Its a bit like pop music. If all you've ever heard is (basic) western harmony and suddenly get exposed to some weird oriental stuff it does not even register as music..
Whoa... this is a bold claim. I can think of western films that use techniques like this: 2001: A Space Odyssey, Thin Red Line, Breathless, anything by Bergman, and The Royal Tenenbaums, for example, and many more that employ some of those traits. Additionally, implicit in the suggestion that not having those things somehow makes it "fast food production" (and thus of low quality), is rather unfair to the many western and non-western artists who have honed they're storytelling craft in a variety of styles. I love Tarkovsky and Solaris remains one of my favorite films, but I also like suspense films like Alien or action movies like Enter the Dragon, and many others which are frenetic, scary, fun or exciting.
For example, every superhero gets 30s of screentime and a few sarcastic quips. The story is black and white, because you know who the good guys and bad guys are. The dominance of franchise movies has vastly restricted the opportunities for other kinds of films to be seen in cinemas. In his essay [1], Martin Scorcese makes a much better case for it than I can, but the gist of it is that while before there were high-brow and low-brow films, now Hollywood is taking the cynical approach that the low-brow films make the most money in a low risk way rather than art for art's sake.
[1] https://www.nytimes.com/2019/11/04/opinion/martin-scorsese-m...
But when I check what audiences say about said work (and even well known art critics) in 99% of the cases I am left with the impression they live in an another planet. The analogies, metaphors and other symbolism fail to trigger recognition of the "multiple levels" involved and thus also to elicit the emotional response that follows from linking to our current realities.
It is almost as an old story appreciation ability has been lost...