1. Overwhelm the Sky (Kremer)
2. Skippers (Wertheimer)
3. The Mule (Eastwood)
4. Hale County This Morning, This Evening (Ross)
5. The Image Book (Godard)
6. Mercy’s Girl (Lape)
7. The Song of Love (Marion/Franklin)
8. Back to God’s Country (Hartford/Shipman)
9. Broadway Love (Park)
10. The Call of the Cumberlands (Ivers)
1. Overwhelm the Sky (Kremer)
All of these films first screened theatrically in Chicago for the first time in 2018. I’ve linked to my original reviews and podcast appearances where applicable and offer new thoughts on a few films I haven’t written about elsewhere. Enjoy.
10. The Woman Who Left (Lav Diaz, Philippines)
A companion piece to Diaz’s earlier Norte: The End of History, this nearly 4-hour epic — about a woman being released from prison after 30 years and searching for the man who framed her — has more intelligent things to say about “revenge” than all of Quentin Tarantino’s movies put together.
9. First Reformed (Paul Schrader, USA)
Schrader’s howl of despair about the fucked-up state of our planet risks becoming ridiculous in order to reach the sublime.
8. Ash is Purest White (Jia Zhangke, China)
Jia again examines recent Chinese history, this time in a gangster movie/perverse love story about a couple whose tumultuous fortunes mirror those of their country.
7. Madeline’s Madeline (Josephine Decker, USA)
This wild and beautiful film, a quantum leap beyond Decker’s first two movies, cuts deep into the heart of the dubious emotional exploitation inherent in almost all director/actor relationships.
6. 24 Frames (Abbas Kiarostami, Iran)
Kiarostami’s final film — and final masterpiece — contains the most innovative use of CGI I’ve ever seen. My capsule review at Time Out Chicago here.
5. Burning (Lee Chang-Dong, S. Korea)
S. Korea’s greatest living filmmaker adapts a Haruki Murakami story and whips up a bizarre love triangle/murder mystery/class-conflict exposé/art film as only he could.
4. Phantom Thread (Paul Thomas Anderson, USA/UK)
Anderson’s cinematic feast is equivalent to a breakfast of Welsh rabbit with a poached egg, bacon, scones, butter, cream, jam, a pot of Lapsang souchong tea, and some sausages. Capsule here.
3. The Mule (Clint Eastwood, USA)
88-year-old Eastwood turns out a work of infinite moral complexity, as deeply moving as it is wacky, told with a visual economy worthy of comparison to late John Ford.
2. Zama (Lucrecia Martel, Argentina)
Martel confronts colonialism in 18th-century Argentina by focusing on an unexceptional man, and turns viewers into aliens in the process. My interview with the director at Time Out Chicago here.
1. The Other Side of the Wind (Orson Welles, USA)
In the same paradoxical way that the famous breakfast scene in Citizen Kane is both depressing (because it charts the dissolution of a marriage) and hilarious (because of the cleverness of the montage), The Other Side of the Wind is a profound meditation on death — the death of the old Hollywood studio system, the death of Orson Welles and, ultimately, the death of everything — that feels more thrillingly alive than any movie I saw in 2018.
11. Jeannette: The Childhood of Joan of Arc (Bruno Dumont, France) – Dumont’s batshit-crazy electronic/metal musical about the childhood of Joan of Arc. My capsule review for Cine-File here and a discussion of it on the inaugural episode of Cine-Cast, the Cine-File podcast, here.
12. BlacKkKlansman (Spike Lee, USA) – Lee’s best in a long time. Capsule review on this blog here.
13. Claire’s Camera (Hong Sang-Soo, S. Korea/France) – Hong in (deceptively) light comedy mode. Capsule review at Time Out Chicago here.
14. You Were Never Really Here (Lynne Ramsay, UK/USA) – Gripping neo-noir that offers further proof Joaquin Phoenix is the finest actor working in American movies today.
15. Good Manners (Juliana Rojas/Marco Dutra, Brazil) – A lesbian love story that mutates into a werewolf movie and has a lot to say about class, race, sexuality and gender in contemporary Brazil besides.
16. The Ballad of Buster Scruggs (Joel Coen/Ethan Coen, USA) – A darkly clever anthology film all about death and storytelling.
17. John McEnroe: In the Realm of Perfection (Julien Faraut, France) – This idiosyncratic doc is as much about cinema as it is about John McEnroe’s nearly perfect 1984 season. Capsule review for Cine-File here.
18. Blaze (Ethan Hawke, USA) – A star isn’t born.
19. Support the Girls (Andrew Bujalski, USA) – A great movie about work, friendship and America.
20. Shoplifters (Hirokazu Koreeda, Japan) – A film that shows, in great unclichéd detail, what it’s like to be poor.
21. Bisbee ’17 (Robert Greene, USA) The best kind of political film, one that encompasses the past and the present and shows how they’re inextricably tied. Capsule review at Time Out Chicago here.
22. Happy as Lazzaro (Alicia Rohrwacher, Italy) – You think it’s a work of neorealism then it shifts, unexpectedly and delightfully, into magical realism.
23. Minding the Gap (Bing Liu, USA) – The most harrowing movie moment of 2018: “You can’t beat up women but some bitches need to get slapped sometimes.”
24. Non-Fiction (Olivier Assayas, France) – Assayas at his wittiest, Juliette Binoche at her most radiant. Capsule review at Cine-File Chicago here.
25. A Star is Born (Bradley Cooper, USA) – A good old-fashioned Hollywood melodrama.
Here are some thoughts on my favorite home video releases of the year. I hope some of you find this useful.
6. Fantomas (Chabrol/Bunuel, 1980) – MHz Networks DVD.
I’ve been a big fan of Claude Chabrol ever since I saw his Isabelle Huppert-starring adaptation of Madame Bovary at the Manor Theater in Charlotte, North Carolina, as a budding 16-year-old cinephile in 1991. I’ve seen literally dozens of his films since then yet somehow I’d never even heard about this French television miniseries, a remake of Louis Feuillade’s legendary silent serial, that he co-directed with Juan-Luis Bunuel (son of the great Spanish filmmaker) in 1980. This version perfectly captures the spirit of mischief, wildness and fun of Feuillade’s original, which pits the title character, a masked master criminal, against a master detective named Juve and his young journalist sidekick Fandor, while also updating the series with a deliberately campy, early ’80s television aesthetic that somehow feels entirely appropriate. When I reached the end of this four-part, six-hour miniseries on DVD, I found myself wishing it would go on forever. Some Blu-ray aficionados may regret that the distributor didn’t bother to release it in hi-def but remember: Chabrol and Bunuel made this series in an era when they thought it would only be broadcast in 480p.
5. Night of the Demon (Tourneur, 1957) – Powerhouse Film Blu-ray
I had never seen Jacques Tourneur’s masterpiece of the occult until my wife and I did a “31-days-of-horror challenge” for Halloween this past October but I became so obsessed that I immediately purchased this extras-laden Blu-ray from UK distributor Powerhouse/Indicator (which, cinephiles everywhere should be gratified to know, is region-free). There are four different complete cuts of the film included here but it’s the insane avalanche of special features — from a rare archival radio interview with Dana Andrews to a new video interview with Tourneur expert Chris Fujiwara to a feature-length audio commentary by historian Tony Earnshaw to making-of docs to an 80-page booklet and more — that gives this set its incredible value.
4. Early Hou Hsiao-Hsien: THREE FILMS 1980-1983 (Hou, 1980-1983) – Eureka!/Masters of Cinema Blu-ray
The three films in this set, the first features of the man I would like to call the world’s greatest living filmmaker, Taiwan’s Hou Hsiao-Hsien, can be seen as “Exhibit A” for the notion that every artist had to start somewhere. The earliest two movies, 1980’s Cute Girl and 1982’s The Green, Green Grass of Home, are fairly standard rom-coms (though both do feature a few splendid sight gags) that were conceived as vehicles for Hong Kong pop-star Kenny Bee. 1983’s The Boy’s from Fengkuei, about the rude awakening of three teenage bumpkins who move from a small fishing village to a large urban port city, is Hou’s first mature work. Like Alfred Hitchcock with The Lodger, it represents the decisive moment where Hou came into his own as a master (it even begins with a pool-hall sequence that prefigures the similar opening of 2005’s Three Times). All three films feature splendid widescreen transfers and are accompanied by illuminating video essays by critics Adrian Martin and Cristina Álvarez López.
3. Godard + Gorin: Five Films 1968-1971 – Arrow Blu-ray
The films that Jean-Luc Godard made during his controversial but seldom-seen “Groupe Dziga Vertov” period from 1968-1972 probably offer the least traditional cinematic pleasures of any phase in the director’s now-superhuman filmmaking career. Yet the movies themselves, which have been kicking around forever in bootlegs of dubious quality but are finally presented here on Blu-ray in flawless A/V transfers, are fascinating and should be considered crucial viewing for anyone wanting to understand his thorny evolution as an artist. Godard’s films were always fragmented and experimental but he abandoned the last remnants of traditional narrative altogether with 1967’s Weekend (which famously ended with the title “fin de cinema”) in order to construct a new film syntax more in harmony with the Marxist-Leninist ideas he wanted to explore. After teaming up with the young revolutionary Jean-Pierre Gorin, Godard began trying to, in his own words, “make films politically” rather than merely make “political films,” and the result was a fertile period of intellectually rigorous work shot on 16mm. My personal favorites in this set are Wind from the East, a Brechtian western that has affinities with Weekend, and which contains a remarkable moment where Godard, in voice-over, takes Sergei Eisenstein to task for being too influenced by “the imperialist D.W. Griffith”; and Vladimir and Rosa, the closest Godard ever came to making a Chicago movie — his comical treatise on the trial of the Chicago Eight begins with a scene of Juliet Berto being beaten up by some Keystone Cops-like cops, and thus picks up where Medium Cool left off (boo-yah!). Among the copious extras: a beautiful, 60-page color booklet, an extended 2010 video interview with Godard, and a hilarious, anti-capitalist Schick commercial from 1971 in which Godard shows a volatile argument about Palestine between a man and a woman being improbably resolved by the scent of the man’s after-shave.
2. Dietrich & Von Sternberg in Hollywood (Von Sternberg, 1930-1935) – Criterion Blu-ray
The greatest director/actress pairing in cinema history gets the deluxe restoration/re-release treatment it deserves with this amazing six-film Blu-ray set from the Criterion Collection. Josef Von Sternberg and Marlene Dietrich, hot on the heels of their instant German classic The Blue Angel, reunited in Hollywood for a series of luminous, exotic, witty and transgressive films at Paramount Pictures (from 1930’s Morocco, which introduced Americans to Dietrich’s sexually ambiguous, cabaret-act persona, to 1935’s The Devil is a Woman, a film about erotic shenanigans in a backlot/fantasy version of Spain that ended the Dietrich/Von Sternberg partnership on an appropriately lurid high note). Von Sternberg arguably knew more about lighting than any other director and that’s why it’s so fucking sweet to see these nitrate masterworks so exquisitely rendered in HD. And the extras, which explore every nook and cranny of the films (e.g., Farran Smith Nehme’s very welcome essay on Von Sternberg’s behind-the-scenes collaborators “Where Credit Is Due”), are amazing and worth the price of admission alone.
1. Pioneers: First Women Filmmakers (Various, 1911-1929) – Kino/Lorber Blu-ray
Did you know that there were more women directing movies in America from the mid-1910s through the early-1920s than there have been at any time since — including the present day? I sure didn’t until I absorbed the contents of this gargantuan box set, an impressive work of historical reclamation that collects no less than 55 important female-directed movies from the silent era (including shorts, features, and fragments) totaling over 25 hours worth of material. The special features (documentaries, audio commentaries, a lengthy booklet, etc.) contextualize this work within the sad narrative of how these pioneers were eventually forced out of the industry, written out of history and forgotten — until now. The movies themselves are almost impossibly diverse — slapstick comedies, westerns, mystery serials, melodramas, ethnographic documentaries, and even, in Alla Nazimova’s astonishing Salome, the first American “art film” — you name it, it’s here. And it’s essential.
For those who might find the sheer scope of this set daunting and don’t know how to begin diving into it, here are my own top 10 favorite films from the box (the “Greatest Hits,” if you will, of Pioneers: First Women Filmmakers):
1. Motherhood: Life’s Greatest Miracle (Lawrence)
2. The Red Kimona (Lang/Reid)
3. Salome (Bryant/Nazimova)
4. Something New (Shipman)
5. The Dream Lady (Wilson)
6. ’49-’17 (Baldwin)
7. What Do Men Want? (Weber)
8. Too Wise Wives (Weber)
9. Hypocrites (Weber)
10. The Rider (Zhao)
There is a great story by Joey Filer at the essential Chicago film-industry news website Reel Chicago all about RENDEZVOUS IN CHICAGO. It features quotes from producer Layne Marie Williams, actress Clare Cooney and yours truly, and breaks the exciting news that our Chicago Premiere will be held at the Gene Siskel Film Center in February! Filer also makes some rather salient critical points about the film. He writes, “RENDEZVOUS IN CHICAGO’s music, camera work, 4:3 aspect ratio, narrative arc, vignette structure, and pacing, along with one of the most unconventional dance scenes in recent memory, all beg to be analyzed in a film theory course and written about in scholarly journals.” You can read the full article here.
I am also very excited to announce that our first festival screenings in 2019 will take place at the Santa Fe Film Festival in New Mexico (exact date TBA but the fest is held 2/13-2/17) and the Beloit International Film Festival in Wisconsin (exact date tba but the fest is held 2/23-3/04). Members of the cast and/or crew will be present for live Q&As after both screenings. Even more screenings will be announced soon – so stay tuned!
1. The Mule (Eastwood)
2. Roma (Cuaron)
3. True Stories (Byrne)
4. A Star is Born (Cooper)
5. Cam (Goldhaber)
6. The Guilty (Moller)
7. If Beale Street Could Talk (Jenkins)
8. Werewolf (McKenzie)
9. Shirkers (Tan)
10. Love Actually (Curtis)
I’m happy to report I’ve resurrected my White City Cinema Radio Hour podcast (after a 2-year hiatus!) in order to present a very special Christmas-themed episode. I welcome Cine-File Chicago critic Scott Pfeiffer and schoolteacher Karolyn Steele-Pfeiffer to help me break down Richard Curtis’ great – but very polarizing – rom-com LOVE ACTUALLY. Check it out here.