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In another year, perhaps, some of these could have been on my top 10 list. Alas, this was not that year.
20. The Last Black Man in San Francisco (Joe Talbot)
Joe Talbot’s marvelous debut film, The Last Black Man in San Francisco, is an utterly unique film. It has a strange, almost dreamlike quality – a portrait of San Francisco from the point-of-view of someone who very clearly loves the city, but is being left behind. It’s also that rare film about a large, systematic issue – in this case gentrification – that doesn’t reduce the complex issue to a series of individual villains, but rather sees the problem as something large, and insurmountable. It also has the quality of street theater, but with a wider scope. It is an ambitious film, a beautiful film, a deeply humane film – and in the end, a rather sad film. Sometimes there is nothing to do but leave town. This film announces a major new talent in the film world.
19. Pain & Glory (Pedro Almodovar)
Pedro Almodovar was, for a long time, an art house staple. From the late 1980s to sometime in the mid-2000s, he could be counted on for making colorful, stylish, entertaining, and insightful movies like All About My Mother, Talk to Her and Bad Education. But it’s been a while since Almodovar truly broke through. Now 70, he returns with his version of 8 ½ - with his frequent collaborator Antonio Banderas, playing a version of Almodovar himself – sick and unable to work, alone in the world, and going over his memories of his childhood, his mother, etc. Does Almodovar try to cram a little too much into this film? Perhaps – but it almost all works, particularly Banderas’s performance, everything to do with his mother (played by Penelope Cruz and Julietta Serrano) and the late film sequence where he reconnects with his old lover, which is one of the best sequences Almodovar has ever made. A return to form for a great filmmaker.
18. Long Day’s Journey Into Night (Bi Gan)
Long Day’s Journey Into Night is Bi Gan’s stunning technical achievement – with one of the best uses of 3-D I have ever seen in a film. For the first 70 minutes or so, the film is a haunting and elusive film noir – the main character searching in vain for a woman he once knew and loved. Like his debut film, Kaili Blues, his film is meant as part memory, part fantasy, part realism, and Bi Gan does nothing to tell which is which. And then for the next 59 minutes, we witness one continuous shot – in 3-D (the first 70 minutes weren’t in 3-D) as the character literally has to ascend out of the mines, and then descend into a town, where he believes the woman will be performing in a karaoke competition, and he connects with another woman, who may or may not the woman he is looking for. It is an absolutely mesmerizing sequence, brilliantly shot by Bi Gan and his cinematographers. The whole movie is a visual masterwork – mysterious and elusive and haunting, and it marks Bi Gan as a truly special, daring filmmaker.
17. An Elephant Sitting Still (Bo Hu)
The tragic story behind An Elephant Sitting Still – that writer/director Bo Hu committed suicide shortly after finishing his four-hour cut of the film, as he was arguing with his producers who wanted him to cut the film down to a more commercial 2 hour cut – is certainly interesting knowledge to have about the film. This is a dark film – there are two suicides in the film itself, and it is about a group of four people who going through difficult times in a Northern Chinese industrial town – all may be considering suicide themselves. And yet, the characters in the film don’t give up – they may not find hope per se, but they find a reason to keep going. The film is made up of long takes – drawn out conversations, that would never work in a shorter version. Bo Hu’s life ended tragically early – and he has left behind this one masterful film that will make you wonder just what would have been next.
16. The Nightingale (Jennifer Kent)
Jennifer Kent’s follow-up to her amazing debut horror film, The Babadook, is a more troubling, more challenging film – a film that takes the form of a rape/revenge plot, but deepens it, and muddies it a little. The first third of the film – which includes the rapes and other travesties, is very hard to watch – and Kent doesn’t flinch away, doesn’t exploit or titillate – but shows the horrors. From there, it becomes a slow cat-and-mouse game that takes on issues of misogyny and racism and colonialism in deep, dark disturbing ways. This isn’t a horror film at all really – but a deeply troubling film. At its core is an amazing performance by relative newcomer Aisling Franciosi – as the Irish woman, sent to Australia in the 1820s for petty crimes – and more than pays her debts. This film firmly establishes Kent is one of the most promising filmmakers in the world – already having delivered two exceptional films.
15. Waves (Trey Edward Shults)
Trey Edward Shults’ third film is a stylistic and emotional tour-de-force – a movie that moves along on the propulsive energy of its style and pulsating music running through it. The film is basically split into two halves – the first focusing on Kelvin Harrison Jr.’s high school senior – a wrestling star, dealing with the immense pressure his father (Sterling K. Brown) places on him – and what happens when everything goes wrong at the same time. The second half is about Harrison’s younger sister, a wonderful Taylor Russell, dealing with the fallout from the events of the first half. Shults style is to place us inside these kids’ lives – often inside the cars, with the pulsating music, and the camera constantly moving. The films first half steadily to an emotionally shattering climax. The second half is quieter – but no less moving. Shults, who previously made the ultra-low budget and personal Krisha, and the horror film It Comes at Night, has taken a major step forward – in a film that will remind you of Cassavetes and Malick and early Paul Thomas Anderson – but is also entirely its own thing. This is a film that young people will discover – and love – sooner or later.
14. Little Women (Greta Gerwig)
Lady Bird wasn’t technically Gerwig’s debut film as a director – but it may as well have been. That film was remarkable in that it was a small film – an indie film really, a coming of age film based loosely on the life of Gerwig herself, but written with such sensitivity, directed with a wonderful, restrained style, and performed by an amazing cast that it was miles beyond the many similar films we get in any given year. What is remarkable about her follow-up is that she is able to do the same thing on a larger scale – with one of the most famous stories in American literature. Little Women has been filmed – often – before – but Gerwig makes it her own, from the brilliant time jumping structure, to changing things just enough to be faithful to the book, while putting a modern twist on it. Gerwig is well on her way to becoming one of the greats.
13. Her Smell (Alex Ross Perry)
Alex Ross Perry’s best film to date is Her Smell – a film told in five parts about the fall, and partial redemption of a Courtney Love-esque rock star. When we first meet Elisabeth Moss’ Becky Something, she is already a star in her punk band – but is driving everyone around her nuts. Addicted to drugs and alcohol, with a massive ego, the film traps us backstage at a gig, as she goes off on a rampage, Things get even worse as the film goes along – a recording session gone horribly wrong, another backstage meltdown, etc. Ross Perry’s intentions here are to trap us alongside Becky’s collaborators in these small rooms, offering no room for escape or refuge. And then, she slowly starts to pull things together in the last two segments – making her way back. Ross Perry has always been interested in self-involved, creative people – driving us all mad. Moss has never been better (at least in a movie) than she is here – she does absolutely nothing to make Becky sympathetic or likable – meaning her slow redemption in the last two segments all the more impressive. The film is a dynamic visual film – the camera constantly moving, constantly erratic in those early scenes – but each scene has its own unique look and feel. Ross Perry has been doing very good work for a while now – but Her Smell is a major step forward for him.
12. The Souvenir (Joanna Hogg)
Joanna Hogg’s beautiful, sensitive, humane film about a toxic relationship really is quietly moving, building to a final two shots that are emotionally overwhelming. In the film, Honor Swinton Byrne plays a character based on writer/director Hogg –a young, privileged film student in the 1980s who wants to make films about the underclass. She meets an apparent upper crust young man who works for the home office – Tom Burke – who is both stuffy, but funny and kind. The two fall in love quickly, him keeping secrets from her the whole time. Even as they come up, she cannot fully give up on him – and keeps coming back. Both Swinton Byrne and Burke are wonderful in the film that is also a step forward for Hogg as a filmmaker – who had already made two wonderful films (Unrelated and Archipelago – I wasn’t a fan of Exhibition). She is a filmmaker who is subtle and perceptive – and here, she brings her work to a new level, particularly in the aforementioned final two shots which are a stunner.
11. The Lighthouse (Robert Eggers)
Robert Eggers follow-up to his astonishing debut The Witch is an even more visually stunning film. Shot in stark and black, in an old school, narrow aspect ratio, the film is about two men – Robert Pattinson and Willem Dafoe – trapped together working at an isolated lighthouse, who drive every other insane. You need actors as committed and talented as Pattinson and Dafoe to go this strange, doing everything from fart humor to beating seagulls to death to mermaid sex, and both are brilliant in the film. Eggers and his crew may be the real star here though – working with old cameras, the film looks great – the production design is amazing (they built that lighthouse, because of course they did) and it sounds great as well. You can kind of tell that the story was reverse engineered a little – but it’s such a smart usage of mythology, and shows just how committed and talented Eggers is. I cannot wait to see his career continue to develop.
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