests that digital audiences are not necessarily abandoning longer narrative formats, even when shorter alternatives are readily available online.“Backrooms” in particular has demonstrated that audiences may be willing to support feature-length adaptations of concepts that originated in online spaces.

The project illustrates how internet-born stories can evolve into larger cinematic experiences rather than remaining confined to short videos or niche digital communities.The development reflects a broader pattern in which online platforms increasingly function as incubators for intellectual property and creative talent.

Successful digital concepts can attract industry interest, while creators who establish dedicated audiences online may gain opportunities that were once available primarily through studios, film schools or established production networks.Even so, the emergence of YouTube creators as film directors does not necessarily indicate a fundamental transformation of filmmaking itself.

Directors continue to arrive from diverse backgrounds, including theatre, film schools, television, advertising, music videos and independent filmmaking. The skills required to sustain a feature-length narrative, manage large productions and work within established industry structures remain distinct from those needed to succeed on digital platforms.

What the trend does demonstrate is that a growing number of online creators view filmmaking as a goal rather than an alternative to traditional entertainment media. For creators such as Curry Barker, Kane Parsons and Markiplier, feature films represent an ambition beyond the continuous production cycle that defines much of online content creation.

Their transition suggests that despite profound changes in media consumption habits, cinema continues to retain cultural significance for a generation raised on digital platforms.

The movement of creators from YouTube into feature filmmaking underscores the enduring appeal of movies as a creative medium, even as the routes into the industry continue to evolve.

Participating for the 12th consecutive year, Ithra is offering visitors an immersive experience that highlights the Kingdom’s rich heritage and innovative contributions to literature, art, and knowledge.

The pavilion is thoughtfully divided into four sections, beginning with an introductory area showcasing Ithra’s key facilities, including its library, museum, theater, and cinema.

Visitors can explore two dedicated zones for library programs, featuring workshops, discussion panels, and interactive sessions designed to inspire curiosity and learning. In addition, a bookstore highlights Ithra’s latest titles spanning philosophy, literature, art, and heritage, giving attendees a chance to engage with unique content.

Abdullah Al-Hawas, director of Ithra, emphasized the center’s commitment to fostering cultural dialogue and knowledge sharing. “Every year, Ithra brings fresh ideas to the Riyadh International Book Fair.

This year, under the theme ‘Riyadh Reads,’ we are presenting 13 new publications covering philosophy, literature, and art, most of which were recently produced,” he said.

Among the most popular titles is The Mu’allaqat for the Millennial Generation, which makes classical Arabic poetry accessible to today’s readers. Another acclaimed publication, Arabic Proverbs for the New Generation, features over 150 Arabic proverbs with insightful commentary, encouraging readers to reconnect with their linguistic and cultural heritage.

Ithra also presents Hijra: In the Footsteps of the Prophet, detailing the historic eight-day journey from Makkah to Madinah, along with books on camels, crafts, and philosophy, all carefully selected for their cultural significance.

Ithra’s publications have gained international recognition through translations into Spanish, German, Korean, Chinese, French, and English, reflecting the center’s mission to share Arab culture with global audiences. The Ithra Library, one of Saudi Arabia’s largest and first fully digital libraries, spans four floors, housing over 357,000 books and thousands of digital resources.

As a cultural hub, Ithra hosts engaging programs such as the Ithra Reading Club, Majaz poetry celebrations, Ithra Library Saturdays, Your Book in a Minute, and Bridges to the World, promoting literary creativity, knowledge exchange, and cultural appreciation.

Through its dynamic participation in the Riyadh International Book Fair, Ithra continues to strengthen Saudi Arabia’s position as a center for culture, learning, and innovation, inspiring readers of all ages to explore and celebrate the richness of Arab heritage.