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Tag Archives: Apichatpong Weerasethakul

48th Chicago International Film Festival Report Card: And the Rest

Part two of my CIFF report card:

Mekong Hotel (Weerasethakul, Thailand)
Grade: B / 7.4

This begins like a documentary as a group of characters, including a musician whose Spanish-guitar score provides the film with much of its hypnotic power, hang out on a hotel balcony overlooking the Mekong River and talk about nothing much in particular. But, this being an Apichatpong Weerasethakul movie, it isn’t long before characters who may or may not be ghosts are eating the entrails of other characters who may or may not be dreaming. This impressive divertissement is slow, quiet and serene, much like the river eternally flowing in the background through most of the film’s slight 61-minute running time. Mekong Hotel may be a minor work by a major director but, after three great movies in a row (Tropical Malady, Syndromes and a Century and Uncle Boonmee Who Can Recall His Past Lives, “Joe” deserves a little throat-clearing exercise like this while plotting his next move.

F*ckload of Scotch Tape (Grant, USA)
Grade: B / 7.0, Capsule review here.

The Final Member (Bekhor/Math, Canada/Iceland)
Grade: B / 7.1

This charming oddball documentary concerns Sigurdur “Siggi” Hjartarson, curator of the “Icelandic Phallological Museum,” the world’s only museum devoted to the male reproductive organ. Siggi apparently has penis samples of every mammal in the world in his collection, with the exception of the elusive human specimen, and the film details his attempts to find a suitable donor. What seems at first like it might be gimmicky or in bad taste becomes genuinely moving, funny and even suspenseful instead as the filmmakers craft a race-against-time structure by cross-cutting between two potential donors, both of whom want the dubious honor of being “the first”: 95-year old Pall Arason, a legendary Icelandic explorer who has willed his penis to the museum, and Tom Mitchell, a millionaire American cowboy who wants to have his penis surgically removed so he can donate it to the museum while still alive. Proof yet again that truth is stranger than fiction.

Consuming Spirits (Sullivan, USA)
Grade: B / 7.1, Capsule review here.

Rhino Season (Bahman Ghobadi, Iraqi Kurdistan/Turkey)
Grade: B- / 6.8, Capsule review here.

John Dies at the End (Coscarelli, USA)
Grade: B- / 6.6

In this horror/comedy/instant cult classic, a new drug known as “Soy Sauce” hits the street with the promise of making users geniuses as well as masters of time and space. It also inadvertently causes them to return from other dimensions as non-human creatures bent on destroying the earth. Naturally, it’s up to two college dropout/stoner buddies to save the day in what amounts to a low-budget, indie version of Ghostbusters on LSD. It may have the least spoiler-free title ever but there are still plenty of surprises (and laughs) in this nutso vision by director Don Coscarelli (Bubba Ho Tep) who adapted a cult novel by the pseudonymous David Wong. Paul Giamatti deserves major props for agreeing to play a journalist in a framing story, and for taking his role with deadly seriousness. I found this tonally uneven (a perpetual problem with genre mash-ups) but it will go over well with the midnight movie crowd for whom it was made. You already know if that includes you.

Room 237 (Ascher, USA)
Grade: D+ / 4.5

Five people with too much time on their hands give vent to their theories about what Stanley Kubrick’s The Shining “really” means in this occasionally clever, mostly tedious documentary that puts the concept of “fair use” to the test. The interviewees are never seen but frequently heard explicating their crackpot theories in voice-over (e.g., the film is Kubrick’s apology for helping NASA fake the moon landing, an allegory for the holocaust, an allegory for the genocide of Native Americans, etc.) while the filmmakers mostly show images from other movies, including large chunks of The Shining. This premiered in Sundance to great acclaim at the beginning of 2012 and by the time it showed up at CIFF it was already sporting the IFC Films logo at the beginning. The hoopla is somewhat understandable given that the film has a guaranteed built-in fan base but Room 237 strikes me as something that would be moderately amusing at best as a DVD supplement. Sadly, genuinely great (and highly poetic) “fair use” docs like Los Angeles Plays Itself and The Three Disappearances of Soad Hosni will be seen by only a tiny fraction of the people who see this snarky, unnecessary tribute to the tinfoil hat brigade.

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CIFF 2012: Twenty Most Wanted!

It’s time for my annual wish list of movies that I hope will turn up at the Chicago International Film Festival in October. Even if you’re not a Chicagoan, I hope you will find this to be a handy guide to a bunch of exciting-sounding movies that will hopefully be coming soon to a theater near you in the not-too-distant future. I’m deliberately not including Wong Kar-Wai’s The Grandmasters and Hou Hsiao-Hsien’s Assassin, both of which made the previous two installments of this list but which I have now given up hope of ever seeing in my lifetime. I should also point out that some of my most anticipated releases of the fall, like Paul Thomas Anderson’s The Master and Clint Eastwood’s Trouble with the Curve, are scheduled to drop before CIFF kicks off on October 11.

Caesar Must Die (Taviani, Italy)

I’ve never seen anything by Italy’s esteemed Taviani brothers whose long-running co-director act dates back almost 60 years. Their latest sounds fascinating: a documentary about real life high-security prison inmates performing Shakespeare’s Julius Caesar for a public audience. This won the top prize at Berlin earlier in the year from a jury that was headed by Mike Leigh.

The Catastrophe (Smith, USA)

Yep, I submitted my most recent short film to CIFF and I’m still waiting to hear back. I’d be lying if I didn’t say this is the film I would most like to see at the festival. Fingers crossed!

Django Unchained (Tarantino, USA)

Could Quentin Tarantino’s much-hyped, southern-fried Spaghetti Western turn up as a gala presentation or closing night film? Well, he did bring Inglourious Basterds to Chicago in the summer of 2009, a few months before its official release, when CIFF gave him some kind of Lifetime Achievement Award thingy . . .

Dormant Beauty (Bellocchio, Italy)

Another old Italian maestro, Marco Bellochio, returns with an Isabelle Huppert vehicle about an actress caring for her comatose daughter. Bellochio’s 2009 feature, Vincere, which played CIFF, was superb, and Huppert (will she be speaking Italian?) is one of the world’s greatest actresses, so seeing this would be a no-brainer if it should turn up.

Drug War (To, Hong Kong)

The prolific crime film specialist Johnnie To made one of his very best films with 2011’s mind-bogglingly good dramedy Life Without Principle. This raises my expectations even more for Drug War, which sees To re-teaming with long-time collaborators like writer Wai Ka-Fai and actors Louis Koo and Lam Suet. Plot details are scarce but still photographs show a lot of men pointing guns. Intriguingly, this is also To’s first film to be shot entirely in mainland China in over 30 years.

Gebo and the Shadow (De Oliveira, Portugal/France)

Portugal’s Manoel de Oliveira, one of the world’s best directors, assembles a heavyweight cast of European talent for this adaptation of a 19th century play by Raul Brandão: Michael Lonsdale, Claudia Cardinale and Jeanne Moreau join Oliveira stalwarts like Ricardo Trepa, Leonor Silveira and Luis Miguel Cintra. Described as the story of an honored but poor patriarch who sacrifices himself for his son, this is the latest chapter in one of cinema’s most storied and freakishly long careers; at 103, Oliveira has already embarked on pre-production of his next film.

Holy Motors (Carax, France)

My most anticipated film of the year by far is Leos Carax’s long awaited follow-up to 1999’s Pola X. Holy Motors stars Carax’s perennial alter-ego Denis Lavant as an actor who constantly shuttles between multiple parallel lives. Or something. The rest of the formidable and diverse cast includes Edith Scob, Michel Piccoli, Kylie Minogue and Eva Mendes. This wowed audiences and critics alike at Cannes but went home empty-handed come awards time due to an unusually conservative jury headed by Nanni “Middlebrow” Moretti.

In Another Country (Hong, S. Korea)

Another year, another Hong Sang-soo movie that plays to acclaim at Cannes with uncertain prospects of ever turning up in Chicago. Only one of Hong’s last seven films, including five features and two shorts, has played here (The Day He Arrives recently had a few screenings at the Siskel Center). One would think that the presence of Isabelle Huppert in the lead role and the fact that the majority of the dialogue is in English would improve In Another Country‘s chances but one never knows. It seems U.S. distributors like their Korean movies to carry the “Asian extreme” tag, and their witty and intellectual Rohmer-esque rom-coms to be spoken in French – and never the twain shall meet.

Jimmy Picard (Desplechin, USA/France)

The last I checked, Arnaud Desplechin’s first American-set film was still shooting in Michigan but it’s conceivable he could have it ready for a Toronto premiere in September – and thus a local CIFF premiere the following month. Benicio del Toro plays the title character, a Blackfoot Indian and WWII vet, who becomes one of the first subjects of “dream analysis” under a French psychotherapist played by Desplechin’s favorite leading man Mathieu Amalric. The estimable director’s only other English language film, 2000’s Esther Kahn, is also one of his best.

Laurence Anyways (Dolan, Canada/France)

23 year old writer/director/actor wunderkind Xavier Dolan debuted his third feature at Cannes this year where it was well-received. Melvil Poupad stars as a heterosexual man in a long-term relationship who undergoes a sex-change operation. I was initially skeptical of Dolan purely because of his young age and his credentials as a former child star but after catching Heartbeats (whose English language title is a regrettable stand-in for the original Les Amours Imaginaires) at CIFF two years ago, I was completely won over; the guy is a born filmmaker and the two-and-a-half hour Laurence Anyways sounds like a logical and ambitious step forward for him.

Like Someone in Love (Kiarostami, Japan/Iran)

Abbas Kiarostami’s latest divided critics at Cannes, a lot of whom compared it unfavorably to his supposedly “shockingly accessible” Certified Copy from two years earlier. But it also had its defenders and a die-hard Kiarostami fan like me is chomping at the bit to see it. This is a Japan set story about the relationship between a prostitute and an elderly college professor. The ending is supposedly nuts.

Love (Haneke, France/Austria)

I’ve never warmed up to Austrian miserabilist Michael Haneke, who specializes in combining titillation and moralism in convenient arthouse-friendly packages. But his latest, which won the Palme d’Or at Cannes, sounds more actor-driven and appealing to me: it tells the story of a married couple in their 80s (played by French screen legends Jean-Louis Trintignant and Emmanuelle Riva) whose relationship is tested when the wife has a stroke. The ubiquitous “La Huppert,” who appears in three films on this list, co-stars.

Mekong Hotel (Weerasethakul, Thailand)

A documentary/narrative hybrid from the terrific experimental filmmaker Apichatpong “Joe” Weerasethakul about various characters congregating at the title location situated along Thailand’s Mekong River. Apparently pigs and Tilda Swinton are also somehow involved. Depending on whom you believe, this is either a minor diversion or a major masterpiece. Either way, count me in.

The Night in Front (Ruiz, Chile/France)

The great Chilean filmmaker Raul Ruiz passed away from liver cancer last year while putting the finishing touches on what he must have known would be his final film. The Night in Front, an adaptation of stories by Hernan del Solar, received a posthumous debut in a special tribute session at the Cannes Film Festival in May. Fittingly, it was shot in Chile, Ruiz’s home country, from which he had lived in exile for decades. If this swan song is anywhere near the league of Mysteries of Lisbon, the 4 1/2 hour Ruiz opus that preceded it, it will be essential viewing.

Something in the Air (Assayas, France/England/Italy)

Something in the Air has been described as a coming-of-age story set against the turbulent political climate of Europe in the 1970s with locations that include France, Italy and the U.K. This makes it sound like an improbable cross between my other two favorite films by director Olivier Assayas: Cold Water and Carlos. This was offered an out of competition slot at Cannes, which Assayas turned down. As with Jimmy Picard, the only way this will show up at CIFF is if it has a Toronto World Premiere first.

Stoker (Park, USA/S. Korea)

The great Korean director Park Chan-wook’s English-language debut boasts excellent credentials in an A-list cast (Nicole Kidman, Mia Wasikowska and Matthew Goode) and crew (composer Clint Mansell and cinematographer Chung Chung-hoon) and yet . . . the film seems to be languishing in Post-Productionland for a suspiciously long time. Stoker has been described as both a drama and a horror film and plot descriptions make it sound like a virtual remake of Hitchcock’s Shadow of a Doubt. How could this not be great?

Tabu (Gomes, Portugal)

With apparently explicit nods to F.W. Murnau’s film of the same title, this Portuguese/African co-production tells the story of an elderly woman living in contemporary Portugal with her black servant and then flashes back to tell the story of a love affair she had in Africa fifty years prior. I’ve never seen anything by the young director Miguel Gomes but the diverse locations and unusual two-part structure also make this sound similar to Daniel Kohlerer’s recent (and excellent) German/African co-production Sleeping Sickness. Both films were produced by Maren Ade, who is a fine young director in her own right (Everyone Else).

To the Wonder (Malick, USA)

As someone who saw The Thin Red Line five times in the theater, I’ve certainly fallen off the Terrence Malick bandwagon in the wake of The New World and The Tree of Life. And yet I still wouldn’t miss a new film by him for the world. The plot of this Ben Affleck/Rachel MacAdams-starring love story sounds like it will continue the autobiographical vein of The Tree of Life: an American man divorces his European wife and then embarks on a new romance with a woman from his small hometown. This is essentially what happened to Malick while preparing The Thin Red Line.

You Ain’t Seen Nothin’ Yet (Resnais, France)

I used to be somewhat lukewarm on Alain Resnais’ post-1960s work until 2009’s wild Wild Grass brought me roaring back into the fold. This new meta-movie sounds like a typically provocative and fascinating Resnais experiment: a group of great French actors playing themselves (including Michel Piccoli, Mathieu Amalric and Resnais’ permanent leading lady and muse Sabine Aszema) watch a filmed performance of the play Eurydice, which transports them back in time to when they had all starred in the same play years earlier. Some critics derided this as “indulgent” at Cannes but I say that’s like criticizing Thelonious Monk for not playing the piano melodically.

Zero Dark Thirty (Bigelow, USA/India)

Kathryn Bigelow’s long awaited follow-up to The Hurt Locker sees her reteaming with journalist/screenwriter Mark Boal in adapting the true story of the hunt for Osama Bin Laden. This was well into pre-production at the time Bin Laden was killed, meaning Zero Dark Thirty received an 11th-hour “mother of all rewrites.” Details on this are scarce but the excellent Jessica Chastain apparently has a prominent role as a journalist.


Top Ten Films of 2010

It may not have been as strong of a calendar year as 2007, which I’m convinced will go down as one of the all-time great movie years alongside of 1939 and 1960 (but that’s a subject for another post); 2010 was still a good year for the movies. I would go so far as to say it offered an embarrassment of riches for Chicago-area cinephiles – provided, that is, one knew where to look. The only films I really wanted to see but missed were Tuesday, After Christmas, the latest buzzed about film of the Romanian New Wave, which received a scant few Chicago International Film Festival screenings, and the full five and a half hour cut of Olivier Assayas’ Carlos, which turned up for a few Music Box screenings before being supplanted by the much shorter, and ostensibly more audience friendly, theatrical cut. But with so much good cinema fare playing only in limited runs or at “alternative” venues, a few things are bound to slip through the cracks. Having said all that, I’d like to give a special shout out to The Chicago International Film Festival for having a more impressive line-up than usual and the enterprising programmers at the Music Box, the Siskel Center and Facets, who continued to go above and beyond the call of duty in bringing the best of contemporary world cinema to the Second City.

Below is a list of my ten favorite new films to first play Chicago in 2010 (even though some debuted elsewhere last year), as well as fifteen runners-up.

The Top Ten (in preferential order):

10. White Material (Denis, France/Cameroon) – The Music Box. Rating: 8.2

The peerless Isabelle Huppert combines sinewy physical strength with psychological complexity as Maria, the French owner of a coffee plantation in a nameless civil war-torn African country. As violence escalates, Maria presses on running her business, stubbornly refusing to acknowledge that the world around her is descending into chaos. No characters are spared the harsh eye of director Claire Denis in this disturbing drama – not Maria’s fractured family, the government troops, nor the rebel soldiers (including a fair number of child soldiers) led by Isaach de Bankole. This isn’t a masterpiece on the order of her earlier Beau Travail but no one else except Denis, who spent her childhood in Africa and has now made three films there, seems willing to perform the necessary task of providing a moral reckoning of France’s colonial past.

9. Around a Small Mountain (Rivette, France, 2009) – Siskel Center. Rating: 8.3

aroundasmallmountain

Jacques Rivette’s supposed swan song, which some allege was completed by his longtime screenwriter Pascal Bonitzer, is a charming, wise, deceptively simple film that clocks in at a very atypically brief 84 minutes. The story concerns an Italian businessman (Sergio Castellitto) who becomes involved with a low-rent traveling circus, presided over by a mysterious Englishwoman (Jane Birkin). But plot is really only an excuse for Rivette and Bonitzer to explore the nature of performance and how art and life are inextricably bound. Delightful scenes of jugglers, acrobats and clowns performing are intercut with the main story until it becomes unclear where the performance ends and life begins. If it is Rivette’s last movie, it is a fitting farewell indeed. Full review here.

8. Carlos (Assayas, France/Germany) Music Box. Rating: 8.4

French writer/director Olivier Assayas posits the international terrorist as rock star in this electrifying biopic of Ilich “Carlos the Jackal” Ramirez Sanchez. Multilingual, made-for-television and shot in many different countries, this insanely ambitious epic is a perfect reflection of the “global” character of cinema in the 21st century – even as it sticks closely to the “rise and fall” formula of a Warner Brothers gangster film of the 1930s. The highlight is an hour long scene depicting Sanchez’s takeover of OPEC headquarters in 1975, a set piece that puts most contemporary Hollywood action movies to shame. If the film’s inevitable downward spiral denouement can’t sustain as much interest, no matter. This is still essential stuff.

7. Everyone Else (Ade, Germany/Italy) – Gene Siskel Film Center. Rating: 8.5

Everyone Else announces the arrival of a major new directorial talent in Maren Ade, the film’s young female writer/director. In only her second feature film, the chronicle of the end of a love affair between a young German couple vacationing in Sardinia, Ade shows she knows a thing or two about human nature and the mysterious machinations of a relationship in irreversible decline. Reportedly inspired by Ingmar Bergman, whose relationship dramas traverse similar psychological terrain, I found this more devastating and more cinematic than Ade’s ostensible models. I can’t wait to see what she does next. Full review here.

6. Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul, Thailand) – Chicago International Film Festival. Rating: 9.0

“Facing the jungle, the hills and vales, my past lives as an animal and other beings rise up before me.” So begins the latest film by Apichatpong “Joe” Weerasethakul, one of the world’s most exciting young directors. Fully deserving of its Cannes Palm d’Or, Uncle Boonmee is a masterful tone poem that expands on the spiritual themes of Joe’s earlier work to encompass a graceful, feature-length meditation on dying and death. Shot entirely in the jungles of rural Thailand, the cinematography is appropriately lush and the dense sound mix creates an impressively immersive experience. I suspect the experimental aspects of this film may drive some viewers up the wall but I could have watched it go on forever; I emerged from the theater as relaxed and refreshed as I typically feel after watching a film by Yasujiro Ozu. More here.

5. Wild Grass (Resnais, France) – The Music Box. Rating: 9.3

Alain Resnais’ alternately sublime and ridiculous study of fantasy and obsession represents a return to the “wildness” of his early films and, for my money, is also his best film in decades. I really admire the way Resnais takes the premise of a generic romantic comedy (a typical meet-cute involving his regular players André Dussollier and Sabine Azema) and continually undercuts the audience’s desire to “identify” with these characters. Is Dussollier a stalker? Did he actually kill a man in the past? Why does Azema express interest in him as soon as he loses interest in her? The most obvious example of the film’s surrealist/satirical bent is its first false ending, complete with Sweeping Romantic Gesture and Twentieth Century Fox theme music. This is followed by the “real” ending, a cosmic punchline so bat-shit crazy that it nearly caused me to fall out of my chair from laughing so hard. I also loved the candy box colors and near-constant use of crane shots. Now what the hell’s wrong with Sony Pictures Classics that they won’t release a blu-ray, hmmmm?

4. Shutter Island (Scorsese, USA) – Wide Release. Rating: 9.5

The closest Martin Scorsese has come to making a straight horror film is also the best thing he’s done since Goodfellas in 1990. Forget about the narrative twists and turns, which aren’t any more implausible or predictable than what you’ll find in Hitchcock’s best movies. Shutter Island is a great film because of the raw, ferocious emotions at its core, in particular the palpable guilt, fear and paranoia of Leonardo DiCaprio’s Teddy Daniels. These emotions all coalesce in the film’s ingenious finale, which critic Glenn Kenny has aptly compared to Vertigo and referred to as a “perfect note of empathetic despair.” Once the mystery plot has given up its surface secrets, Shutter Island still repays multiple viewings as a brilliant character study. And the unusually baroque visuals, which clearly show the influence of Scorsese’s idol Michael Powell, are never less than a treat.

3. The Ghost Writer (Polanski, UK/Germany/France) – Landmark’s Century Centre Cinema. Rating: 9.6

With this, his 19th feature film, Roman Polanski earned the dubious distinction of becoming the first director to supervise post-production of a major motion picture from jail. Unfortunately, the brouhaha surrounding l’affaire Polanski overshadowed this superb return to form, a meticulously crafted political thriller. Comparisons between The Ghost Writer and Shutter Island are instructive, as both are influenced by Alfred Hitchcock but in radically different ways; Martin Scorsese is the modernist, Polanski the classicist. In Scorsese’s film, every aspect of the movie is aggressively stylized as a way for the director to comment on the subject matter (expressive camera movements, bold color schemes, intentionally fake-looking digital backdrops, crazy editing rhythms). In Polanski’s film, the visual components are just as aesthetically developed but are less self-conscious and more pressed to the service of, not really the story per se, but more what I would call Polanski’s theme; this is most obvious in Polanski’s rigorous color scheme (in particular the suppression of red) and the set design of Pierce Brosnan’s beach-front home, which is perhaps best described as a modern-art nightmare. Both movies finally aren’t about “story” at all; Shutter Island centers on the question of whether violence is inherent in human nature. The Ghost Writer is a query into the dark heart of our new global society and how the major players on that stage use, betray, victimize and discard one another.

2. The Social Network (Fincher, USA) – Wide Release. Rating: 9.8

Another groundbreaking, digitally shot time capsule from David Fincher’s astonishing post-Panic Room mature period. Every aspect of this movie works — from the terrific rapid-fire dialogue of Aaron Sorkin’s screenplay (which recalls the heyday of Hollywood screwball comedy) to the sterling ensemble cast (notably Jesse Eisenberg as motor-mouthed Mark Zuckerberg, Justin Timberlake as the Mephistophelean Sean Parker, and Andrew Garfield as Eduardo Saverin, the man they both screw over and the movie’s true emotional core). But it’s Fincher’s mise-en-scene, which for many reasons could have only been achieved in the 21st century, that turns The Social Network into an exhilarating roller coaster ride. A film that defines our time? Who cares? It’s a film for all time. Full review here.

1. Certified Copy (Kiarostami, Iran/France/Italy) – Chicago International Film Festival. Rating: 10

I’ve heard Abbas Kiarostami’s latest masterpiece described as both a comedy and a metaphysical horror film. Certified Copy, which seems to be both a curve ball and a true-to-form puzzle film from the master, is great enough and slippery enough to accommodate both descriptions simultaneously. I still don’t know if this is a story about the characters played by Juliette Binoche and William Shimmel engaging in some extreme form of play-acting or if the film instead posits a kind of mutable reality in which their identities are constantly morphing in accordance with the demands of a mischievous narrative. And that’s how I like it. Binoche continues to look more radiant with each passing year and Shimell (a professional opera singer but amateur thespian) is pitch-perfect as her foil. More here.

The Fifteen Runners Up (in alphabetical order):

35 Shots of Rum (Denis, France) – The Music Box. Rating: 7.7

Black Swan (Aronofsky, USA) – Wide Release. Rating: 7.6

The Chaser (Na, S. Korea) – Facets Cinematheque. Rating: 7.1

Chicago Heights (Nearing, USA) – Gene Siskel Film Center. More here. Rating: 5.8

Heartbeats (Dolan, Canada) – Chicago International Film Festival. More here. Rating: 7.5

Hereafter (Eastwood, USA/France/UK) – Wide Release. Rating: 7.3

Joan Rivers: A Piece of Work (Stern/Sundberg, USA) – Landmark’s Century Centre Cinema. Rating: 7.5

Lebanon (Maoz, Israel/Lebanon) – The Music Box. Full review here. Rating: 7.7

Life During Wartime (Solondz, USA) – The Musix Box. Rating: 6.7

On Tour (Amalric, France) – Chicago International Film Festival. More here. Rating: 6.6

A Prophet (Audiard, France) – Landmark’s Century Centre Cinema. Rating: 7.0

Scott Pilgrim vs. the World (Wright, USA/Canada) – Wide Release. Rating: 7.4

The Town (Affleck, USA) – Wide Release. Full review here. Rating: 7.0

True Grit (Coens, USA) – Wide Release. Rating: 7.4

Winter’s Bone (Granik, USA) – Landmark’s Century Centre Cinema. Rating: 6.9

Anyone reading this should feel free to post their own favorites in the comments section below.


46th Chicago International Film Festival Report Card

From my perspective, a member of the ticket-buying public who also happens to teach film studies, this was the strongest CIFF in years. Of course, the opening night slot was again taken by a would-be prestige film with no real “awards season” prospects that was predictably dumped on us by a major studio (Stone) and one could always nitpick the absence of such major 2010 festival players as Carlos, Film Socialisme, Hahaha, Poetry, The Strange Case of Angelica, Mysteries of Lisbon, Another Year, Cave of Forgotten Dreams, The Road to Nowhere, etc. On the other hand, it was a major coup to land such heavyweight titles as Cannes winners Certified Copy, Uncle Boonmee Who Can Recall His Past Lives and On Tour. Combine those films with Chicago premieres/gala screenings of genuinely anticipated titles like Black Swan, Tamara Drewe and Hereafter, not to mention a “Visionary Award” / Q&A session with a director who actually deserved the honor (Guillermo del Toro) and you have the recipe for a successful festival.

Unfortunately, I was able to only take in 8 screenings (out of over 100 available). I tried to diversify as much as possible by going with films by directors I admire (Uncle Boonmee, Certified Copy), recommendations from friends (Caterpillar, Heartbeats) as well as a few stabs in the dark based on catalogue descriptions (Shorts 4, Devil’s Town). The one screening I really regret missing is Tuesday, After Christmas, the latest buzzed-about film of the Romanian New Wave. But it wouldn’t be a proper festival experience without “the one that got away.” Here is a report card of my festival experience:

Certified Copy (Kiarostami, France/Italy/Iran)
Grade: A+ / 10

Who could’ve guessed that austere Iranian master Abbas Kiarostami would end up doing his best work by shooting a warm, gentle and wise comedy in Italy with French superstar Juliette Binoche? An English writer (opera singer William Shimell) and a French antique store owner (Binoche) meet at a lecture given by the former on the topic of his new book – the qualitative difference between original works of art and their reproductions; she invites him on a tour of a nearby Tuscan village, during which time they converse about life, love and art. Midway through the film, they begin to play-act that they are a married couple for the benefit of a café owner who is under that mistaken impression. Only the longer they carry on the act the more it seems as if they really are married and perhaps they were merely play-acting to be strangers in the beginning. I don’t know how “original” this brilliant cinematic sleight of hand is or how much it intentionally “reproduces” Rossellini’s Voyage to Italy, Linklater’s Before Sunrise and Bunuel in general (acknowledged most obviously by the presence of his longtime screenwriter Jean-Claude Carriere). But I do know this film is a genuine masterpiece, one that haunted me for days. I can’t wait to see it again.

Cinema of the Americas’ Visionary Award – Tribute to Guillermo del Toro / The Devil’s Backbone
Grade: A+

Me, Guillermo del Toro and my wife, Jillian

In receiving the festival’s Visionary Award, del Toro, a witty raconteur, regaled the capacity audience with tales of his adventures in filmmaking across Mexico, Spain and the U.S. and was abetted by surprise guest Ron “Hellboy” Perlman. The genuine affection between the two was touching to behold (Perlman’s deferred salary helped del Toro complete his first feature Cronos and del Toro repaid the favor years later by insisting against vociferous studio exec objections that only Perlman could play Hellboy). Both were even gracious enough to put in a little face time at the requisite “after party” held at a nearby nightclub. A rare screening of The Devil’s Backbone in 35mm was the icing on the cake; for me, the true highlight was watching del Toro kiss my star-struck wife on the cheek.

Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul, Thailand)
Grade: A- / 8.9

A man searches the jungle for an elusive “monkey ghost” before sprouting hair and blazing red eyes and becoming one himself. A princess copulates with a talking catfish. An orange-robed Buddhist monk checks his cell phone. Welcome to the wonderful world of Apichatpong “Joe” Weerasethakul, the international face of Thai art cinema. Joe’s latest is a gentle, meditative fable about the titular character, dying of kidney disease, who not only can recall past lives but is also attended to by the ghosts of dead family members. God, it can be so refreshing to see a movie that does not aspire in the least to follow any sort of Hollywood-style narrative formula, especially when that movie is presided over by a director whose employment of image and sound is as masterful and poetic as this.

Heartbeats (Dolan, Canada)
Grade: B+ / 7.5

Francis and Marie are best friends. He’s gay and she’s straight. Their friendship is put to the test when they meet Nico, a handsome, seemingly bi-sexual Adonis-type who conforms to both of their romantic ideals. As a statement on young love today, this arty, candy-colored rom-com is funny, tender and very, very sweet. Derided in some circles as “style over substance,” I was only too happy to see a new movie packed with enough filmmaking smarts to fill half a dozen others. At just 22 years old, writer/director/actor Xavier Dolan is clearly someone to keep an eye on.

On Tour (Amalric, France)
Grade: B- / 6.6

Rumor has it that On Tour has yet to find a U.S. distributor due to expensive music rights so I was grateful to catch this at CIFF. The wonderful actor Mathieu Amalric directs and stars as Joachim, a formerly successful television producer who has since fallen on hard times and is forced to hustle a living by producing a traveling burlesque show. A genuine sense of warmth develops between Joachim and the American burlesque performers (all real dancers playing themselves) as he shuttles them along the coast of France, booking venues and hotel rooms by the seat of his pants. However, this unfocused ramble doesn’t quite achieve the depth of characterization of its obvious model, John Cassavetes’ The Killing of a Chinese Bookie, and one suspects that Amalric’s Best Director win at Cannes was possible only because he also plays a director-type character in front of the camera. Still, Amalric is fun to watch as a variation on his usual fuck-up character and the dance routines are magnificent.

Caterpillar (Wakamatsu, Japan)
Grade: C / 6.3

An odd, genuinely disturbing Japanese drama about a soldier returning home to a small village after losing both his arms and legs in WWII. He attempts to assuage his anguished memories of rape and murder through overindulging in food and sex and ironically finds himself pronounced a “living war God” by the local villagers. I didn’t quite know what to make of this film; as a statement about how war dehumanizes everyone it touches, it’s undeniably effective. But there’s also a pointed lack of humor as well as the kind of sociological insights that a director like Imamura would’ve brought to the table. In fact, Imamura’s great final film (the short, cryptic Japan), accomplishes much more in the span of just a few minutes.

Shorts Program 4: Together Apart (Various directors and countries)
Grade: C-

As with all “shorts programs” these days, this was the usual international mixed bag of the good, the bad and the ugly, with everything being shot on video. The one obvious standout was White Lines and the Fever: The Death of DJ Junebug, a terrific documentary about a curiously under-documented era: the Bronx in the early days of hip-hop. Let’s hope director Travis Senger is able to turn it into a feature.

Devil’s Town (Paskaljevic, Serbia)
Grade: D / 4.1

A wannabe Altmanesque comedy about the crisscrossing lives of a dozen or so citizens of Belgrade over the course of one long day. I’m sure this was intended to be some sort of dark social satire but I was repulsed by the lightness that writer/director Vladimir Paskaljevic made of rape, cruelty to animals, violence towards women, child abuse and pedophilia. The sooner I forget this movie the better, a sentiment with which I’m sure Serbia’s Board of Tourism would readily agree.


CIFF – Twenty Two Most Wanted!

Here is a wish list of the 22 films I’d most like to see turn up at the Chicago International Film Festival in October. The titles are a combination of films that played at Cannes in May, films that have been slated to play at the Venice or Toronto fests in the coming months and some serious wishful thinking.

22. The Housemaid (Im, S. Korea)
An erotic thriller in which a married man’s affair with the family maid brings tragic consequences. I would normally be skeptical of this, a remake of one of the best S. Korean movies of all time (Kim Ki-Young’s mind-blowing Hanyo from 1960), but this was made by Im Sang-Soo, director of the formidable The President’s Last Bang.

21. The Town (Affleck, USA)
Ben Affleck’s directorial debut, Gone, Baby, Gone, was one of the great surprises of 2007: an effective genre piece boasting a terrific ensemble cast and some interesting sociological insights to boot. This sophomore effort is another crime thriller, starring Affleck and The Hurt Locker ‘s Jeremy Renner.

20. 13 Assassins (Miike, Japan)
A reunion between Audition director Takashi Miike and screenwriter Daisuke Tengan that promises to melt more brains – in the audience if not onscreen.

19. Cave of Forgotten Dreams (Herzog, France/USA)
A 3-D documentary about the earliest known hand-drawn images. Werner Herzog, whose best films in recent years have tended to be documentaries (see Grizzly Man), will almost certainly do something interesting with the 3-D format.

18. Secret Reunion (Jang, S. Korea)
I know nothing about this except that it stars the enormously talented Song Kang-Ho, veteran of many great S. Korean New Wave movies. Recommended by my film fest savvy friend David Hanley.

17. Another Year (Leigh, UK)
I always like to see what Mike Leigh is up to. If nothing else, you know the performances will be very good.

16. Accident (Cheang, Hong Kong)
A new crime drama from producer (and possible ghost-director) Johnnie To, arguably the best genre filmmaker in the world.

15. Black Swan (Aronofsky, USA)
I found The Wrestler to be Darren Aronofsky’s best film by a wide margin so I’m eager to see what he does in this follow-up, a dark thriller about rival ballet dancers starring Natalie Portman and Mila Kunis.

14. Poetry (Lee, S. Korea)
An elderly woman with Alzheimer’s disease takes a poetry course in this highly praised drama from S. Korean director Lee Chang-Dong. Won Best Screenplay at Cannes.

13. Film Socialisme (Godard, France/Switzerland)
A Mediterranean cruise is the jumping off point for the latest edition of Jean-Luc Godard’s global newspaper. This outraged many at Cannes (and predictably found passionate admirers among the Godard faithful) where it was shown with “Navajo English” subtitles.

12. Hereafter (Eastwood, USA)
After Invictus, director Clint Eastwood re-teams with Matt Damon for a European-shot supernatural thriller.

11. On Tour (Amalric, France)
Mathieu Amalric, a distinctive actor who specializes in comically unhinged characters, directs and stars as the manager of a traveling burlesque show. This has been compared to the work of John Cassavetes and indeed it sounds a lot like The Killing of a Chinese Bookie. A surprise Best Director winner at Cannes.

10. Hahaha (Hong, South Korea)
School of the Art Institute grad Hong Sang-Soo is one of the most prominent writer-directors of the S. Korean New Wave. His latest comedy won the top prize in Cannes’ Un Certain Regard sidebar and had critics grumbling that it belonged in the main competition.

9. Road to Nowhere (Hellman, USA)
Described as a “romantic noir,” this new film from Monte Hellman (director of the great Two-Lane Blacktop) is also apparently a movie-within-a-movie that he shot digitally with a newfangled still-camera. Hellman, returning after a too-long absence, has compared it to Last Year at Marienbad.

8. The Strange Case of Angelica (de Oliveira, Portugal)
This turning up is almost a certainty as the CIFF has shown 101 year old(!) Portugese master Manoel de Oliveira a lot of love in recent years, regularly screening his films since the late nineties. The Strange Case of Angelica premiered in the Un Certain Regard section at Cannes where it found many admirers. Adding to the interest is the fact that it’s Oliveira’s first time working with CGI.

7. Tree of Life (Malick, USA)
Brad Pitt and Sean Penn play father and son (though probably don’t share screen time) in a drama set in both the 1950s and the present day. If the last couple films by the reclusive, secretive Terrence Malick are anything to go by, this will probably open in New York and L.A. on Christmas Day, then have its Chicago premiere in early 2011.

6. Carlos (Assayas, France)
A five and a half hour epic period piece about the true exploits of left-wing celebrity/terrorist “Carlos the Jackal,” this would seem to be an abrupt about-face from Olivier Assayas’ last film, the sublime family drama Summer Hours. Originally made for French television, Carlos screened out of competition at Cannes where some critics claimed it was the electrifying highlight of the entire festival. Could conceivably play CIFF in one, two or three parts.

5. The Grandmaster (Wong, Hong Kong)
Wong Kar-Wai’s return to filmmaking in Hong Kong after taking a stab at an American indie (2007’s minor My Blueberry Nights) is a biopic of Bruce Lee’s kung-fu teacher, Ip Man. The all-star cast is headed by Wong’s favorite leading man, Tony Leung Chiu-Wai, who has said this will be a “real kung-fu film” with “many action scenes.” This is an intriguing prospect from the most romantic filmmaker in the world.

4. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong, Thailand)
The latest from another SAIC alumnus, Apichatpong “Joe” Weerasethakul, who specializes in experimental/narrative hybrids. Joe made an auspicious debut with Mysterious Obect at Noon in 2000 and has only gone from strength to strength with each subsequent feature. Uncle Boonmee, a work of magical realism about the deathbed visions of the titular character, wowed ’em at Cannes where it converted previous skeptics and walked off with the Palm d’Or.

3. The Social Network (Fincher, USA)
Or “Facebook: The Movie.” If anyone can make a great film about the founding of a website, it’s David Fincher whose pioneering work with digital cinema in Zodiac and The Curious Case of Benjamin Button established him as a Hollywood innovator and maverick in the tradition of F.W. Murnau, Orson Welles, Alfred Hitchcock and Stanley Kubrick.

2. Certified Copy (Kiarostami, France/Italy)
More often than not, when a beloved auteur leaves his native country to make a film in International Co-production-land, the results are muddled and unsatisfying. That doesn’t seem to be the case with the shot-in-Italy, Juliette Binoche-starring Certified Copy, which has been hailed as a return to form of sorts for Iranian master Abbas Kiarostami. (He’s working in 35mm again after having spent most of the past decade experimenting with digital video.) This nabbed Binoche a Best Actress award at Cannes and was favorably compared in some quarters to Roberto Rossellini’s masterpiece Viaggio in Italia.

1. The Assassin (Hou, Taiwan)
Hou Hsiao-Hsien’s long rumored martial arts film starring Shu Qi and Chang Chen. This is probably a pipe dream as news of the project was first announced years ago but reports of the film actually going into production have never materialized. Still, one must dream.


Top 100 Films of the Decade (2000-2009)

This list represents the culmination of a decade’s worth of avid movie watching – and at least a full year of watching and re-watching hundreds of movies specifically for the purpose of making this list. (Hey, I can only do it once every ten years!) In compiling the list, I purposely sought out films from countries whose cinematic output I was unfamiliar with (Hello Romania and Turkey!) and I tried to make the final list as diverse as possible in terms of the directors and genres represented. However, in the end, personal taste prevailed over any sense of including anything merely because I felt obligated to put it there; I know a lot of intelligent people who think highly of recent films by the Coen Brothers, Lars Von Trier, Wes Anderson, Michael Haneke, etc. but ultimately I had to be honest about only including movies I personally love.

The next time you’re stumped at the video store, perhaps this folly will come in handy.

Countdown of the Top 25 (Preferential Order):

25. Syndromes and a Century (Weerasethakul, Thailand, 2006)

A fascinating experimental/narrative hybrid in which the story of two doctors meeting and falling in love is told twice, each time in a different location. My favorite digression (among many) in this sweet, gentle, humane film is a conversation between an ex-DJ turned Buddhist monk and a dentist who moonlights as a pop singer.

24. There Will Be Blood (Anderson, USA, 2007)

Sly, enigmatic fable about religion vs. big business in an America still young and wild. Brilliant, innovative orchestral score by Jonny Greenwood, and Daniel Day-Lewis, as megalomaniacal, misanthropic oilman Daniel Plainview, gives one of the great screen performances of modern times.

23. No Direction Home: Bob Dylan (Scorsese, USA, 2005)

My favorite Martin Scorsese picture of the decade wasn’t a theatrical release but this engrossing made-for-T.V. documentary about Bob Dylan’s early career. As one might expect, this is bolstered by terrific concert footage but also contextualized by the myriad social and historical changes undergone by America from the end of WWII to the beginning of the Vietnam war. An epic achievement.

22. Mary (Ferrara, Italy/USA, 2005)

mary

A brilliant and complex interaction of narrative fragments, all of which revolve around the place of religion in the modern world. Juliette Binoche is great as an actress who stars as Mary Magdelene in a movie-within-the-movie. Her experience playing the part causes her to go on a spiritual quest to Israel. Meanwhile the film’s megalomaniacal director (Matthew Modine) faces a Passion of the Christ-like controversy back in the States. This provocation is director Abel Ferrara’s finest latter-day work.

21. Failan (Song, S. Korea, 2001)

Judge Smith pronounces this Korean melodrama guilty! Guilty of making a grown man cry all three times he saw it, that is. Career best performances by actors Choi Min-sik and Cecilia Cheung in a unique love story about lovers who never actually meet0

20. Moments choisis des histoire(s) du cinema (Godard, Switzerland/France, 2004)

Jean-Luc Godard’s hour and a half distillation of his marathon video opus Histoire(s) du cinema, where the history of cinema and 20th century world history collide. Whatever Godard goes on to accomplish, this will likely remain his final testament.

19. Avalon (Oshii, Poland/Japan, 2001)

Mind-blowing, philosophical sci-fi about a futuristic Poland where everyone is addicted to a virtual reality video game. My rating here refers only to the original version of this film (available as a region-free DVD or Blu-Ray import), and not the official North American Miramax release, which is ruined by Neil Gaiman’s wildly inaccurate “dub-titles.”

18. Letters from Iwo Jima (Eastwood, USA/Japan, 2006)

The peak of Clint Eastwood’s best decade as a film director is the second part of his Battle of Iwo Jima diptych. Like all true anti-war movies, this spare, haunting, elegiac film is told from the “losing” side.

17. La Captive (Chantal Akerman, France, 2000)

The masterpiece of Chantal Akerman’s late period is also the best adaptation of Proust by anybody. This feminist remix of the fifth volume of Time Regained speaks volumes about the disturbing nature of gender relations in the real world as well as the “male gaze” in the history of cinema in general and Alfred Hitchcock’s Vertigo in particular.

16. Moolaade (Sembene, Senegal, 2004)

An improbably warm, colorful and very humane comedy about a horrific subject: female genital mutilation in West Africa. I was lucky enough to see this at the Chicago International Film Festival with the director, the late, great Ousmane Sembene, present.

15. A History of Violence (Cronenberg, USA/Canada, 2005)

David Cronenberg posits violence as a kind of latent virus in this art film masquerading as a thriller. Or is it a thriller masquerading as an art film? In any case, that’s how I like ‘em.

14. Black Book (Verhoeven , Holland/Germany, 2006)

Paul Verhoeven’s masterful return to filmmaking in his native Holland mimics the form of an old-fashioned Hollywood melodrama in order to pose complex, troubling moral questions about WWII and the Dutch resistance to the Nazi occupation. In other words, the antithesis of Schindler’s List.

13. Mad Detective (To, Hong Kong, 2007)

A mentally unstable ex-cop with the supernatural ability to see people’s “inner personalities” comes out of retirement to solve a missing persons case in this sad, funny, bat-shit crazy neo-noir from Johnnie To, the world’s greatest living genre filmmaker. This deserves to be much more well-known in the West.

12. In Vanda’s Room (Costa, Portugal, 2000)

A documentary/narrative hybrid about junkies living in the slums of Lisbon that vaulted director Pedro Costa to the front ranks of the world’s greatest contemporary filmmakers. Epic long takes of real-life sisters Vanda and Zita Duarte smoking heroin, coughing and talking about nothing are juxtaposed with shots of their neighborhood being systematically demolished. Costa knows that, in filmmaking terms, adding up a bunch of shots of “nothing” frequently equals “something” – in this case a powerful statement about the disenfranchisement of an entire class of people.

11. Before Sunset (Linklater, USA/France, 2004)

Richard Linklater’s exquisite talk fest, a gentle real-time comedy reuniting Ethan Hawke and Julie Delpy from his earlier Before Sunrise, proves that sometimes the sequel can be better than the original. “Baby, you are going to miss that plane.”

10. The Headless Woman (Martel, Argentina, 2008)

the_headless_woman

Shades of Hitchcock and Antonioni abound as a woman becomes increasingly disassociated from reality after participating in what may or may not have been a hit and run accident. I can’t recall the last time I saw a film in which every composition, cut and sound effect seemed so precisely and exquisitely calibrated to impart psychological meaning.

9. Memories of Murder (Bong, S. Korea, 2003)

A gripping, superior police procedural about the investigation into S. Korea’s first known serial murders. Director Bong Joon-ho, shining light of the South Korean New Wave, also nicely sketches the 1980s small-town milieu as a portrait of life under military dictatorship.

8. Offside (Panahi, Iran, 2006)

Jafar Panahi’s timely comedy follows the misadventures of several young women who disguise themselves as men and attempt to sneak into Tehran’s Azadi stadium to see Iran’s national soccer team play a World Cup qualifying match (women have been prohibited from attending men’s sporting events since the Islamic revolution). Major portions of the film were shot “live,” documentary-style as the match was being played, which audaciously leaves elements of the film’s plot (such as the outcome of the match) up to chance. When the girls are arrested and corralled into a holding area outside of the stadium walls, the central location ultimately becomes a microcosm of both Iran and the entire world. A film overflowing with compassion yet ruthlessly unsentimental, this is political filmmaking at its finest.

7. The Assassination of Jesse James by the Coward Robert Ford (Dominik, USA/Canada, 2007)

A visionary re-imagining of the last year of the famous outlaw’s life, this funny, strange, beautiful and sad film boasts cinematography as masterful as you’ll find anywhere and many incredible performances by a large ensemble cast. Remains enthralling for its near 3 hour running time even after many viewings.

6. The Intruder (Denis, France, 2004)

A retiree in need of a heart transplant (Michel Subor) takes emotional stock of his life and attempts to reconnect with his estranged son (Gregoire Colin) in this mysterious, elliptical drama. It is unclear how many of the scenes are occurring in reality and how many take place only in the protagonist’s mind. These narrative shards are served up by director Claire Denis and cinematographer Agnes Godard as tactile, painterly images and accompanied by a terrific, minimalist electric guitar score. The end result is an unforgettably sensual experience.

5. Yi Yi (Yang, Taiwan, 2000)

Beginning with a wedding and ending with a funeral, this riveting family comedy/drama set in contemporary Taipei is simultaneously as epic and as intimate as the best 19th century Russian novels. The last film by the great writer/director Edward Yang.

4. Zodiac (Fincher, USA, 2007)

A brooding obsession with the passage of time and the nature of obsession itself are the hallmarks of this bold foray into the realm of digital cinema, a masterful, epic film about a newspaper cartoonist’s personal investigation of a series of unsolved murders. Deserves to be ranked alongside Sunrise, Citizen Kane, Vertigo and The Searchers as one of the all-time great American films.

3. In the Mood for Love (Wong, Hong Kong, 2000)

Next-door neighbors in a tiny apartment building, Tony Leung and Maggie Cheung, are drawn ever closer together after suspecting their frequently absent spouses may be having an affair. Wong Kar-Wai’s fondness for patterns of repetition and variation pays dividends in this subtle, restrained, impeccably designed film. A Brief Encounter for our time and a film so beautiful it hurts.

2. Mulholland Drive (Lynch, USA, 2001)

David Lynch’s masterpiece, an endlessly watchable, open-ended narrative puzzle about an aspiring Hollywood actress trying to help an amnesiac unlock the mystery of her identity. This is one of the great “let’s theorize endlessly about what it all means over coffee” movies.

1. Three Times (Hou, Taiwan, 2005)

Hou Hsiao-Hsien’s profound meditation on love, cinema and twentieth century Taiwanese history with Shu Qi and Chang Chen playing lovers in three different stories set in three different eras. Lyrical, beautiful and all-around perfect.

First Runners-Up (Alphabetical by Director’s Family Name):

A Fine Day (Thomas Arslan, Germany, 2001)

Vincere (Marco Bellochio, Italy, 2009)

The Hurt Locker (Kathryn Bigelow, USA/Jordan, 2008)

Time Out (Cantet, France, 2001)

Distant (Nuri Bilge Ceylan, Turkey, 2002)

Secret Sunshine (Lee Chang-dong, S. Korea, 2007)

Colossal Youth (Pedro Costa, Portugal, 2006)

I’m Going Home (Manoel de Oliveira, France/Portugal, 2001)

Pan’s Labyrinth (Guillermo del Toro, Spain, 2006)

A Christmas Tale (Arnaud Desplechin, France, 2008)

Lady Chatterley (Extended European Edition) (Pascale Ferran, France, 2006)

Lagaan: Once Upon a Time in India (Ashutosh Gowariker, India, 2001)

That Old Dream That Moves (Alain Guiraudie, France, 2001)

Woman on the Beach (Hong Sang-soo, S. Korea, 2006)

The Flight of the Red Balloon (Hsiao-Hsien Hou, France/Taiwan, 2007)

Ten (Abbas Kiarostami, Iran, 2002)

Tokyo Sonata (Kiyoshi Kurosawa, Japan, 2008)

A Scanner Darkly (Richard Linklater, USA, 2006)

INLAND EMPIRE (David Lynch, USA, 2006)

Ichi the Killer (Takashi Miike, Japan, 2001)

Oldboy (Chan-wook Park, S. Korea, 2003)

Police, Adjective (Corneliu Porumboiu, Romania, 2009)

Wild Grass (Alain Resnais, France, 2009)

Everlasting Moments (Jan Troell, Sweden, 2008)

Goodbye Dragon Inn (Ming-Liang Tsai, Taiwan, 2003)

2nd Runners-Up (Alphabetical by Director’s Family Name):

Everyone Else (Maren Ade, Germany/Italy, 2009)

Let the Right One In (Tomas Alfredson, Sweden, 2008)

Talk to Her (Pedro Almodovar, Spain, 2002)

Punch Drunk Love (Paul Thomas Anderson, USA, 2002)

Bright Star (Jane Campion, UK/Australia, 2009)

Eastern Promises (David Cronenberg, UK/Canada, 2007)

The Tracker (Rolf de Heer, Australia, 2002)

Kings and Queen (Arnaud Desplechin, France, 2004)

Gran Torino (Clint Eastwood, USA, 2008)

The Best of Youth (Marco Tullio Giordana, Italy, 2003)

Grizzly Man (Werner Herzog, USA, 2005)

Save the Green Planet (Joon-hwan Jang, S. Korea, 2003)

The World (Zhangke Jia, China, 2004)

Be With Me (Eric Khoo, Singapore, 2005)

Shirin (Abbas Kiarostami, Iran, 2008)

School of Rock (Richard Linklater, USA, 2003)

The Holy Girl (Lucrecia Martel, Argentina, 2004)

This is England (Shane Meadows, England, 2006)

Afternoon (Angela Schanelec, Germany, 2007)

The Day I Became a Woman (Marzieh Meshkini, Iran, 2001)

The Circle (Jafar Panahi, Iran, 2000)

JSA: Joint Security Area (Chan-wook Park, S. Korea, 2000)

The Pianist (Roman Polanski, Poland/France, 2002)

Quitting (Yang Zhang, China, 2001)

The Return (Andrei Zvyagintsev, Russia, 2003)

3rd Runners-Up Group (Alphabetical by Director’s Family Name):

20 Fingers (Mania Akbari, Iran, 2004)

Vicky Cristina Barcelona (Woody Allen, USA/Spain, 2008)

Los Angeles Plays Itself (Thom Andersen, USA, 2003)

Summer Hours (Olivier Assayas, France, 2008)

Once (John Carney, Ireland, 2007)

Durian Durian (Fruit Chan, Hong Kong, 2000)

Two Lovers (James Gray, USA, 2008)

Far From Heaven (Todd Haynes, USA, 2002)

The Proposition (John Hillcoat, Australia, 2005)

Downfall (Oliver Hirschbiegel, Germany, 2004)

Chunhyang (Kwon-taek Im, S. Korea, 2000)

Warm Water Under a Red Bridge (Shohei Imamura, Japan, 2001)

Three-Iron (Ki-Duk Kim, S. Korea, 2004)

Happy Go Lucky (Mike Leigh, England, 2008)

The Saddest Music in the World (Guy Maddin, Canada, 2003)

Kandahar (Mohsen Makhmalbaf, Iran/Afghanistan, 2001)

Bamako (Abderrahmane Sissako, Mali, 2006)

Russian Ark (Alexander Sokurov, Russia, 2002)

WALL-E (Andrew Stanton, USA, 2008)

Inglourious Basterds (Quentin Tarantino, USA/Germany, 2009)

Werckmeister Hamonies (Bela Tarr, Hungary, 2000)

The Gleaners and I (Agnes Varda, France, 2000)

2046 (Kar-Wai Wong, Hong Kong, 2004)

Shaun of the Dead (Edgar Wright, England, 2004)


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