When Marnie Was There
Arrival
Hail, Ceasar!
Things to Come
10. Midnight Special
Midnight Special, directed by Jeff Nichols, is an engrossing throwback to the blockbusters of the 80's, that delicately evokes the likes of Spielberg and Carpenter. This film displays mastery of the 'show don't tell' principle; with next to no exposition, it was happy to leave the unpicking of the plot to the audience resulting in an ambiguity which adds to the mysterious atmosphere of the film. Lens flares abound in Adam Stone's cinematography, which elegantly marries the sci-fi elements of the film with an earthy naturalism. We are also treated to some excellent performances from Michael Shannon (lots of intense staring into the distance) and Kirsten Dunst who add an emotional intensity to the narrative.
9. Your Name
This pensive tale of longing and cosmic forces secured the place of director Makoto Shinkai as a major player in Japanese animation, drawing comparisons to the great Hayao Miyazaki. Despite obvious parallels between their work, moments of photo-realism in Your Name contrast quite drastically with the fantastical world portrayed by Miyazaki in films such as Princess Mononoke. These examples of photo-realism give the narrative a grounded feeling rooted in human emotion and frequent moments of comedy are played with a lightness of touch that leave the characters instantly endearing.
8. Sing Street
Sing Street's main character Conor talks about writing a song which is "happy/sad". In the film, director John Carney weds a nostalgic romanticism and emotional heft, creating something that is truly "happy/sad". Well written songs give the film a kinetic hyperactivity that reflects the excitement felt by the young characters as they form their band and a particularly moving performance by Conor's older brother adds a melancholic streak that plays on themes of aspiration and missed opportunities.
7. Spotlight
Sifting through archives, calling people to follow up leads, and battering away at computers. Despite the film spending a majority of its running time with activities that one would not expect to lend themselves to cinematic verve, an understated spectacle of strength and subtlety is crafted. Following in the considerable footsteps of All the President's Men, the engrossing procedural combines an uncomplicated visual style and sharp script to let the extraordinary story do the talking. Crucially, the film also manages to avoid self righteous liberal preachiness which I think would have detracted from the poignant reserved sadness which is instead found at the centre of the film.
6. The Hateful Eight
Everybody's favourite self aware cineliterate auteur Quentin Tarantiino's eighth film was in many ways quintessential Tarantino. His take on the western teems with references to Sergio Leone, there is a rather expository but quotable script, and of course considerable gore. Despite the obvious indulgences, I found it impossible not to be swept up into the bizarre world of Tarantino where people love profanity and excessive bloodshed seems to be the solution to every problem. A majority of the film is spent in Minnie's Haberdashery which is captured in glorious detail by the super widescreen cinematography of Robert Richardson. The Haberdashery crawls with misogyny, racism and violence, becoming an encapsulation of the divisions found in America at that time. This conspires to create a brilliantly claustrophobic oppressive atmosphere that hangs over the whole film similar to that which hung over America.
5. The Wailing
This Korean rural thriller-horror hybrid, directed by Hong-jin Na, has an unrelenting intensity at its core that propels the narrative to supremely dark and unsettling areas. Like much of Korean genre cinema, the film takes many surprising turns tonally. We start with a procedural thriller with elements of dark comedy similar to Bong Joon-ho's Memories of Murder, but as the narrative progresses we are caught off guard as more fantastical horror themes are introduced. Na combines a twisting plot, typically 'turned up to 11' Korean performances, and beautifully captured landscapes to create a sombre mood which is heightened by the truly disquieting elements of horror found in the film.
4. Room
The brilliance of this film is in the incredible vitality it manages to show despite its harrowing subject matter. The film is wonderfully inventive in its exploration of themes other than their imprisonment, in much the same way that the central characters look beyond the confines of their captivity. In the first act, we explore parenthood, perception, and the human spirit in touching detail. Director Lenny Abrahamson chooses to open with shots that emphasise the perspective of the child and a gentle score that highlights the nurturing setting that the mother has created, painting a picture of a world less terrifying than you would expect, he feels comfortable in this space as it is his all he has ever known. What we are above all shown, is an uplifting, life-affirming portrayal of the relationship between a mother and her child
3. Embrace of the Serpent
This film tells the tale of two western explorers separated by decades, as they are guided by a tribal shaman through a dreamlike monochrome portrayal of the Amazon. In this condemnation of colonial influence, director Ciro Guerra displays the devastating effect of imperialism. One particularly disturbing scene that pulsates with a frenzied energy depicts a kurtzian figure (originally a christian missionary) who declares himself "messiah of the Indians", at which point things take a Lord of the Flies style turn for the worse. The theme of the insatiable desire of the western man to find the heart of the jungle is present throughout the film, resulting in echoes of Apocalypse Now; however crucially, this is offset by the character Karamakate who gives a distinct perspective. On the whole, the film is delicately crafted. The transitions from one period to another are seamlessly woven into the film, concocting a hypnotically surreal atmosphere, and the widescreen monochrome cinematography imbues the film with an inescapable beauty.
2. Paterson
A truly warm hearted celebration of the beauty of the everyday that brims with unassuming innocence and straightforward charm. The narrative follows the simple life of contentedly unpublished poet and bus driver Paterson and his wife Laura who doesn't work. This is a film that delights in the poetry of little things, a paean to the artistry that can be found in our everyday routines. In one of many oddly touching moments, Paterson starts composing a poem to a box of matches as he eats his breakfast; the film progresses thus at a wonderfully glacial pace. Like much of Jarmusch's work there is a droll, deadpan comedic streak present which serves to keep the piece engaging and the endlessly watchable Adam Driver is also instantly sympathetic as Paterson.
1. Mustang
Mustang is a The Virgin Suicides-esque coming of age tale of five sisters growing up in Anatolia; the exuberant vitality of the sisters is matched by the film in a politically tinged drama that explores sexuality, female identity and rebellion. While the account of social conservatism is often distressing as the sisters house is turned into a "wife factory" with barred windows and confiscated telephones, there is an irrepressible spirit central to the film, epitomised by the sisters, that inspires frequent moments of levity. A particularly poignant scene depicts the sisters play fighting, the camera dances between them, matching their energy, capturing stray limbs illuminated by the sunlight that streams through their barred windows. This moment encapsulates the heart of the film, a shared ebullience in the face of what ultimately amounts to oppression.
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