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It´s fascinating to remember all the films watched during a year and order them. The issue is not about making the list, it´s about remembering in a very intense way, the moments lived at the cinema, during a whole year.
A year of contrasts; two antagonistic ways of understanding cinema and life.
(Josh Safdie and Benny Safdie, 2017) The Safdie brothers bring their gritty, hallucinatory realism to bear in this propulsive picaresque, following a streetwise hustler (live-wire Robert Pattinson) as he outruns and out-thinks the world at large, seemingly for the benefit of his brother but really as its own reward. (Greta Gerwig, 2017) With a remarkable blend of sympathy and screwball finesse, writer/director Gerwig and lead actress Saoirse Ronan craft an indelibly daffy heroine (the eponymous, self-named “Lady Bird”) who transcends any hint of clichéd, coming-of-age drama and mines some real emotional territory with a gruff Laurie Metcalf as her mother. (Jordan Peele, 2017) Balancing social relevancy, conceptual horror, and both sly and laugh-out-loud comedy, the surprise box office hit from comedian Jordan Peele brilliantly portrays race relations through the heightening lens of genre. , Nana Ekvtimishvili and Simon Gross, 2017) A Georgian wife and mother decides to pursue a life of her own, sending ripples throughout her extended family and local community in this closely observed drama that leaves no easy answers. (Jairus Mc Leary, 2017) This uncomfortably intimate vérité documentary stares unflinchingly at a four-day group-therapy session within Folsom Prison, where prisoners and outsiders alike draw forth their long-repressed emotions and challenge their deepest masculine assumptions and mores. (Noah Baumbach, 2017) Baumbach’s latest bittersweet comedy of familial strife pits a trio of angst-ridden siblings against a dying, middling artist patriarch.
While each actor is suitably funny and interesting in his or her own right, the film also possesses a sharp comic timing of its own that frequently cuts in the middle of the self-absorbed characters’ line-readings.
Nothing for me could replace it as my number one favourite thing I watched this year.
This has also been a year of discovering old films at film festivals and/or special retrospectives in cities I visit during my travels.
I experienced a phenomenal (if hyperbolic) moment in the cinema watching this movie: I felt honoured to be alive on the same planet where cinema is made.I loved Jenkins’s bold use of slow-motion and close-ups (in tandem with a rocking music motif) to cinematically draw attention to this superhero’s long-overdue arrival on the cinema screen.The critical, popular, and, especially, financial success of (Alex Kurtzman, 2017) This movie was intended to kick-start the Dark Universe franchise by drawing from Universal Studio’s catalogue of classical Hollywood monster movies as source material.9.(Kogonada, 2017) Prolific video essayist Kogonada brings his trademark sensitivity to space, geometry, and architecture to his contemplative feature film debut, which also features poignant, sensitive, conversational performances from the two leads (John Cho and Haley Lou Richardson). sets its satirical sights on factory farming and corporate propaganda, while bringing to life a CGI wonder in the titular genetically-engineered super-pig.A Few 2017 US Premiere Favourites The following made their non-festival premieres within the US in 2017 (and I didn’t include them in last year’s poll): Why make a list only with ten films?