It’s that time of the year again, where everyone posts their best of the year film lists. However, given that I’ve seen roughly 30 films from 2011, I’ll be continuing my tradition of highlighting my discoveries from the year. There’s only one rule: it has to be a film related thing from the past, so no 2011 films.
Director Frank Borzage was one of my discoveries of last year and this year 7th Heaven is easily the best of his films I saw this year. No other film this year moved me as much, yet another testament to Borzage’s ability to craft empathetic characters and take them on a raw, redemptive emotional journey.
Cinematic. Trashy. Trancendent. B-Grade. Art. Sensationalism. Brian De Palma’s magnificient thriller rips down the barriers between high and low art, melding styles and sensibilities into a sweltering, obsessive work.
It’s possibly F. W. Murnau’s most visual restrained picture, but his ability to use pure images to convey the psychology of desire is supurb, forming the basis of a powerful and memorable melodrama. The fact it shares a lot of similarities to, and probably served as an inspiration for, Days of Heaven only enhanced my experience with the film.
I caught up with more fantastic Bresson films this year and Diary of a Country Priest is easily the best of those that I saw, a film that stands among the best of Bresson’s films. It’s the origins of his signature restrained, minimal acting style and the true creative birth of one of cinema’s finest directors.
When people talk about the great late ‘90s sci-fi breakout, they’re usually referring to either Dark City or The Matrix and while both are stellar films, eXistenZ was sadly lost inbetween the two films, also questioning the existence of reality, but in a more lucid, waking dreamlike state. It’s the film’s courage to take the premise to its ultimate conclusion that makes it stand as a worthy third competitor to the Dark City vs. The Matrix debate.
Take Mission: Impossible, blend it with Mulholland Dr. and some neo-noir and you might get a basic idea of what Femme Fatale is. The truth is that Brian De Palma’s bizarre, masterful film is layered with so many devices, plot points and twists that the film is hard to explain and perhaps ever harder to completely understand. That’s part of what made Femme Fatale one of the standout films I saw this year, but it’s also the reason why you’re not going to see a review of this film until I at least rewatch it.
While it’s Krzysztof Kieslowski and Piesiewizk’s final screenplay which attracted me to Heaven, Tom Tykwer’s soft, uneasy style and the fantastic performances by Cate Blanchette and Giovanni Ribisi echos what I love about Kieslowski’s work while also being its own magnificent masterstroke.
Maybe it’s because I expected the most infamous boxoffice flop of all time to be terrible, but I actually found myself enjoying the broad, drawn out dance sequences and grotesque perversion of the old West in Michael Cimino’s follow-up to The Deer Hunter. Perhaps not a truly great film, it’s still the one film this year that took me the most by surprise.
About once every year I see a film that challenges what films can be and do. My ever evolving preconceptions of cinema went through yet another dramatic shift as I watched this narrativeless, characterless sky voyage through the modern world.
While Lady Vengeance lives in the shadow of the cult hit Oldboy, I found this film much more beautiful, elegant and involving. Park Chan-wook uses all three films in his vengeance trilogy to explore the different ways revenge can lead his characters, but Lady Vengeance was the only one that left me simultaneously shake and distraught as well as hopeful for the future of the characters.
A film that excels on so many levels it’s difficult to know where to begin. The strong screenplay weaves in politics, religion, class struggle and ideology into an involving drama set across the backdrop of one of the most visually distinct sci-fi motifs. Metropolis is the granddaddy of pretty much every great dystopian film made since and few can live up to its legacy.
Amidst the flurry of smart, quippy wordplay and tense, breathless suspense setpieces, Only Angels Have Wings weaves a heartbreaking, tragic world of men who live life on the edge and the poor women doomed to fall in love with them. Easily the best Cary Grant movie I discovered this year. Also, who’s Joe?
Old souls caught up in a retelling of Faust blends that thing special to me, the rock opera musical into De Palma’s pulpy style for somebody super like you. It finds life at last in the upholstery of the pure expressiveness of musicals and the sheer bizarriety of pulp fiction. And that’s the hell of it.
A town drunk, a cocky young kid, a jaded old sheriff and a gimpy jailer become the ensemble of one of the best westerns ever made. Add the ravishing and cold Angie Dickinson only seals the film as an all time great.
No film has terrified me as much as Safe did. There were sequences where I found myself holding my breath, just as frightened as the protagonist to take in any air. Todd Haynes’ strong screenplay and masterful direction make what could be a silly, paranoid story into one of the most empathetic and disempowering movies I’ve ever seen.
I’m surprised how frank and biting this film is. It’s a pull no punches look at human suffering and while I’m not completely sure how I feel about the details of what it has to say, the core relationship of the film as well as the climax is absolutely fantastic.
Sam Peckinpah might be one of the most misunderstood directors of all time. While many see his films as violently sensational, I see them as harrowing and complex explorations of just how messy and horrific violence is. Straw Dogs takes this even farther by adding a social dimension as well as sexual violence into the mix, making it a complicated, but ultimately condemning look at violent masculinity.
A beautiful portrait of a man’s last journey, both literal and figurative, as he drives hundreds of miles on his riding mower to visit his brother one last time. It’s the encounters he has along the way, the people he meets and the way they react which makes the film so rich. Brought to you by David Lynch!
There are many films about artist and the creative process, but few get to the struggle, the self-doubt, the frustration and angst of trying to create as well as the childhood tale in Whisper of the Heart. It might be Studio Ghibli’s most straightforward film, essential a human drama, but it’s also one of their most magnificent and touching
Has satire ever been so funny and yet so dumb? Part cultural riff on the ‘80s, part quasi-meta media satire, Mike Myer’s comedy classic is pure comedic gold. It triumphs in great part because it’s just as willing to make fun of itself as it is to make fun of others. And I can no longer hear Dream Weaver without cracking up into laughter. Party on, Wayne! Party on, Garth! That’s what she said.
The surreal, absurd humor of Luis Buñuel made for two of the most magnificent and funny films I saw this year. That Obscure Object of Desire brilliantly spoofs the artsy, navel gazing romance while The Discreet Charm of the Bourgeoisie made the dinner party both a dreaded and hilarious affair. I also enjoyed the solid The Exterminating Angel and look forward to watching even more of his work in the future.
The slow, formally stilted films of the Dardennes Brothers were some of the most involving and provoking films I saw this year. It’s The Child which still grips me and I think Lorna’s Silence is also underrated by some of their fans. I didn’t find The Son as gripping as most, but I still found it compelling and I’m eager to check out The Kid with the Bike whenever I can get a chance to see it.
Even when I didn’t like a Denis film, I found it fascinating. Hence I found myself reading a lot about Trouble Every Day even though it was the Denis film I didn’t care for the most. But enough about that, what made Denis such a wonderful director is her ability to capture sensations in such a gleeful manner. I think it’s best expressed in Friday Night but I also found myself caught up in films like The Intruder, White Material and Chocolat because of Denis’ smart visual eye.
My first experience with Kiarostami didn’t overwhelm me. While I enjoyed Close-Up, I wasn’t quite sure what to make of it. After seeing this year’s Certified Copy, his style clicked for me as a bluing inbetween reality and fiction, built around surprisingly strong and emotional cores. I quickly watched Shirin and Taste of Cherry, both of which make me eager catch up with his other films.
One of the most important, influential and controversial filmmakers of all time. While I understand some of the abrasion and responses I’ve gotten toward engaging with her films, I think she has a fantastic sense of motion that kept me entranced throughout the lengthy Olympia. For my thoughts on Triumph of the Will, I point to my review. While I understand why many would not want to spend time with Riefenstahl, I do not regret any moment I spent with her work.
I watched all of Jean Vigo’s films in a day and it was one of my best days of movie watching of the year. The strong debut of À propos de Nice overshadowed the rest of Vigo’s brief career and while Taris and Zero de Conduite were cute, albeit not particularly memorable, asides L’Atalante firmly established Jean Vigo as one of the great directors that tragically died before he was able to launch a career. Few directors with tenfold the films can claim as much pure fun, joy and delight in Vigo’s few hours of film.
© 2012 James Blake Ewing