Tag Archives: Zombi Child

The Best Films of 2020 So Far

I believe the most monumental work of art released in 2020 so far — and the one that best speaks to our turbulent times — is Bob Dylan’s astonishing new album Rough and Rowdy Ways. A work of seemingly bottomless depth, it creates a haunting liminal space where past, present and future overlap (it’s no coincidence that the first line of the first song is “Today and tomorrow and yesterday too”). If you haven’t yet listened to it, I would advise spinning it a few times and giving it your full attention — as you would if reading a book or watching a movie. You can listen to the whole thing for free on YouTube here.

Having said all that, I think it’s been a pretty damn good year for cinema so far too (in spite of the COVID-19 pandemic). Below are a list of favorite films that either first screened theatrically in Chicago in the first half of 2020 or that first became available to watch via various “virtual cinemas.” I’ve linked to my original reviews where applicable and added some thoughts on other films that I haven’t yet written about elsewhere. Enjoy.

10. Queen of Lapa (Collatos/Monnerat, Brazil)

Queen_of_Lapa_-_Still_1“…a tone of quiet authenticity that can only be achieved when an unusually high degree of mutual trust is established between filmmaker and subject. It’s a compassionate and non-sensationalistic look at the inside of a subculture that most viewers will be unfamiliar with.” Read my Cine-File Chicago review here.

9. Fourteen (Sallitt, USA)

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“…impressively conveys a sense of the ebb and flow of life as it is actually lived, felt and remembered — and provides a devastating reminder of how time gets away from us all.” Read my Cine-File Chicago review here.

8. Joan of Arc
(Dumont, France)

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Most Joan of Arc movies, including Carl Dreyer’s celebrated silent film, feature actresses that are too old for the lead role. Otto Preminger remedied that by casting the “age appropriate” Jean Seberg when he made Saint Joan in 1957. But only Bruno Dumont would cast an actress who is far too young for the part (the great 10-year-old Lise Prudhomme), a wacky decision that pays off by conveying a sense of Joan’s “saintliness” in a way that no post-adolescent actress, no matter how talented, ever could.

7. Shakedown
(Weinraub, USA)

44096851_2160705053981437_6478280789543878656_n“…confronts viewers with an exhilarating montage of footage that frequently takes on a rude, hallucinatory beauty, punctuated by a wealth of still photographs and promotional flyers characterized by a cheesy-but-amazing early-2000s Photoshop aesthetic.” Read my full Cine-File Chicago review here.

6. Never Rarely Sometimes Always (Hittman, USA)

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This urgent abortion-rights drama features the same slightly moody/dreamy vibe of Eliza Hittman’s previous films but marries it to a much improved narrative sense. Both lead actresses are amazing.

5. I Wish I Knew (Jia, China)

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“…the whole of this documentary, a deceptively simple accumulation of personal ‘oral histories’ not unlike a filmic version of Studs Terkel’s interview books about Chicago, ends up being greater than the sum of its parts. Read my full Cine-File Chicago review here.

4. Zombi Child (Bonello, France)

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“The way these two stories dovetail in the film’s climax adds up to a critique of racism, ‘othering’ and the commodification of culture that is at once subtle, subversive and devilishly clever.” Read my full Time Out Chicago review here.

3. Bacurau (Dornelles/Mendonca, Brazil)

bacurauI feel like this crazy-ass genre mash-up cum anti-capitalist allegory was made just for me.

2. Tommaso (Ferrara, Italy/USA)

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Abel Ferrara’s most personal movie, Willem Dafoe’s finest performance.

1. (tie) Hill of FreedomYourself and Yours (Hong, S. Korea)

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yourselfandyours-superJumboJean-Luc Godard famously said that all you need to make a film is “a girl and a gun.” Hong Sang-soo might amend that to “a man, a woman and a bottle of soju.” These two delightful features (which originally premiered in 2014 and 2016, respectively) just belatedly turned up in the U.S. thanks to Cinema Guild and Grasshopper Films and they make for one hell of a double feature: They represent Hong at his most narratively ambitious and formally playful. Watch ’em with someone you love.

Honorable mention for short films: Spike Lee’s New York New York and 3 Brothers (both of which I preferred to Da 5 Bloods), Eric Marsh’s brilliant video essay TELEPHONE FOR LIEUTENANT COLUMBO and Jean-Marie Straub’s France Against Robots.


Bertrand Bonello’s ZOMBI CHILD

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Bertrand Bonello’s ‘Zombi Child’ is the first great film to play Chicago in 2020

January and February typically constitute a dreary movie-watching season in which new cinema fare consists largely of dud pictures that the major Hollywood studios have no confidence in and have decided to dump on the market when theatrical attendance has traditionally been lowest. Fortunately for cinephiles, there are usually still worthwhile independent and foreign releases to choose from during these winter months. A good example this year is Bertrand Bonello’s Zombi Child, which sees the iconoclastic French writer/director putting an original spin on the most tired of horror subgenres. It thankfully bypasses the overly familiar George Romero-esque approach to the lurching, brain-eating “undead” and harks back instead to the zombie film’s voodoo origins found in subtle chillers like Jacques Tourneur’s I Walked With a Zombie from 1943. Opening at the Siskel Center for a week-long run beginning this Friday, January 24, it’s the first great film of 2020 and should be considered essential viewing for Chicagoans looking for something to see on the big screen.

Bertrand Bonello’s best films portray characters who exist outside of the mainstream of French society (e.g., the fin-de-siecle prostitutes in House of Pleasures, the young multi-ethnic terrorists in Nocturama), and Zombi Child is no exception: It alternates between two distinct narrative threads – one devoted to the true story of Clairvius Narcisse (Mackenson Bijou), a Haitian man who was “zombified” in 1962 so that he could be employed as slave labor on a sugar-cane plantation, and one detailing the adventures of his fictional granddaughter, Mélissa, a young black woman at a predominantly white college in contemporary France. The latter story is narrated by Fanny (Louise Labeque), a recently heart-broken student who befriends Mélissa and initiates her into a popular sorority but with dark ulterior motives. The way these two stories dovetail in the film’s climax adds up to a critique of racism, “othering” and the commodification of culture that is at once subtle, subversive and devilishly clever.

For more information about Zombi Child, including ticket info and showtimes, visit the Siskel Center’s website.


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