My 10 favorite films to first play Chicago theaters in 2009:

10. Up (Docter, USA)

A retired curmudgeon becomes a widower in the opening reel and then unexpectedly regains his humanity after becoming an unlikely mentor to a fatherless Asian boy. Man, I sure did love Gran Torino! And, hey, this Up movie was pretty damn good too.

9. Invictus (Eastwood, USA/S. Africa)

Straightforward, beautifully realized film about the early years of Nelson Mandela’s presidency that uses rugby as a symbol of the newly (and uneasily) unified S. Africa. This picks up where Gran Torino left off; after the renunciation of violence comes forgiveness and reconciliation.

8. Bright Star (Campion, UK/Australia)

Fictionalized account of poet John Keats’ doomed love affair with his next-door neighbor and muse, the teen-aged Fanny Brawne. Has heartache ever been rendered so heartbreakingly?

7. Eccentricities of a Blonde-Haired Girl (de Oliveira, Portugal)

Centenarian filmmaker Manoel de Oliveira serves up a Bunuel-ian fable about an accountant who falls hopelessly in love with the title character after spying her in an apartment window across the street from his office. Although it takes place in the present, Oliveira’s refusal to disguise his story’s 19th century literary origins lends this 63-minute diamond of a movie a wonderful, gentle surrealism. The juxtaposition of the final two shots had me chuckling for days.

6. Shirin (Kiarostami, Iran)

Fascinating experiment in which we see close-ups of 100 hundred women’s faces as they sit in a cinema and watch a movie that we hear on the soundtrack but never actually see. Kiarostami’s most extreme experiment in keeping crucial information off-screen. More fun to watch and emotionally involving than it sounds, I promise.

5. Summer Hours (Assayas, France)

An old-fashioned family drama, deeply humanist in the best French tradition, about adult children coming to terms with their mother’s death and how to divide up her estate and priceless art collection. Works beautifully as both intimate character study and as allegory for France in an increasingly uncertain global culture. The ensemble cast, headed by Juliette Binoche, is terrific.

4. Inglourious Basterds (Tarantino, USA/Germany)

The title characters, a company of American soldiers led by Brad Pitt’s hilariously cartoonish Lt. Aldo Raine, sow fear in the hearts of the Nazi party by brutalizing German soldiers while trekking across WWII France. A parallel plot involves a French/Jewish girl’s attempt to avenge the Nazi massacre of her own family. The two plots converge in a finale that is simultaneously really stupid, really smart and 100% pure cinema.

3. The Hurt Locker (Bigelow, USA/Jordan)

This Iraqi war drama about a company of bomb disposal technicians recalls the best of classical Hollywood action cinema (i.e. Ford, Hawks and Walsh), in spite of the near constant use of handheld cameras, and offers an intriguing critique of masculinity besides. Jeremy Renner’s Sergeant William James is like an Ethan Edwards for the YouTube age.

2. Police, Adjective (Porumboiu, Romania)

A slow, deliberately paced police procedural about a young, morally conflicted cop assigned to follow and eventually bust a group of hash-smoking teenagers. The stunning final act, in which the film unexpectedly reveals itself to be a cautionary fable about the importance of understanding the words we choose to speak, is diabolically clever.

1. The Headless Woman (Martel, Argentina)

Director Lucrecia Martel made an impressive début with La Cienaga and then made a quantum leap with her follow-up, The Holy Girl. Her third feature, The Headless Woman, represents a further advance still: a mesmerizing psychological odyssey about Veronica, a successful dentist wracked with grief and anxiety over the possibility she may have been involved in a hit-and-run accident. The class observations of her earlier work are carried over intact, her filmmaking artistry (including a meticulous sense of composition and a Bresson-like use of heightened natural sounds) approaches the highest level of cinematic mastery.