tag:blogger.com,1999:blog-80481500124197941492024-03-13T12:52:28.457-04:00Apocalypse NowIt's alright! It's alright! It's all been approved! I'm an American!Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.comBlogger506125tag:blogger.com,1999:blog-8048150012419794149.post-90803676219928398742024-01-06T20:54:00.005-05:002024-01-12T00:40:47.580-05:00My 101 Favourite Films of 2023<div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">1.<span style="white-space: pre;"> </span>Close Your Eyes</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Victor Erice</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7iqVjxjnB06rcSmzH5LoxmbyW1D6iFSwkHDFS3Zx0m5s592yPFZDFA42d0AepnkxNgb9kMhYLYy9E9qNiP9na3uiIam0ACYOuci4MDiRSjhIkjW8025C3Vz1XHVdaq86qaRAAia1Lk0k3lQDKqsatrRQ6d-RhJ9vnM3u10v5Clb70wle6WrPW2fK0CFI/s1800/Still-00080.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1800" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7iqVjxjnB06rcSmzH5LoxmbyW1D6iFSwkHDFS3Zx0m5s592yPFZDFA42d0AepnkxNgb9kMhYLYy9E9qNiP9na3uiIam0ACYOuci4MDiRSjhIkjW8025C3Vz1XHVdaq86qaRAAia1Lk0k3lQDKqsatrRQ6d-RhJ9vnM3u10v5Clb70wle6WrPW2fK0CFI/w640-h384/Still-00080.jpg" width="640" /></a></div></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">"The unluckiest filmmaker in the world," was how Ben Sachs described Victor Erice. The funding cut or witheld entirely for projects realized and unrealized, years without financing, dear friends dying before their time, and lately a great movie going undistributed after of a fiasco of a Cannes premiere. As always the central tragedy of film history is people not knowing what they have on their hands. Erice made <i>El Sur, </i>which is my vote for the second greatest film ever made. I <i>do </i>know what we have, and I'm even more keenly aware that we're letting him slip away. </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;"><i>Close Your Eyes </i>is a film in correspondence with the culture he lost and the people who went with changing time and tide. Abbas Kiarostami, Raúl Ruiz, Jean-Luc Godard, Theo </span></span><span style="font-size: large;">Angelopoulos, all gone and with them less of a chance of a dream-like cinema of abstraction becoming popular again. Perhaps this explains the concrete nature of <i>Close Your Eyes, </i>his first film to trade in dialogue and references above the raw image of life and creation, of our relationship to memory. In Erice's cinema to create something is to pass it from reality to myth, from present to past. Film is a saviour in <i>Spirit of the Beehive </i>and once more here, as a man who loses his concept of himself rediscovers it only with images. In this idiom, it is the link between the imagined self and the realized one. A director's bad dream becomes his lost star's lifeline, a way to heal, and thus make his own pain mean<i> </i>something. It's Erice allowing himself the grace fate never afforded him, to say that suffering and loss and a career spent waiting for the plaudits mediocrities and other geniuses alike were gifted while he was adrift, it was all for something. It is because he says it is. Because it is his pain to contextualize and his life and art to claim. </span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">This man, one of our greatest living artists, has opened his cinema up beyond his own experience and allowed the world of cinema inside. It scraped at the door of a horrific present in <i>Spirit of the Beehive,</i> but here the door is wide open. "Miracles in the cinema are over since Dreyer died." "My Rifle, My Pony, and Me." Nicholas Ray and Fritz Lang looking down from the beyond they helped create, because could heaven be more lovely than the fantasies they made for us to protect against the dreariness of the everyday. Erice of course found magic in the dreary, and soon we'll all look back on every moment as if we were Erice and find in it the same beauty we do in a frame of celluloid. This perfectly lit, exquisitely paced, lucid dream of the movies, you can wait a lifetime for something this good. Heaven as a screening room with friends all around you, and the best of your life on screen. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>2.<span style="white-space: pre;"> </span></span></span><span>La Chimera</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Alice Rohrwacher</span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>3.<span style="white-space: pre;"> </span></span></span><span>Tótem</span></span></div><div><span style="font-size: x-large;">by Lila Aviles</span></div><div><span style="font-size: x-large;"><span>4. </span><span>Scarlet </span></span></div><div><span style="font-size: x-large;">by Pietro Marcello</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfc_oTxzMZGPQg0ErEiYAzx3ekiCcWypIDFgpsS8JZuO6-FFebTsHoFXjfnGHPMQ8JDiQ612miHW14egwgb84ABHlGU-vSu6_3ZVL78m2_tSNURC-FXCApmAL5vuUcK4p0dLbnzYa-098knNg-49aM_C3LOLyLNuibZmQoHttx1rKi4wI1ajcVSrK1uI/s620/1685100369083_0620x0413_136x0x1294x862_1685118603150.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="413" data-original-width="620" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfc_oTxzMZGPQg0ErEiYAzx3ekiCcWypIDFgpsS8JZuO6-FFebTsHoFXjfnGHPMQ8JDiQ612miHW14egwgb84ABHlGU-vSu6_3ZVL78m2_tSNURC-FXCApmAL5vuUcK4p0dLbnzYa-098knNg-49aM_C3LOLyLNuibZmQoHttx1rKi4wI1ajcVSrK1uI/w640-h426/1685100369083_0620x0413_136x0x1294x862_1685118603150.jpeg" width="640" /></a><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: large;">Gorgeous and rich and complex and archly personal looks at the need for community. Whether as colleagues in need of money enough to live on, or family during horribly tragic times, or outcasts propping each other up when everyone else rejects them, these films show the desperate need for people, the ones we want to see and the ones who want to see us. Personalities, as the title of one of them suggests, talismans, as protection, as artifacts of a life, whether one lived without protection from life's most cruel turns, or in the arms of a loving family. <i>Tótem </i>shows at best what community can feel like when we are born into it and leave while still wrapped up in it. A young girl sees the world through interactions with the people nearest to her without understanding most of it as much more than the first language of her people. The screaming rows and childish games make as much sense as the reverence shown a dying father. It's all just the heady, teeming cauldron of life. When grown, as in <i>Scarlet </i>and <i>La Chimera, </i>we see the need to climb back into the womb of community, especially when it's comprised of people who never got their shot at life in the wider world. People looked down upon, people who were rejected, found wanting. These remarkably touching fables have, like their heroes, a found quality, as if stumbled upon in the wild begging for their story to be told, a junk shop tabernacle of grave robbing oddballs lead by their sleepless prophet wrestling with the meaning of life on the one hand, and the lovely product of a giant who rejected a soldiering life and the witches who flocked to her. They are just to the left of where we think to look for humanity, and every bit the ecstatic exemplars of it. Fellini would have been proud.</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>5.<span style="white-space: pre;"> </span></span></span><span>Godzilla Minus One</span></span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: x-large;">by Takashi Yamazaki</span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>6.</span><span style="white-space: pre;"> </span><span>Shin Kamen Rider</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Hideaki Anno</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjFgm07dntB24CH5PVJP8Uzh6ND-4gqNciOewJjqo3vw6H5OpiGNvtXJE2Ayh7VQZynA3OWQ98tBUsnPg2Rf18DLxIcSCgsXDD_KPYlxBSgZ2md4rEXryJs1zTAFXWhZMOiYlLhyphenhyphendf4ciDPBU-QuBlzjJT2_RjOsUOIRtsQpSdNEnu120FVseEqiVp8Hc/s1200/DSC08716_dc.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="802" data-original-width="1200" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjFgm07dntB24CH5PVJP8Uzh6ND-4gqNciOewJjqo3vw6H5OpiGNvtXJE2Ayh7VQZynA3OWQ98tBUsnPg2Rf18DLxIcSCgsXDD_KPYlxBSgZ2md4rEXryJs1zTAFXWhZMOiYlLhyphenhyphendf4ciDPBU-QuBlzjJT2_RjOsUOIRtsQpSdNEnu120FVseEqiVp8Hc/w640-h428/DSC08716_dc.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Reclamation of a dropped national identity and a childhood obsession with harmless fantasy. One suggests that <a href="https://letterboxd.com/honorszombie/film/godzilla-minus-one/1/">decades</a> of making defeat the national sigil can become the ramp up to a healthy dose of nationalism (is there such a thing?), and another that says that making pain an intrinsic part of the memories of a kids shows will help you have an honest conversation about the pain in the heart of everyone who grew up at the same time. The Kamen Rider is in agony, emotional and real, and he fights creations of a deranged psyche, but it's the same impulse that made him. Destruction and birth must go hand in hand, and rebirth through destruction binds these two blistering works, the kinds of movie from which you cannot turn away. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">7.<span style="white-space: pre;"> </span>Unrest</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Cyril Schäublin<br /></span><span style="white-space: normal;"><span style="font-size: x-large;">8.<span style="white-space: pre;"> </span>Showing Up</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Kelly Reichardt</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq27KRsuaEraae1Nj6iPKDKACwtY0UpUoE_OADHh8wham0a_EhMx_tK7rbkMp1onFOdCeZ0Oc2_s9bz15hU8xtzbOUktweCEMn4I7SGNmJ2AtLXbD00920yUqlmOtfhKbJXCo4YWfARbHKI377OY271l4D2BziF2s9kUc_cm-aQ05Ux9Z0TDYAwwJ5jTk/s3840/MV5BYzMyOWEwYmQtZGRkZi00ODk0LTljODktZmQ3NDViZTU4MjM3XkEyXkFqcGdeQXVyNzk4ODc3NjE@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2160" data-original-width="3840" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq27KRsuaEraae1Nj6iPKDKACwtY0UpUoE_OADHh8wham0a_EhMx_tK7rbkMp1onFOdCeZ0Oc2_s9bz15hU8xtzbOUktweCEMn4I7SGNmJ2AtLXbD00920yUqlmOtfhKbJXCo4YWfARbHKI377OY271l4D2BziF2s9kUc_cm-aQ05Ux9Z0TDYAwwJ5jTk/w640-h360/MV5BYzMyOWEwYmQtZGRkZi00ODk0LTljODktZmQ3NDViZTU4MjM3XkEyXkFqcGdeQXVyNzk4ODc3NjE@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Films about the political nature of creativity. A factory full of people making watches are witness to burgeoning revolution, and <a href="https://vimeo.com/853878325">an artist struggles</a> to pay rent and get the creature comforts that might make her feel human in return. </span></span><span style="font-size: large;">Cyril Schäublin and Kelly Reichardt both agree that any depiction of craftsman or artist must make us itch and sweat because no part of the life is assured and no part of the making is without damage to the body and soul. Watching watch parts fit together through magnifying glasses I felt my cuticles crawl off my hand and into a sewer. Watching Michelle Williams navigate local art space culture made me want to lose my skin entirely. The indignities, the care that goes unrewarded, the mistakes, and all the while a culture may change in the blink of an eye and render you completely obsolete instead of merely invisible. And yet some of the most warm films under their depictions of austere conditions, of lives spent staring at something in your hand, knowing the wrong movement could ruin a piece or ruin your life...or do nothing at all. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">9.<span style="white-space: pre;"> </span>The Pot-Au-Feu</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Trần Anh Hùng<br /></span><span style="white-space: normal;"><span style="font-size: x-large;">10.<span style="white-space: pre;"> </span>Menus-Plaisirs les Troisgros</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Fred Wiseman</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwRyh5JWhoHhWpEOGeIVzVE9yR7wSh7f8JSFCZjccwLlDlr6gYy_asrieoa789zxnphgQw6FzH1fEZbRrIqypGYd6K8TuJSsulyUCNejzfi1Fb0-vNbQzWrWdQyvfU6gvsV9DG5kT0XWI_yq-CL8KEHUIlMrAMDvrp90BtoZASwha0Tw6v_MmtOXMBo5o/s1600/Le-pot-au-feu_st_1_jpg_sd-high-c60f.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwRyh5JWhoHhWpEOGeIVzVE9yR7wSh7f8JSFCZjccwLlDlr6gYy_asrieoa789zxnphgQw6FzH1fEZbRrIqypGYd6K8TuJSsulyUCNejzfi1Fb0-vNbQzWrWdQyvfU6gvsV9DG5kT0XWI_yq-CL8KEHUIlMrAMDvrp90BtoZASwha0Tw6v_MmtOXMBo5o/w640-h360/Le-pot-au-feu_st_1_jpg_sd-high-c60f.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">I was aware during the two splendid hours of movie with many terrible names <i style="white-space: normal;">The Pot-au-Feu </i>that I was falling into the same trap that led the vanguard of foreign films in America to include the most stultifying of middle brow claptrap while I was growing up. It's a 'nice' movie about French people making food and loving each other from a far. It's the Mad Magazine or Onion parody of french cinema...and yet...sue me, I melted like butter and spices into a pan sauce. I was so moved by the continuous sight of Benoît Magimel falling in love with Juliette Binoche with her every movement of a ladle or a knife. I couldn't help myself. If this version of cinema is a stereotypical crowd pleaser, this exact iteration of it is enunciated with Trần Anh Hùng's existential sensuality. The hands of a chef on food, those same hands fumbling to connect with the woman he admires and loves in equal measure. Cool nights in the green moonlight with the most important person in his life. Heaven on earth, an impossibility he tried to depict in <i>Éternité, </i>in conversation with the work of Terrence Malick, is found in fits and starts, in otherwise ordinary moments. On the flipside is Fred Wiseman's own personal heaven, the kitchen of meticulous chefs, crafting the same delicious meals with a hundred years between the two narratives. Skill and patience still the same virtues, and when applied correctly you can guarantee a taste of something as it would have been enjoyed by emperors and kings in the distant past. Together a treatise on the best of life being a quality that can be handed down. The next generation can continue to make life worth living if you let them see how best to create, to love an ingredient and a dish like you would a person. Everyone must eat, but not everyone knows how to cook. So it is with art. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">11.<span style="white-space: pre;"> </span>The Killer </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by David Fincher</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">12.<span style="white-space: pre;"> </span>Silent Night</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by John Woo<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">13.<span style="white-space: pre;"> </span>Revolution+1</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Masao Adachi</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_-0Yrh7TSxTELaaYibmSSKLIvzWV9CSnNwQYFz5X9NiRY55w6tEkDa365gWq6RATmoc_Nq7P_Cf3gr_LN-QrabXUeXwZK8ael_79Acjefo3WrataHcrhq5l4BUhcF9tfwa0RKYUQSZhd1HXiaYM3NnIYfPJTvhtZr5gjgfHbEVXkLbj_BfQlreyrqkO4/s1600/the-killer-02-ht-jef-231108_1699475581849_hpMain_16x9_1600.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_-0Yrh7TSxTELaaYibmSSKLIvzWV9CSnNwQYFz5X9NiRY55w6tEkDa365gWq6RATmoc_Nq7P_Cf3gr_LN-QrabXUeXwZK8ael_79Acjefo3WrataHcrhq5l4BUhcF9tfwa0RKYUQSZhd1HXiaYM3NnIYfPJTvhtZr5gjgfHbEVXkLbj_BfQlreyrqkO4/w640-h360/the-killer-02-ht-jef-231108_1699475581849_hpMain_16x9_1600.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">When men become <a href="https://letterboxd.com/honorszombie/film/revolution1/">instruments of death</a>, they reflect the world that so made them. What needed changing so badly that men would kill to do it? Or were these men already lost and looking for a way to <a href="https://letterboxd.com/honorszombie/film/the-killer-2023/">cry about it </a>and ended with blood on their faces instead? Form so ironclad it hardly matters what horrible things these works tell us. Murder feels good in a place like this. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">14.<span style="white-space: pre;"> </span>Kidnapped</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Marco Bellocchio<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">15.<span style="white-space: pre;"> </span>Killers of the Flower Moon</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Martin Scorsese</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIbjgazO-1y33OOT8Y-f6E97vO13g9-mUu1fmdFKgY8576JhiMixM_gdGaRXcQYuPvc-yuxSrrpvbEx2EjYfNV_kLhN1IjfO_tuXQBxwL7YlxZo-0_kd7T8G_CE70H50QcT862lbQWERLDzeZryznWByDWbZWomcyUpw-w1zVw-n9YQggO8_JlUXsvreA/s1920/p24640250_i_h10_ac.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIbjgazO-1y33OOT8Y-f6E97vO13g9-mUu1fmdFKgY8576JhiMixM_gdGaRXcQYuPvc-yuxSrrpvbEx2EjYfNV_kLhN1IjfO_tuXQBxwL7YlxZo-0_kd7T8G_CE70H50QcT862lbQWERLDzeZryznWByDWbZWomcyUpw-w1zVw-n9YQggO8_JlUXsvreA/w640-h360/p24640250_i_h10_ac.jpeg" width="640" /></a></div><p style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">True life tales of <a href="https://www.cultofmac.com/834015/apple-tv-movie-killers-of-the-flower-moon-is-grueling-but-important-review/?utm_source=twitter">betrayal</a> and savagery, of the men born into authority taking flamboyant and imaginary revenge on people with the audacity to be born to nothing within their sight. Directors whose anger and focus has not dimmed with old age reaching back to the original sins of their cultures. America and Italy, capital and religion, families ripped apart to prevent a new narrative from springing up like a weed in the tidiness of totalitarianism.</span><span style="font-size: x-large;"> </span></span></p><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">16.<span style="white-space: pre;"> </span>Winter Boy</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Christophe Honoré<br /></span><span style="white-space: normal;"><span style="font-size: x-large;">17.<span style="white-space: pre;"> </span>Brother and Sister</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Arnaud Desplechin</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiauFS7gPIclKyTEMPKYQlpGRdw-LssKFQHCT2D48kghgZOtZXOplDcigkxG04-bUTgEDeOSsXZeJ-GzU7beRFjNvGbBQnBkjUdlq0OtSQ7aKo0aIchTYNSmwdnGQsILvK1Rfosju513xWppboUXj3KDeDG0lkIz04FA9wy3hiqX31Q1PuUTQhw6hbRm4I/s1600/l-intro-1653317862.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="901" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiauFS7gPIclKyTEMPKYQlpGRdw-LssKFQHCT2D48kghgZOtZXOplDcigkxG04-bUTgEDeOSsXZeJ-GzU7beRFjNvGbBQnBkjUdlq0OtSQ7aKo0aIchTYNSmwdnGQsILvK1Rfosju513xWppboUXj3KDeDG0lkIz04FA9wy3hiqX31Q1PuUTQhw6hbRm4I/w640-h360/l-intro-1653317862.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Very French and very raw tales of the runts of a litters learning how hard everyone else had it before them. Self-expression and exploration comes at a high cost and every little knick and cut, to say nothing of the big scars, take time to heal and effort to avoid in the future. </span></span><span style="font-size: large;">Honoré's musicality imbues his young hero's awakening like a great album, changing tones and dynamics between tracks, but keeping the spirit alive between the peaks and valleys. Desplechin's latest symphony finds him revisiting pet themes with his most potent and true pen stroke. His fifth tale of the amorphous Vuillard family replays the notes of his best work, <i>A Christmas Tale, </i>and finds him as sharp as ever in his depiction of scoundrels dancing around the path to redemption, and the undefeated urge to fall back into old habits. Together a snow-bounded experience of messy bonding and hearts thawing. Indispensable cinema. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">18.<span style="white-space: pre;"> </span>Rewind and Play</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Alain Gomis</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">19. </span></span><span style="font-size: x-large;">Renaissance: A Film by Beyoncé</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Beyoncé Knowles, Mark Ritchie & Ed Burke</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OMwyu3ZIfkxZPMB_wgOnklV2cuNuJChVX5N-7DLGC_USJZRaAiJaZHi-84XY0OQPBQ93LPD7scDMMEc5BkkY6VoCNVuyKfGCembyGHth-xmXepf-dwAb5hA5B5Y5-yycGiPvFY-wXhiuvkWUP1IdlFTSMDMhHrJUPBE-T54vVK3gcWcw8TtwJNsxeF4/s1920/RP-01.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0OMwyu3ZIfkxZPMB_wgOnklV2cuNuJChVX5N-7DLGC_USJZRaAiJaZHi-84XY0OQPBQ93LPD7scDMMEc5BkkY6VoCNVuyKfGCembyGHth-xmXepf-dwAb5hA5B5Y5-yycGiPvFY-wXhiuvkWUP1IdlFTSMDMhHrJUPBE-T54vVK3gcWcw8TtwJNsxeF4/w640-h360/RP-01.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Who controls an image? One of the 20th century's greatest artists is left hung out to dry by imperialist videographers, and only in the hands of a simpatico editor can the man's genius breathe. Like James Baldwin, Monk's genius was so rarely allowed to stand for what <i>he </i>intended because it passed through the hands of colonising collectors and arbiters. Here's an object lesson in presentation and co-option. A lesson for everyone still clinging to fairy tales of inherent superiority: just because he won't speak your language does not mean he doesn't speak with more clarity and authority than you. Maybe your language has no word for beauty. Maybe your language is dead. Reviving Monk's language in the 21st century is Beyoncé and her cadre of stylists, videographers, cinematographers, choreographers. The second coming of the silenced black artist, the woman who has everything and yet makes her film a reflection of millions. She's the artist but she's the vessel through which they speak. She points the way to the future. She is the future. </span><br /><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">20.<span style="white-space: pre;"> </span>The Holdovers</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Alexander Payne<br /></span></span><span style="font-size: x-large;"><span style="white-space: normal;">21.<span style="white-space: pre;"> </span>Asteroid City</span></span><span style="font-size: x-large;"><span style="white-space: pre;"> <br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Wes Anderson</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvMgYZlTj8twCGg_nw8RcBCvyara4FkhE-fMXI_pqXkGmEnZyUOjLhyphenhyphenq4TjkHEd7Ec8gBXvzRe5UCY15sBFaqtYY_289lQAzVKu-arOtwmtf2ERVNKGwKFlKolndhWXfPPRrvkOTLz6A3bls2ICSJowllMHD94j-JQ-zZmYw9TR0I3nAflIUzDVmIhOM/s1114/holdovers-anatomy1-wlkb-superJumbo.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="627" data-original-width="1114" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvMgYZlTj8twCGg_nw8RcBCvyara4FkhE-fMXI_pqXkGmEnZyUOjLhyphenhyphenq4TjkHEd7Ec8gBXvzRe5UCY15sBFaqtYY_289lQAzVKu-arOtwmtf2ERVNKGwKFlKolndhWXfPPRrvkOTLz6A3bls2ICSJowllMHD94j-JQ-zZmYw9TR0I3nAflIUzDVmIhOM/w640-h360/holdovers-anatomy1-wlkb-superJumbo.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Movies with deliberate fetishism of <a href="https://thespool.net/reviews/asteroid-city-wes-anderson-review/">decades-old style</a> and delivery telling the story of <a href="https://thespool.net/reviews/film-review-the-holdovers/">young people</a> being led to their latest selves by people who have lived long enough to have lost touch with who they once were. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">22.<span style="white-space: pre;"> </span>Mission Moscow</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Herman Yau<br /></span><span style="white-space: normal;"><span style="font-size: x-large;">23.<span style="white-space: pre;"> </span>Raid on the Lethal Zone</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Herman Yau</span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyU1eHGLJm2Oepa8IC429DJea4YdiMhad89HOAWptqB4V2uIrbMzCqqfiwgWG5mxRIZdQYvaNKhpm1-D3Ab3rvJ1lABhE4ertR442CwKi3pcvJiXjUiUBWrU4shCQpN_l-HmVMeYpsztpqQUTPMY6rNiipwYJtaC6JaIphPiYwBU0QKeTqwRQZ059Weo4/s2000/MV5BNzUyMDM3ZDgtMGQ1OS00NzhkLTgwZjEtZmU2MzZiMGFjNDU1XkEyXkFqcGdeQXVyODk4NjQyNjI@._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyU1eHGLJm2Oepa8IC429DJea4YdiMhad89HOAWptqB4V2uIrbMzCqqfiwgWG5mxRIZdQYvaNKhpm1-D3Ab3rvJ1lABhE4ertR442CwKi3pcvJiXjUiUBWrU4shCQpN_l-HmVMeYpsztpqQUTPMY6rNiipwYJtaC6JaIphPiYwBU0QKeTqwRQZ059Weo4/w640-h426/MV5BNzUyMDM3ZDgtMGQ1OS00NzhkLTgwZjEtZmU2MzZiMGFjNDU1XkEyXkFqcGdeQXVyODk4NjQyNjI@._V1_.jpg" width="640" /></a></div><span style="font-size: large;">Herman Yau released three movies this year, which I have to say makes him the most consistent filmmaker of the year without having seen one of them (it was the third in a series I have not seen any of). The two action films of his I did see were <i>beyond </i>impressive feats, wrangling dozens of extras in hairy conditions in order to produce some of the most pulse-pounding action sequences of this or any year. Watching people take part in a vehicular gun battle as they avoid a torrential flood and mudslide, watching them fly from train car to train car avoiding death by farming implement...where does he get the stamina? This is action filmmaking to make most Americans sweat just looking at it. The CGI is unselfconsciously mixed with the daredevil practical effect, and the color pallette is always exciting and crisp. Works designed to be rewatched without losing their sting, their sense of danger. </span><br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="font-size: x-large;"><span><span style="white-space: normal;">24.<span style="white-space: pre;"> </span></span></span><span>Knock at the Cabin</span></span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: x-large;">by M. Night Shyamalan </span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>25. </span><span>Sick</span></span></div><div><span style="font-size: x-large;">by John Hyams</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicalp_EBF_PntlTvWpBXTwNDNCV32J3xOoz5tW5fEg4EldfzlULiXaNitolMqGcv6M1YnfwYlwgARQR7qKnE9L_-jT_b5MhAzhlkVhhQdnHnx7DLB4uIpzg8Jr7bBpjs7ZblrvkxAyD15753iMlAjAOyHDgSGY3VYMIqouuXO9lx-3nk-COjyEqKWccYo/s1398/MV5BYzBkYWFlMWMtOWRkYi00MTFhLWIwNDUtYjVlMDg2NGE1ZGExXkEyXkFqcGdeQWFybm8@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="786" data-original-width="1398" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicalp_EBF_PntlTvWpBXTwNDNCV32J3xOoz5tW5fEg4EldfzlULiXaNitolMqGcv6M1YnfwYlwgARQR7qKnE9L_-jT_b5MhAzhlkVhhQdnHnx7DLB4uIpzg8Jr7bBpjs7ZblrvkxAyD15753iMlAjAOyHDgSGY3VYMIqouuXO9lx-3nk-COjyEqKWccYo/w640-h360/MV5BYzBkYWFlMWMtOWRkYi00MTFhLWIwNDUtYjVlMDg2NGE1ZGExXkEyXkFqcGdeQWFybm8@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">The search for solitude interrupted by fanaticism, the cracked psychology of people who think they see a better way for the world to be. M. Night Shyamalan and John Hyams are two of the American cinema's most daring formalists, and just seeing them navigate small, out-of-the-way spaces without repeating a trick, without letting the audience breathe, this is top tier filmmaking, movies we'd be thrilled to discover in any year, unsurprised when we're told they weren't appreciated at the time of their release. These two directors picking single locations (for the most part) allow them to show you how to direct space and action, because your eyes cannot stray far from the subject of every shot, and yet feasts of meaning in every composition. Frightening, adrenaline-jacking works of patience and skill. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="white-space: normal;">26.<span style="white-space: pre;"> </span></span>The Old Oak</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Ken Loach</span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>27. </span><span>Fallen Leaves</span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>by Aki </span><span>Kaurismäki</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG7ZM7Du1sqz0v8cuedXvgr37xmZ_TRvqevzdmB2g_2PvO0u93iZ2nZfzTPnUe17vUXKS6x74DhV9FEvJdVlcY0pi3GXpRrwVBTU-xmfIZ4bJhDylCHkb1UY6lc-xP8xLlgPG3eKXFl2rsUkGDUcAsdazSeCJWT1GZjnFGLfYRpaxsYUhVn5W35nz28IM/s2048/MV5BNGM1NjhkNTktY2I1My00ODMxLTk2NWQtYzlkMDhjYmQ4MGFkXkEyXkFqcGdeQXVyNDY5NTQyMDU@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG7ZM7Du1sqz0v8cuedXvgr37xmZ_TRvqevzdmB2g_2PvO0u93iZ2nZfzTPnUe17vUXKS6x74DhV9FEvJdVlcY0pi3GXpRrwVBTU-xmfIZ4bJhDylCHkb1UY6lc-xP8xLlgPG3eKXFl2rsUkGDUcAsdazSeCJWT1GZjnFGLfYRpaxsYUhVn5W35nz28IM/w640-h426/MV5BNGM1NjhkNTktY2I1My00ODMxLTk2NWQtYzlkMDhjYmQ4MGFkXkEyXkFqcGdeQXVyNDY5NTQyMDU@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Two old fashioned works of working class love and camaraderie. As one hero tries to quit drinking to meet his love where she wishes, another tries to put his pub to use, to become a pillar of a community that's long since dissolved any bonds of togetherness. The two films warmth is not to be discounted, and though the Kaurismäki has proven popular, the Loach has yet to premiere, my guess is out of fear of a lukewarm response among Americans who everyday wish to re-enact this movie's plot about locals fearing immigrants heedlessly to give their hatred a name and their purposelessness a cause. It is not marginalia, it is not texture; the point of these movies is to love thy neighbor and what a horrible shame we still need the lesson. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span><span style="white-space: normal;">28.<span style="white-space: pre;"> </span></span></span><span>Anatomy of a Fall</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Justine Triet</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5aAPtb5u6LWgZJdzQ9vuC6iRxBgwFF2dlKoQywYwxg_fWgeRoSbubPrV8L6lUJ6S9jHw6bsgvCcAkuUwW4MEyZRj4vgnun9_pNTseXI7_kwvQGg28P-Tyt4-NS3wgi_ll5dxb814f69NcJ1DDw354NJDvgGT5MkNgYdIqKShvjxSzNS13WahbmnS11eA/s4513/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2535" data-original-width="4513" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5aAPtb5u6LWgZJdzQ9vuC6iRxBgwFF2dlKoQywYwxg_fWgeRoSbubPrV8L6lUJ6S9jHw6bsgvCcAkuUwW4MEyZRj4vgnun9_pNTseXI7_kwvQGg28P-Tyt4-NS3wgi_ll5dxb814f69NcJ1DDw354NJDvgGT5MkNgYdIqKShvjxSzNS13WahbmnS11eA/w640-h360/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Turning your personal life, your romance, into a deposition is one of those ingenious ideas that only the hackiest and smartest of us have given it a whirl. I could have watched hours and hours more of this, of Hüller having her life unspooled and then debriefing with Swann Arlaud, with his scientifically perfect features and hair. Cinema is a slippery thing, there's sometimes no telling when a conceit can support endless iterance, but starting from a Preminger movie is almost never a bad idea. Triet's camera doesn't have to do much, but it never gets in the way of the important thing; old school close-ups and hungry mediums of people discussing the hardest moments of their lives. I guess it's time to watch all of Triet's other movies.</span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">29. <span> </span>May December</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Todd Haynes<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">30.<span style="white-space: pre;"> </span></span>All Of Us Strangers</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Andrew Haigh</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2HtlTEEYycKMjBoVS_YGPrq-OlZGXgzDch05woCFZ7ji-3vBopDP2lFHSQUdml3bC3LlI9DBGfaEDe20ubRahueNUL7Yt3V6T-yJCTJVPCjY9relYIkEE3Zu3zHVx7U3T92UQWYxAGrO-icCoJY087f1hu-0vaGpH347WfrzbeJX5nZ9CEdbWHFTEnY/s2048/strangers-anatomy1-ctqw-superJumbo.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2HtlTEEYycKMjBoVS_YGPrq-OlZGXgzDch05woCFZ7ji-3vBopDP2lFHSQUdml3bC3LlI9DBGfaEDe20ubRahueNUL7Yt3V6T-yJCTJVPCjY9relYIkEE3Zu3zHVx7U3T92UQWYxAGrO-icCoJY087f1hu-0vaGpH347WfrzbeJX5nZ9CEdbWHFTEnY/w640-h360/strangers-anatomy1-ctqw-superJumbo.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Haigh and Haynes are kindred spirits in they're obvious comfort with a dozen genres and their awareness of the venom in the human heart. Haigh doesn't have the satirists/academic's distance between himself and his subject, nor does Haynes have Haigh's earthy immediacy, but when you pair them, as they allowed us to do when they released their beautifully tense latest films side by side, you can work up quite a sweat watching them. Haigh's tale of regret, of wishing you could have one more moment is lifted into the stratosphere of "how dare you" by a career high Andrew Scott performance, the epitome of broken yet open. His scenes of speaking earnestly to his parents have the same intensity as a fight scene. It's like he survived ten rounds with the world heavy weight champion, and then has to stare mortality and the parents he never knew in the face. It's so fragile, you're scared for every second of it. And then Haynes compliments the idea of looking back on the start of your trauma by introducing, as is his wont, an element of performance and production. The chance to do it all again is someone else's privilege, but not yours, and a man old before his time and a woman still trapped in her younger body. Film, in Haynes' worldview, can select the pieces of your life it wants, and make them into something else, to completely remove your image from its context. Bracing, smart, hard stuff, but never less than <i>easy </i>to watch. What a pair. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;">31.<span style="white-space: pre;"> </span>Boy and the Heron</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Hayao Miyazaki</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Wk5-7WL-atQgdevjbgXddtqdIK8fXDjR8GP0FqGbgYbyVHTa55fNb3GR5KZwLSLhymXeJR_ITghRUsW9XChMYhWOQw3xyRbPG3wunzsaF9Wl3Mnb2nga0-Tpbi9AC1k8chKKKpPQktb8sp2XysM4CLHWRoLjxUuM89laqCF6PeuBWvvSaiRAWcXJPjE/s1920/the-boy-and-the-heron-7.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1038" data-original-width="1920" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Wk5-7WL-atQgdevjbgXddtqdIK8fXDjR8GP0FqGbgYbyVHTa55fNb3GR5KZwLSLhymXeJR_ITghRUsW9XChMYhWOQw3xyRbPG3wunzsaF9Wl3Mnb2nga0-Tpbi9AC1k8chKKKpPQktb8sp2XysM4CLHWRoLjxUuM89laqCF6PeuBWvvSaiRAWcXJPjE/w640-h346/the-boy-and-the-heron-7.png" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Perhaps the most exciting piece of Miyazaki's brain is the fearlessness with which he veers away from the mythic contours to which his stories might ordinarily hew. <i>Boy and the Heron, </i>perhaps more than any of his post-<i>Spirited Away </i>works, follows nothing more important than his latest urge and imagistic idea. Joseph Campbell would be useless in deciphering where this one goes, because it's so obviously personal to the point of having emerged fully inexplicable from his dreams. What safer and more wonderful place to be than uncharted territory with a master's guidance. Fearless storytelling about the fear of having no story to tell. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="white-space: normal;">32.<span style="white-space: pre;"> </span></span>Master Gardener</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Paul Schrader<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">33.<span style="white-space: pre;"> </span></span>Padre Pio</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Abel Ferrara</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6zc9I5QemENDD7bbXe6ZeN09u8rlka_j4SjTwUR6JE6zG5jVELph2RAhOd1M4D7GWgg3dVm4CQg6hHv39dW5jRfsXDKRRF1lpA26oH7ridA5aU72PcF7GKKq-28KFxaORqYuzkOvTWHMdQrq-S2-R9EfNxKeW1_RQon_SEFEGmFcdCubYE12_TlFFV0M/s2388/Master-Gardener.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1194" data-original-width="2388" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6zc9I5QemENDD7bbXe6ZeN09u8rlka_j4SjTwUR6JE6zG5jVELph2RAhOd1M4D7GWgg3dVm4CQg6hHv39dW5jRfsXDKRRF1lpA26oH7ridA5aU72PcF7GKKq-28KFxaORqYuzkOvTWHMdQrq-S2-R9EfNxKeW1_RQon_SEFEGmFcdCubYE12_TlFFV0M/w640-h320/Master-Gardener.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Two of our oldest martyrs, suffering under the weight of the gods they agreed to carry from a young age. Now, staring down the final chapters of their lives, they pit self-flaggelating stoics against worlds falling apart. The emergence of and re-emergence of fascism are the ground on which dubious battles with the empty promises of the afterlife will transpire. Joel Edgerton's extremely moving repentant sinner grabbing dirt with both hands, knowing he isn't much more than that, and dreaming of the flowers that may yet blossom. "Shut the fuck up and say Christ is lord!" cries the Padre. The spirit may win or lose, but these directors have tried to find theirs and show them to us. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="white-space: normal;">34.<span style="white-space: pre;"> </span></span>Will-O’-The-Wisp</span></div><div style="text-align: left;"><span style="font-size: x-large;">by João Pedro Rodrigues<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">35.<span style="white-space: pre;"> </span></span>Magic Mike’s Last Dance</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Steven Soderbergh</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGv_MMfALePXVROrIWw1dQb9j5gTl3n1_3MQXrvse9RHf9S6PbrNeS3ScCijOJQV_jq2oTvlqO1XBvjAJweyntI52dV_kTyf5vLC8Fjzh8rUgaWBNIJw10D3KhA_FoZQ83P5PLQay-99BsqgWHdS6K9e9Y8dWRTbis2zKb-pxtrSUZjWBbMBTUsIk8cjc/s941/magic-mike---warner-bros_wide-e4b3e56df38896682c658a865b1c86ce7d1c8d8e-s1100-c50.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="529" data-original-width="941" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGv_MMfALePXVROrIWw1dQb9j5gTl3n1_3MQXrvse9RHf9S6PbrNeS3ScCijOJQV_jq2oTvlqO1XBvjAJweyntI52dV_kTyf5vLC8Fjzh8rUgaWBNIJw10D3KhA_FoZQ83P5PLQay-99BsqgWHdS6K9e9Y8dWRTbis2zKb-pxtrSUZjWBbMBTUsIk8cjc/w640-h360/magic-mike---warner-bros_wide-e4b3e56df38896682c658a865b1c86ce7d1c8d8e-s1100-c50.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Feats of carnal athleticism as men of leisure discover their purpose in the arms of an adoring stranger. The men of <i>Magic Mike </i>discover meaning between the legs of the lost, while a princeling discovers lust and more at a firehouse, doing good (and more) for his fellow man instead of growing useless among his people. The safety of a new space, a place for regrowing damaged confidence or for training a generation of healers, a place to go feel like a queen, where you'll need new clothes after your visit, one way or another. The exchange of fluids, whether putting out a fire or lighting one, is the currency of progress. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="white-space: normal;">36.<span style="white-space: pre;"> </span></span>About Dry Grasses</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Nuri Bilge Ceylan<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">37.<span style="white-space: pre;"> </span></span>Afire</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Christian Petzold<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">38.<span style="white-space: pre;"> </span></span>Rotting in the Sun</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Sebastián Silva</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimleY92JTpNSpwKQdNxD6slLqEeiX9vBgiKr6Pqvh1bhpboaRJFYXCe7_7loB95qLPFCSQKvOx_ohLmytkWU_wqdQdo7rhoGRf_Vx85oQt3CidkkqPUXGTmxBqH0rrrAx-aAohRRszpHVUHvafT5paxQ2zdvHlKmZVh4Ab_wbiMP_gwWcfryQ7TknDRSs/s4096/2-0816f29febd0146a8ba2ce24c748c938.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1716" data-original-width="4096" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimleY92JTpNSpwKQdNxD6slLqEeiX9vBgiKr6Pqvh1bhpboaRJFYXCe7_7loB95qLPFCSQKvOx_ohLmytkWU_wqdQdo7rhoGRf_Vx85oQt3CidkkqPUXGTmxBqH0rrrAx-aAohRRszpHVUHvafT5paxQ2zdvHlKmZVh4Ab_wbiMP_gwWcfryQ7TknDRSs/w640-h268/2-0816f29febd0146a8ba2ce24c748c938.jpeg" width="640" /></a><span style="font-size: x-large;"><br /></span><span style="font-size: large;">In the tucked away corners of the earth, where creativity and amorousness ought to flourish, men get in their own way. <a href="https://thespool.net/reviews/film-review-afire/">Pig-headed intellectuals</a> and artists refusing to see what's before them, choosing instead to become characters in stories they might have written were they more perceptive. Movies that double back on themselves to investigate their own impulses, that take the roman à clef for a joyride. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;">39.<span style="white-space: pre;"> </span>Trenque Lauquen</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Laura Citarella<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">40.<span style="white-space: pre;"> </span></span>The Delinquents</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Rodrigo Moreno</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjij8sLCrK67WUv-7Dh-k-UXKszrUn8xxZPjcwovxqrOQ-fM034OmA-Tsd1GrUKbQ3kggmI0qoacBlgsF1a3BD6yAKLWn6rSo8rmRX0uG6mGfaaTPow2Urw5W-QPxG-4LO-CdtMwLOepuovrY7LY4jfD95yUqRdG_MBrIx7QzCYdUDYFmTNXdRDC8Vqzhk/s1600/Trenque-Lauquen-Still-2-1600x900-c-default.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjij8sLCrK67WUv-7Dh-k-UXKszrUn8xxZPjcwovxqrOQ-fM034OmA-Tsd1GrUKbQ3kggmI0qoacBlgsF1a3BD6yAKLWn6rSo8rmRX0uG6mGfaaTPow2Urw5W-QPxG-4LO-CdtMwLOepuovrY7LY4jfD95yUqRdG_MBrIx7QzCYdUDYFmTNXdRDC8Vqzhk/w640-h360/Trenque-Lauquen-Still-2-1600x900-c-default.jpeg" width="640" /></a><span style="font-size: x-large;"><br /></span><span style="font-size: large;">A couple of Argentine behemoths so rich and free to discover what lies outside the confines of genre and three acts. Like watching whales swim the vastness of the ocean. Laura Paredes, the patron saint of a boundless latin american cinema, injects both works with her steely poise and one-of-a-kind facial expressions. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;">41.<span style="white-space: pre;"> </span></span>Incident</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Bill Morrison <br /></span><span style="font-size: x-large;"><span style="white-space: normal;">42.<span style="white-space: pre;"> </span></span>Youth (Spring)</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Wang Bing</span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;">43.<span style="white-space: pre;"> </span></span>Our Body</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Claire Simon</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBvLiGHvOuuCUqvyeo5igusCHWgWrSuOXTwwZuZN0GoA6uPfxFAvT7odb59IFj3W5Rv-6X3RalFrvPJirgSqImzD31HoaCZdS3ywLVbw5XoF8xX8JNRk0wOR81isX9blGFK3Jfg3XpiQ_jIAqpSuMN6CG5kiMtc6iwkhlxjc-10-gFYmodCY-wIHSGw3Q/s1600/Youth-Spring-3-1600x900-c-default.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBvLiGHvOuuCUqvyeo5igusCHWgWrSuOXTwwZuZN0GoA6uPfxFAvT7odb59IFj3W5Rv-6X3RalFrvPJirgSqImzD31HoaCZdS3ywLVbw5XoF8xX8JNRk0wOR81isX9blGFK3Jfg3XpiQ_jIAqpSuMN6CG5kiMtc6iwkhlxjc-10-gFYmodCY-wIHSGw3Q/w640-h360/Youth-Spring-3-1600x900-c-default.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Linking these three great but quite distinct pieces of non-fiction may seem like a copout but they're about the fixed price of freedom on the one hand and what that freedom actually affords you on the other. The care needed to take care of people who have not been cared for by systems and society, by the people nearest to them. The definition of the body is ever-changing and so the care needed to preserve it must as well, but what remains the same is the way the body can be maimed, disrespected, exploited. In a Chinese factory people keep their sanity by pretending they're working any other job, instead of slave labor while the world happily pretends they don't exist at all. It begs asking whether it's worse being a cog in that machinery, or someone out of step with any machinery; a barber walking to work who did the same kind of nothing thousands before him have, and wound up filled with police bullets on the streets, as if a casualty of a great battle, and not a man on his lunch break. But maybe the broader point is globalization has ensured there is no difference. We all serve men we'll never meet, and we all may be killed by them, too. The comparatively utopian vision of <i>Our Body </i>says we might be saved by him. It's a lot to ask, and a lot to hope. Three of our best non-fiction directors take the temperature of the world and find three different problems. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>44. </span><span>The Color Purple</span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>by </span><span>Blitz Bazawule</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">45. Terence Nance: The Swarm</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Terence Nance, et al</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVadFgIGegYpBCYlj05HtIcsS2mh4wNLJAU8N4zvz6xZmWUUSEoQiusXs5rFX0EpNbCXoI1dr1NLxqGrgknk3pD9XD3VtygoIT-LTFAt79h45YDrB1sYOWRWH-h5aTWAxXKde5TydOpr_CoMM7oVVvPPPSEiDC1qOS74X6ie6zve4vdl1gR1uIFfgMD1w/s800/EY4FYXL56RFA5ER43XHXZPSKRE.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="533" data-original-width="800" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVadFgIGegYpBCYlj05HtIcsS2mh4wNLJAU8N4zvz6xZmWUUSEoQiusXs5rFX0EpNbCXoI1dr1NLxqGrgknk3pD9XD3VtygoIT-LTFAt79h45YDrB1sYOWRWH-h5aTWAxXKde5TydOpr_CoMM7oVVvPPPSEiDC1qOS74X6ie6zve4vdl1gR1uIFfgMD1w/w640-h426/EY4FYXL56RFA5ER43XHXZPSKRE.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">The joy of seeing black directors take the American cinema for their own, and arrange bodies in cinematic spaces of their own design. After creating the greatest HBO show, Nance was asked to take over the Institute of Contemporary Art at the University of Pennsylvania and filled with images of his artistic past and present that felt like the future. The overwhelming, sensuous expression, the florid expanse of image and sound, so few are at Nance's level. Blitz the Ambassador getting the reins of a huge, Spielberg-produced remake of <i>The Color Purple, </i>and turning it more into a tribute to Haile Gerima and Julie Dash is the kind of revisionism the cinema needs before it can shed its skin and enter a better age. A beautiful celebration of joy and bodies in uproarious, spiritual motion. It's not Alice Walker's book, it's something else, and I'm happy to have this, too. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="white-space: normal;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;">46.<span style="white-space: pre;"> </span></span>Desperate Souls, Dark City and the Legend of Midnight Cowboy</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Nancy Buirski<br /></span><span style="font-size: x-large;"><span style="white-space: normal;">47.<span style="white-space: pre;"> </span></span>Cobweb</span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Kim Jee-Woon</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYPPnLGuFTURMuuXJinnzT5HrVLWNbUFKm9yu4PF3FlS_VSy7FC4XaBbFagkAeV8GsVwx2A2KuZawIpyQxVD9tfgRyOgHjTX4XlIlFQM-mGBg8mdACu3USjlq5E8tEdq-gbF-Z0fZ13r0GnHKF-iPYswpOY_-xbYlqlb8x33jXgr5wJ3C2BtJPTxIEDJk/s1500/Mid-cowboy.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1220" data-original-width="1500" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYPPnLGuFTURMuuXJinnzT5HrVLWNbUFKm9yu4PF3FlS_VSy7FC4XaBbFagkAeV8GsVwx2A2KuZawIpyQxVD9tfgRyOgHjTX4XlIlFQM-mGBg8mdACu3USjlq5E8tEdq-gbF-Z0fZ13r0GnHKF-iPYswpOY_-xbYlqlb8x33jXgr5wJ3C2BtJPTxIEDJk/w640-h520/Mid-cowboy.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Two invocations of 60s radicalism. The neurotic, erotic <i>Midnight Cowboy </i>and <i>The Housemaid </i>get their turns in the limelight, one as tragedy, one as farce. My friend Nancy Buirski's final film, a loving and calm and thorough deconstruction of a classic, takes us into the belly of an era and shows us how it came together to make an unlikely cause celebre. Kim Jee-Woon's thinly veiled comedy about Kim Ki-Young's crazed monstrosity of the first golden age of Korean cinema, a loving but cautionary tale of how someone gets swept up in art when human life is on the line. Both of them changed the world in their ways. And both get fittingly singular tributes from some of our best. Rest in peace, Nancy. I'll have to carry on our conversation by myself from here on out, and it will not be the same. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="white-space: normal;"><span style="font-size: x-large;">48.<span style="white-space: pre;"> </span>Are You There God, It’s Me, Margaret?</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Kelly Fremon Craig<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">49.<span style="white-space: pre;"> </span>Monster</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Hirokazu Kore-eda</span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>50. </span></span><span>Priscilla</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Sofia Coppola</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMoaH2ItGYcbTWVWqSOIjPLY80mRu-z9g1z_sSL0rXiEEOtKpSPqs9HxamJwoT6wCeS5sj3RH-QW98warWbr0lapfaiOOl_n77frmGLaU-QmRIr46dvF_P6pgFPZVGe4iYJdnfEky8eXkQ2P-S4pXNls8P8zB2dCkvoWi6xz-2K4vEirLZD36uFhVFwE/s1760/MV5BY2UwNjEyNDEtMWZlNC00MjMyLWI5MGYtODYzNTJjZGVlM2ZkXkEyXkFqcGdeQXZ3ZXNsZXk@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="990" data-original-width="1760" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMoaH2ItGYcbTWVWqSOIjPLY80mRu-z9g1z_sSL0rXiEEOtKpSPqs9HxamJwoT6wCeS5sj3RH-QW98warWbr0lapfaiOOl_n77frmGLaU-QmRIr46dvF_P6pgFPZVGe4iYJdnfEky8eXkQ2P-S4pXNls8P8zB2dCkvoWi6xz-2K4vEirLZD36uFhVFwE/w640-h360/MV5BY2UwNjEyNDEtMWZlNC00MjMyLWI5MGYtODYzNTJjZGVlM2ZkXkEyXkFqcGdeQXZ3ZXNsZXk@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">The impossibly tricky path of childhood, made more treacherous by adults with their backs turned and their eyes closed, by willful misunderstanding, by clashing hormones and the temptation to make enemies where you might have made friends. Being someone else's version of your true self will get you in the end, and the vast array of endings ought to remind us how difficult it is to emerge from childhood unscathed, when the rewards for damage, for letting your guard down here or raising it there, appear so high. </span><br /></span><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">51.<span style="white-space: pre;"> </span>Dry Ground Burning</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Joana Pimenta & Adirley Queirós</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifossbS3UpZAHRZCF1HdFUi_ZYj-DyT_4xN5lXonconH_oRbcc1GKAFLRwTjCEMsCjF_-V68IXc2x8RfC6FzhMVeCbOf7dNZTErzesOZnON4oeD0X746dV6MWQIjxHiSbewOhVLd1mHaBk6N2rmV86lg5gzeF9Bh1zTFedO2CNBCHZhlkkjzMtA_kiU0c/s1600/filmlinc-nyff60-dry-ground-burning-stills-0-1681850-1-1600x900-c-default.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifossbS3UpZAHRZCF1HdFUi_ZYj-DyT_4xN5lXonconH_oRbcc1GKAFLRwTjCEMsCjF_-V68IXc2x8RfC6FzhMVeCbOf7dNZTErzesOZnON4oeD0X746dV6MWQIjxHiSbewOhVLd1mHaBk6N2rmV86lg5gzeF9Bh1zTFedO2CNBCHZhlkkjzMtA_kiU0c/w640-h360/filmlinc-nyff60-dry-ground-burning-stills-0-1681850-1-1600x900-c-default.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">The latest entry into Brazil's post-apocalypstic canon, an afrofuturist Upton Sinclair piece by way of Pedro Costa's cinema of decaying dreamers. Open hearts and pissed off minds, the streets belong to who tends them. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="white-space: normal;"><span style="font-size: x-large;">52.<span style="white-space: pre;"> </span>Wes Anderson’s Roald Dahl Compendium</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Wes Anderson<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">53.<span style="white-space: pre;"> </span>The Caine Mutiny Court Martial</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by William Friedkin</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGmqS2NH9i3gB8nzIbVW7gvETvS-p2G0qxKzG1UsAmjvlNgSjClHShISmZ_PchQ8nI8EL63eo0sSooPzGXp4F6fMPvMZQeflccoxr5mXf3_0S2rhG08Q7_jYN4dUD9SiGNA3Xc9KpYY3011leAO6QstA-u1F2b_9YnxxaCU4bIGbqTHbOpIALjdahWnoY/s1200/Wes%20Anderson%20The%20Swan%20Rat%20Catcher%20Poison.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGmqS2NH9i3gB8nzIbVW7gvETvS-p2G0qxKzG1UsAmjvlNgSjClHShISmZ_PchQ8nI8EL63eo0sSooPzGXp4F6fMPvMZQeflccoxr5mXf3_0S2rhG08Q7_jYN4dUD9SiGNA3Xc9KpYY3011leAO6QstA-u1F2b_9YnxxaCU4bIGbqTHbOpIALjdahWnoY/w640-h360/Wes%20Anderson%20The%20Swan%20Rat%20Catcher%20Poison.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Wedding the theatrical to the cinematic with acuity and unexpected force, where the speed of dialogue delivery comes to make us hold our breath, as both an aging director making his <a href="https://letterboxd.com/honorszombie/film/the-caine-mutiny-court-martial-2023/">final statement</a>, and a director on the precipice of old age making something steeped in the distinctness of memories of early childhood accessed through byzantine artifice. The word and flimsy sets, meaning sprung forth fully enunciated. </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">54.<span style="white-space: pre;"> </span>Geographies of Solitude</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Jacquelyn Mills</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyg2VIsKBHgvrCEPX2FL9vYtrbRE41DvD9QTvFcE0kCYESI6GbFAUdl_q-FoN5iW_UVIV6ztRIc1FujySa-Y4hxEPTLkBYwqGNnNp3laqXDNn-S-rLU1nmDCUfB_TsTBWxmg1Pb-YEgA26-1n2D7e0Tb1LjxNVHQx79jaHU8UQw1oRI76eC-FnYiiqs6I/s1950/geographies2-pbvw-superJumbo.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1181" data-original-width="1950" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyg2VIsKBHgvrCEPX2FL9vYtrbRE41DvD9QTvFcE0kCYESI6GbFAUdl_q-FoN5iW_UVIV6ztRIc1FujySa-Y4hxEPTLkBYwqGNnNp3laqXDNn-S-rLU1nmDCUfB_TsTBWxmg1Pb-YEgA26-1n2D7e0Tb1LjxNVHQx79jaHU8UQw1oRI76eC-FnYiiqs6I/w640-h388/geographies2-pbvw-superJumbo.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Paradise is 16mm images of things people leave behind, which also includes 16mm, a format becoming the providence of collectors and exacting students. The world moves on, and its refuse washes up in the least likely places, because it all must go somewhere. A thoughtful warning, yet a happy celebration in pictures. </span><br /></span><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">55.<span style="white-space: pre;"> </span>Miss Me Yet</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Christopher Bell</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">56.<span style="white-space: pre;"> </span>Do Not Expect Too Much From The End of the World</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Radu Jude</span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>57. </span></span><span>In Viaggio: Travels of Pope Francis</span></span></div><div><span style="font-size: x-large;">by Gianfranco Rosi</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTh47aO4EMo6YxiPvJf0EB9BWi6v_oMNltxFar7sC79pxe2Mv3yHR4unk-1O6hpGJJA0qyzLTNdu8pGy-uceswNS1lOliLdSdXTpFRlWBUjCZtk6cXX9kc6rw8P51_z_brCOdm007A99nd55F-MiVWxyGUGskAkXw67xsl9E58ZgreCiibflKFIx5T30/s8000/MV5BZjdhNzhkODctNjVjNi00NjI4LWExNjEtNjcxMWVlMGY1NjhmXkEyXkFqcGdeQXVyMTQ1MzM4Mzcz._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="4500" data-original-width="8000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihTh47aO4EMo6YxiPvJf0EB9BWi6v_oMNltxFar7sC79pxe2Mv3yHR4unk-1O6hpGJJA0qyzLTNdu8pGy-uceswNS1lOliLdSdXTpFRlWBUjCZtk6cXX9kc6rw8P51_z_brCOdm007A99nd55F-MiVWxyGUGskAkXw67xsl9E58ZgreCiibflKFIx5T30/w640-h360/MV5BZjdhNzhkODctNjVjNi00NjI4LWExNjEtNjcxMWVlMGY1NjhmXkEyXkFqcGdeQXVyMTQ1MzM4Mzcz._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Travels with the people and gods-on-earth alike show us the misery of a ground level view of existence. Whether shaking hands for posterity, to put some of that divinity into the mitts of a hungry public, or driving millionaires to and from the airport, you will see the wretched conditions of the everyday. And coloring both of them is a series dragging us head first back through the 2000s, to the creation of our current reality, the alchemy of fusing bottom-of-the-barrel consumer culture with blithe genocide, explaining how we made it to this moment where we're watching the destruction of even more cultures with even more transparency. You can choose to be of it, like </span></span><span style="font-size: large;">Ilinca Manolache's Angela, or try to stem the tide like Jesus Christ, but neither seems capable of changing the world when it's being broadcast to our phones and our televisions day after day, each second of content another moment of normalization. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">58.<span style="white-space: pre;"> </span>Présages</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Joanna Hogg<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">59.<span style="white-space: pre;"> </span>Passing Time</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Terence Davies</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPZG8gjmGd48GmL6QGQXJSz6tdbCiW74QvaIn1Z9W1GkCwmyEPRxgDrjp58Gb6o9wFS-UAQDq7ipZJ0YK-Ja6pH_0cxsPkRDMDh7ByG4mY9bU6qIBM353IULrDFSSzckmReuMbmVj_sZE2NpWibh6gzugMfywk2ZN5PsmxDm9CPEB2cYLKjphD4ZuWlbU/s1200/Florencia-Di-Concilio-x-Terence-Davies-1200x507.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="507" data-original-width="1200" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPZG8gjmGd48GmL6QGQXJSz6tdbCiW74QvaIn1Z9W1GkCwmyEPRxgDrjp58Gb6o9wFS-UAQDq7ipZJ0YK-Ja6pH_0cxsPkRDMDh7ByG4mY9bU6qIBM353IULrDFSSzckmReuMbmVj_sZE2NpWibh6gzugMfywk2ZN5PsmxDm9CPEB2cYLKjphD4ZuWlbU/w640-h270/Florencia-Di-Concilio-x-Terence-Davies-1200x507.png" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Short films, one a gift from the beyond the grave, one a word in exile, from the best the British film industry has to offer. It is truly the least we could ask when we lose someone as irreplaceable, as brilliant, and perfect, as lovable as a man as he could be curt and unsparing as a dramatist, to have Joanna Hogg waiting in the wings to make movies of similar power. This accidental double feature shows an English cinema in crisis, linked by two of its only great artists, one gone, the other thankfully receiving the love she needs to continue to create. Hogg has deserved every cent she's been given but in a better world Davies would have gotten it too, the greatest tragedian we had. Personal cinema always. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>60. </span></span><span>Guy Ritchie’s The Covenant</span></span><div><span style="font-size: x-large;">by Guy Ritchie</span></div><span style="white-space: normal;"><span style="font-size: x-large;">61.<span style="white-space: pre;"> </span>Leo</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Lokesh</span></span><span style="font-size: x-large;"> Kanagaraj</span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>62. </span><span>Creed III</span></span></div><div><span style="font-size: x-large;">by Michael B. Jordan</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mlj_K612IFd3tZO6chE8JtStGsDVLqEK6oTxLNPeYt7emK2v2BP-Vvhs5HTMvuJMDHUDFOZ-mP8aK3B6-C0SCbx_ej28LvfaGjCfa_BY9Np8twTo2LMM8NI_Zjrn51_i3LI6NRCUXVfEtzs8kUyTMn-m57_-P0d6dArHSzQy4qbrHN7els8FfSHyGRc/s3000/02creed-review2-vmjc-videoSixteenByNine3000.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1687" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-mlj_K612IFd3tZO6chE8JtStGsDVLqEK6oTxLNPeYt7emK2v2BP-Vvhs5HTMvuJMDHUDFOZ-mP8aK3B6-C0SCbx_ej28LvfaGjCfa_BY9Np8twTo2LMM8NI_Zjrn51_i3LI6NRCUXVfEtzs8kUyTMn-m57_-P0d6dArHSzQy4qbrHN7els8FfSHyGRc/w640-h360/02creed-review2-vmjc-videoSixteenByNine3000.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">More than these are two fisted tales of men combatting their demons and their would-be nemesis at the same time, these are different treatments of the idea of the soldier abroad and the man at home. How do you turn off the boxer's stoicism, the soldier's doggedness and frayed nerves, the killer's viciousness, in order to start a life free of the impossible stresses of that line of work. What is a soldier when he has no rifle, what is a fighter with no ring? Can a life be rerouted? Can a battle be left undecided? The bruising set pieces are more the point but I appreciate the downtime as much or more. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">63.<span style="white-space: pre;"> </span>Chile ’76</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by </span></span><span style="font-size: x-large;">Manuela Martelli</span></div><div style="text-align: left;"><div><span style="font-size: x-large;">64. R.M.N.</span></div><div><span style="font-size: x-large;">by Cristian Mungiu</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvGGq8PMZ2ESt2V7CClz6kW7ttYDO49fp3z-DHKjTXUrtTkRoWz_B1o0FAjNp50rePHjboX7xLMlqshzSYBsBPDnNmcqyUdprvpRIAP2VgXT-Ml7iINbvS2ab2yaD8-63fhPOf7SpwQ0YL4krnBefXNOuQIpxSSBdM0YnkNQeeFzxXGWI5N75xC2q9m0A/s860/rmn.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="484" data-original-width="860" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvGGq8PMZ2ESt2V7CClz6kW7ttYDO49fp3z-DHKjTXUrtTkRoWz_B1o0FAjNp50rePHjboX7xLMlqshzSYBsBPDnNmcqyUdprvpRIAP2VgXT-Ml7iINbvS2ab2yaD8-63fhPOf7SpwQ0YL4krnBefXNOuQIpxSSBdM0YnkNQeeFzxXGWI5N75xC2q9m0A/w640-h360/rmn.jpeg" width="640" /></a></div></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Sickbed visits with <a href="https://thespool.net/reviews/r-m-n-cristian-mungiu-review/">countries</a> on the precipice of collapse, one of fever, one of frostbite. </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">65.<span style="white-space: pre;"> </span>Napoleon</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Ridley Scott<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">66.<span style="white-space: pre;"> </span>Ferrari </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Michael Mann</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJj0cQFVH8rrxReu0G19zEWWu0vJg2Je0uERgykQBwmCLE7iV9M3sHjVYljHe5vDrc5vxhsUjOoQmvsPV9t88TLuH0tfXi3PhIN3K2qxQvHuynA2DTy8iXKy6mXBqykhzGPlPaw-7qVExxr46Aj9XK8qNFkPBga_lOf7RINJVVihNhD-vOgwXO8nLrBU8/s5510/MV5BNDM5OTZiY2UtNGE5NC00MTA2LWIzOTAtYzhkOWMzMzliNDVjXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="3673" data-original-width="5510" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJj0cQFVH8rrxReu0G19zEWWu0vJg2Je0uERgykQBwmCLE7iV9M3sHjVYljHe5vDrc5vxhsUjOoQmvsPV9t88TLuH0tfXi3PhIN3K2qxQvHuynA2DTy8iXKy6mXBqykhzGPlPaw-7qVExxr46Aj9XK8qNFkPBga_lOf7RINJVVihNhD-vOgwXO8nLrBU8/w640-h426/MV5BNDM5OTZiY2UtNGE5NC00MTA2LWIzOTAtYzhkOWMzMzliNDVjXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_.jpg" width="640" /></a><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: large;">Two of our elder statesman give us their treatises on <a href="https://www.cultofmac.com/834024/napoleon-review-apple-tv/?utm_source=twitter">marriage</a> and family. Both are not taken for personal filmmakers, but these two break open the pages of their diaries and gift us idiosyncratic and privileged looks at life inside the ever-churning minds of those who saw the future, while all around them the people closest to them wished they could see what was right in front of them. </span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span style="white-space: pre;"> </span></span><br /></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">67.<span style="white-space: pre;"> </span>Full River Red</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Zhang Yimou<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">68.<span style="white-space: pre;"> </span>Phantom</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Lee Hae-young<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1UtIQ334pG9xlqH4JZVnUWaCBApZEu_lqPHNUzuJVw1DMCcniJyUfHCI-8OuzLQgGbhgsdP3BEBIbtj4xrb8I6ABhDrJ27KoK7qjfwwZssPIh5uZummzZ-0csUUQ9kRlNJmQBvD4pgQ2ATO8TDVJwKI8bChNOpzqs4B8w9nLlT3rr1TI0YhszVP6toFI/s2048/Park-So-Dam-2.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1UtIQ334pG9xlqH4JZVnUWaCBApZEu_lqPHNUzuJVw1DMCcniJyUfHCI-8OuzLQgGbhgsdP3BEBIbtj4xrb8I6ABhDrJ27KoK7qjfwwZssPIh5uZummzZ-0csUUQ9kRlNJmQBvD4pgQ2ATO8TDVJwKI8bChNOpzqs4B8w9nLlT3rr1TI0YhszVP6toFI/w640-h426/Park-So-Dam-2.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">Spy craft in period get-up, two breathless, bountiful works of suspicion and quick violence at the first sight of your opponent sweating. Beautiful people in ugly times, risking it all in the hope that some example will exist for future generations. Say something, do something, be something, no one else will and that's how they win. Wonderfully choreographed and surprising at every turn. </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">69.<span style="white-space: pre;"> </span>The Pigeon Tunnel</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Errol Morris<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">70.<span style="white-space: pre;"> </span>The Ghost of Richard Harris</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Adrian Sibley</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD28P-hK5rnOil5CJCX5tYMWz5_pCSXvgLxHlZC4BUwVBJQIzLEf_njcdQulONskjDlm2dcq688I4FypRuUWkhrzrAhrUSp1FGSomm5aNEicG5lH4rPFRrRbRkBzBP53eAz_IBi369MAcY7buEI88mNUnyPyagj-AvzD0MbYZWjMQYnSX20S-qB7T7_kU/s5432/MV5BOGEwOTlmZGUtYmI5MC00NjI2LWI1NmYtODUzNzg4YWYzNjYxXkEyXkFqcGdeQXVyMjQ0Mjc5MzE@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="3651" data-original-width="5432" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD28P-hK5rnOil5CJCX5tYMWz5_pCSXvgLxHlZC4BUwVBJQIzLEf_njcdQulONskjDlm2dcq688I4FypRuUWkhrzrAhrUSp1FGSomm5aNEicG5lH4rPFRrRbRkBzBP53eAz_IBi369MAcY7buEI88mNUnyPyagj-AvzD0MbYZWjMQYnSX20S-qB7T7_kU/w640-h430/MV5BOGEwOTlmZGUtYmI5MC00NjI2LWI1NmYtODUzNzg4YWYzNjYxXkEyXkFqcGdeQXVyMjQ0Mjc5MzE@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;"><span style="white-space: normal;">Biographies as seances, with the sons of Richard Harris having no choice but to stare down their father's wandering eye and casual </span>disappointment even as they embrace him as man and legend. "Richard went to London, Dickie stayed in Limerick." What better guides than Jamie, Jared, and Damien Harris, some of the most magnificent and magnetic men in the world. Just a few miles away Errol Morris looks long into the darkness in John le Carré's lying heart and bruised soul and finds the regrets he covered with tales of espionage and double crosses. A man will reveal himself, in his work or in his actions, one way or another. Beautifully hushed works of discovery. </span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">71.<span style="white-space: pre;"> </span>The Innocent</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Louis Garrel<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">72.<span style="white-space: pre;"> </span>Origin of Evil</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Sébastien Marnier</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPsHhPay35wv0A8FqorNW0DVMk2erlDaEv20Lwaa9vdKPIwoglZy6S48HtJBbUQBSBKa2xokOiggADuFfhVkocvYdnXtsTcXlNRmT5dXd82VAzyZzlSVV67dNj-MTZKdeXSmGDVLhGb33aq2EgF2EhM352l_1JgitJQ-27A6ODsG1IXU2Wp6q65LLXeec/s1920/MV5BMTUyM2Y5OWEtMjIyYi00OWM1LTlmMDEtY2JjNjliYjliZGNhXkEyXkFqcGdeQXVyODIyOTEyMzY@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1038" data-original-width="1920" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPsHhPay35wv0A8FqorNW0DVMk2erlDaEv20Lwaa9vdKPIwoglZy6S48HtJBbUQBSBKa2xokOiggADuFfhVkocvYdnXtsTcXlNRmT5dXd82VAzyZzlSVV67dNj-MTZKdeXSmGDVLhGb33aq2EgF2EhM352l_1JgitJQ-27A6ODsG1IXU2Wp6q65LLXeec/w640-h346/MV5BMTUyM2Y5OWEtMjIyYi00OWM1LTlmMDEtY2JjNjliYjliZGNhXkEyXkFqcGdeQXVyODIyOTEyMzY@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Hysterical tales of dysfunctional families, one shameless, the other strivers steeped in matters of succession. Garrel has decided that his chronicles of masculinity will be the madcap opposite of his father's (or his cinematic fathers Bertolucci and Honoré</span><span style="font-size: large;"><span>) have yielded </span><a href="https://thespool.net/reviews/the-innocent-review/">rich </a></span><a href="https://thespool.net/reviews/the-innocent-review/"><span style="font-size: large;">rewards</span></a><span><span style="font-size: large;">. Marnier, hitherto unknown to me, paints a bleak picture of a family unit that stands in for old money everywhere. Would you kill to join a family? Would you to kill to keep one together? A delicious double feature to ponder that out for yourself. </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">73.<span style="white-space: pre;"> </span>The Outwaters</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Robbie Banfitch</span><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">74.<span style="white-space: pre;"> </span>Society of the Snow</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Juan Antonio Bayona</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdUJ5uQlnf5_Zrplqp5nJBCN53TVkKkl5-cAvbW0RPSOpuaz2JTg5V00V4JfF3P5smIZKd_hGUwH7trowe1JGqJFpteANcZJ3SsHF39HETwQiBoVihWg4Lv3fHtMtfx4uMCw7kHJ9yrAtQf6XmUA39TIwziZr71oQlVhyphenhyphenU09HAgMwBRa-uQy3gvzmK9gA/s1600/society-of-the-snow-movie-review.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdUJ5uQlnf5_Zrplqp5nJBCN53TVkKkl5-cAvbW0RPSOpuaz2JTg5V00V4JfF3P5smIZKd_hGUwH7trowe1JGqJFpteANcZJ3SsHF39HETwQiBoVihWg4Lv3fHtMtfx4uMCw7kHJ9yrAtQf6XmUA39TIwziZr71oQlVhyphenhyphenU09HAgMwBRa-uQy3gvzmK9gA/w640-h360/society-of-the-snow-movie-review.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Going mad in the wilderness, a landscape as an active enemy. Heading off into the unknown to better ourselves quickly becomes a matter of counting bodies for unspeakable purposes. One of these is a cosmic horror and the other a true life tale of survival, but both remind us that we may have moved down from the mountains but we're just animals. If we were to return to the states we fled or comprehend everything we could as bipeds with the apparently superior reasoning power among all species on the planet, we wouldn't last long. </span></div><div style="text-align: left;"><span style="font-size: xx-large;"><br /></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">75.<span style="white-space: pre;"> </span>You Hurt My Feelings</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Nicole Holofcener</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0eR_QlvywAmSBS7wasnZYiISapRyhhQQTBVmZXG6oYPIdAPH7b0u0vYCMV_sRhWIB2WdYwbsCEgnA9M9a4oGneV8YhhCvXQlEKpqlFlDOAmMjNULZISQbAkwhospiiBikYSSRCP4_WiEV8kRsFn1Igo8LCxHPD4erKCknosbvZ323zxJanpr_yyXHh7I/s3000/25you-hurt1-hjgz-videoSixteenByNine3000.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1687" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0eR_QlvywAmSBS7wasnZYiISapRyhhQQTBVmZXG6oYPIdAPH7b0u0vYCMV_sRhWIB2WdYwbsCEgnA9M9a4oGneV8YhhCvXQlEKpqlFlDOAmMjNULZISQbAkwhospiiBikYSSRCP4_WiEV8kRsFn1Igo8LCxHPD4erKCknosbvZ323zxJanpr_yyXHh7I/w640-h360/25you-hurt1-hjgz-videoSixteenByNine3000.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Holofcener truly feels like one of the last Americans who is interested in how we talk and relate to one another. Doggedly low key and approachable texts like this sometimes get dinged for their stakes but I'd happily watch a married couple have their first honest conversation in years. That's the kind of truly liberating, cathartic spectacle you cannot find anywhere else; when an argument breaks and gives way to confessions of the sort two people who have seen each other every day of their lives have been compartmentalizing out of commonplace embarrassment for years, there's no more freeing sight. You exhale with the characters. It might be antithetical to some people's idea of cinema, but it's new ground as far as I'm concerned. Holofcener evolves with us, even if she seems narrowly focused. That is, like so much else in her work, gleefully deceptive. </span><br /><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">76.<span style="white-space: pre;"> </span>The Gold</span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;"><span>by </span></span><span>Lawrence Gough & </span><span>Aneil Karia</span><span><span style="white-space: pre;"><br /></span></span><span style="white-space: normal;"><span>77.<span style="white-space: pre;"> </span>The Long Shadow</span></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by </span></span><span style="font-size: x-large;">Lewis Arnold</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMM69vnfjijo8jzIZWCvea4PHHPJP9Wkl0vmj6B47YF8DsPXnmr1V8kv1Ju4BB05RqxZGBcUxqFw5ZoylOjoP7Op5-9uXWa5Mp-uq_avytxU2Zp9d2yoq57Y22kaS-zqkx-VipWZHWLv9AwAEgxza3Y460ouIG3J1UAGtMZ7shtccCF_FPgN8o0hmrgAY/s980/417752-d1a3984.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="654" data-original-width="980" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMM69vnfjijo8jzIZWCvea4PHHPJP9Wkl0vmj6B47YF8DsPXnmr1V8kv1Ju4BB05RqxZGBcUxqFw5ZoylOjoP7Op5-9uXWa5Mp-uq_avytxU2Zp9d2yoq57Y22kaS-zqkx-VipWZHWLv9AwAEgxza3Y460ouIG3J1UAGtMZ7shtccCF_FPgN8o0hmrgAY/w640-h428/417752-d1a3984.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Taken together like a nature preserve for the best of English acting talent, magnificently absorbing true crime with few heroes and fewer happy high points. <i><a href="https://thespool.net/reviews/paramount-plus-the-gold-review-true-crime-heist-jack-lowden/">The Gold</a> </i>diagnoses the failures of the English economy as stolen gold makes its way around the far corners of the earth all while Scotland yard looks on with murder in their eyes. <i>The Long Shadow </i>shows how ill-equipped those same folks were at capturing a serial killer whose target was undesirable elements of English society. You'll want to run screaming when it's over but each performance keeps you glued to the spot. Jack Lowden, Hugh Bonneville, David Morrissey, Toby Jones, and yet the best performance in the whole mess might belong to Danny Webb, a forgotten man in UK cinema, who makes you remember why you take chances on what could be an ordinary procedurale. "...you will think of Caesar's Wife."</span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">78.<span style="white-space: pre;"> </span>De Humani Corporis Fabrica</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Lucien Castaing-Taylor & Véréna Paravel<br /></span><span style="white-space: normal;"><span style="font-size: x-large;">79.<span style="white-space: pre;"> </span>Saw X</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Kevin Greutert</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwkJXnlQIMimQKsEONxB6UW3B97K5j5VaULASGAvlLTnCqsKcHBIHJq2nnAU-p0BJJTC8N5Ex_jJsM-D6k2F5rn1ZHpqNFcNNOy7eIbIle5iFrl1Q8kZh-nv2bgK8SAupCVPEFAvsdufVibqyG69fk-sFyoQRq1H6svQZ90kwFk0IScU2cNe3Rx9bZDoY/s3000/13de-humani1-gphm-videoSixteenByNine3000.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1687" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwkJXnlQIMimQKsEONxB6UW3B97K5j5VaULASGAvlLTnCqsKcHBIHJq2nnAU-p0BJJTC8N5Ex_jJsM-D6k2F5rn1ZHpqNFcNNOy7eIbIle5iFrl1Q8kZh-nv2bgK8SAupCVPEFAvsdufVibqyG69fk-sFyoQRq1H6svQZ90kwFk0IScU2cNe3Rx9bZDoY/w640-h360/13de-humani1-gphm-videoSixteenByNine3000.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">The <a href="https://soundcloud.com/thenewfleshpodcast/episode-396-saw-x-john-kramer-jigsaw-amanda-shawnee-smith-detective-hoffmann-costas-mandylor-lionsgate-saw-franchise-best-horror-podcast-the-new-flesh-scout-tafoya">high cost</a> of good medical <a href="https://www.rogerebert.com/features/the-great-performances-of-2023">care</a>. </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">80.<span style="white-space: pre;"> </span>Joan Baez: I Am A Noise</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Karen O'Connor, Miri Navasky, & Maeve O'Boyle</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi30u7Zp7ZSBWR0XvihyGqPYJmsAkzB5vYWySxHzBEAe5cTE4kMec8DrVKg_XxGWSyhICb2ngJreelVxSZMGaNYK95wTiU_cCBUcV3m7NI_4q3vmVfV-tL0qzzpaNbK_hBB_JLtUOUsTzr9ASVcMD8j_AUfJESzJHi7V5LkZNmt6NSqO50SOChd48i6z0E/s1080/43c54cec09f2d32053009d06185023d1ca87d96e3377cf070bbf3cef7e7394c2._RI_TTW_SX1080_FMjpg_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="608" data-original-width="1080" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi30u7Zp7ZSBWR0XvihyGqPYJmsAkzB5vYWySxHzBEAe5cTE4kMec8DrVKg_XxGWSyhICb2ngJreelVxSZMGaNYK95wTiU_cCBUcV3m7NI_4q3vmVfV-tL0qzzpaNbK_hBB_JLtUOUsTzr9ASVcMD8j_AUfJESzJHi7V5LkZNmt6NSqO50SOChd48i6z0E/w640-h360/43c54cec09f2d32053009d06185023d1ca87d96e3377cf070bbf3cef7e7394c2._RI_TTW_SX1080_FMjpg_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">This one caught me completely off guard. I wasn't going to watch it except that I had a Joan Baez song stuck in my head when the screener wound up in my mailbox. What starts as exactly the kind of documentary you expect about a one-time fixture of the American folk scene without warning slithers into territory you didn't expect. The film actually explains Baez's pathology, the part of her late career that I always found enervating, that she seemed to abandon the reality she used to fight for for something metaphysical and at times frustratingly off topic. Then you get it. You see it and the performance art phase of her late life becomes the most heartbreaking story because you've been listening to it your whole life and didn't know you were. Many movies can claim pathetically to be studies in empathy but this one truly is. You don't know what people have been through. You don't know the depths of suffering, and you don't know what it does. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="white-space: normal;"><span style="font-size: x-large;">81.<span style="white-space: pre;"> </span>It’s a Zabriskie Zabriskie Zabriskie Zabriskie Point </span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Daniel Kremer<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">82.<span style="white-space: pre;"> </span>Marlowe</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Neil Jordan</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnowaPgFACCt1PRqBlmyDMLxu0pEGANcKOy7v673ZzJdpBi44B7AGSBlOLDvK36G3colXH109CRcX-LLT7ygxZrwQ-ipbPky4lnw02TvHcsSkssz4Ucijf1EKVHbzry2l504Gt7oEofp9x9XQfOFeFdDVH0DQU3-TYb3Ew1K61tYbLEXHv7w2uZloECk8/s3840/MV5BNzYxZmI1MmItMTFlNi00NTUzLTliYjctZWJjNDgyOTM5ODM0XkEyXkFqcGdeQXVyMDA4NzMyOA@@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1596" data-original-width="3840" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnowaPgFACCt1PRqBlmyDMLxu0pEGANcKOy7v673ZzJdpBi44B7AGSBlOLDvK36G3colXH109CRcX-LLT7ygxZrwQ-ipbPky4lnw02TvHcsSkssz4Ucijf1EKVHbzry2l504Gt7oEofp9x9XQfOFeFdDVH0DQU3-TYb3Ew1K61tYbLEXHv7w2uZloECk8/w640-h266/MV5BNzYxZmI1MmItMTFlNi00NTUzLTliYjctZWJjNDgyOTM5ODM0XkEyXkFqcGdeQXVyMDA4NzMyOA@@._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Different stories of the importance of looking back on film history. Neil Jordan's movie may have the whiff of a deal, a tax write off, but his love of American cinema in the 40s, perhaps the earliest signifier he handed his critics, carries this from lightweight exercise to a loving photo album of memories born in the cinema. Daniel's movie is a <i>heavy </i>photo album, with a story that begins, in a roundabout way, with the conquering of a stutter with the help of the films he watched so often. Daniel's love of film is not just a piece of his personality, it is the skeleton key, it's what forged him. As a longtime friend and fan, I can say it made him into the kind of supportive and loving person he is, a soldier of cinema, someone as happy to wear the badge of the acolyte as he is the hand of a friend on his shoulder. <i>Zabriskie's </i>magnificently conspiratorial tone gives way to something more open and warm, and ultimately a timeless work, the kind of video essay that makes me proud to make them. In a year of great work from him, this one stands tall. </span><br /><span style="font-size: x-large;"><span style="white-space: normal;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;">83.<span style="white-space: pre;"> </span></span>Birth/Rebirth</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Laura Moss<br /></span><span style="white-space: normal;"><span style="font-size: x-large;">84.<span style="white-space: pre;"> </span>Evil Dead Rise</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Lee Cronin</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRBvSpIuvZKmM-t6gv9DhedJbBYjeCBBU0gDwBrkNPoQs5KvNJdzI0yZCOWmzXR4V0LS-zI6jEgaQuer-2tVnPmnkIMYhYv2rFWhNNYBYK9Q0T35QFDuaWZaJht-g7ngBE5s821si92z8n8VOttZOZaIiYYRNlYEwertMqmCqdn_-omY_8MAqd2rn572U/s800/evildeadrise.width-800.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="450" data-original-width="800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRBvSpIuvZKmM-t6gv9DhedJbBYjeCBBU0gDwBrkNPoQs5KvNJdzI0yZCOWmzXR4V0LS-zI6jEgaQuer-2tVnPmnkIMYhYv2rFWhNNYBYK9Q0T35QFDuaWZaJht-g7ngBE5s821si92z8n8VOttZOZaIiYYRNlYEwertMqmCqdn_-omY_8MAqd2rn572U/w640-h360/evildeadrise.width-800.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large; white-space: normal;">Apartment-bound horror shows of motherhood turned gangrenous and <i>wrong</i>. One a film as hard to hold as a handful of broken glass, the other a film teetering on the brink of despair. <i>Evil Dead Rise </i>means to rip your expectations and your heart out with little care for how the nightmare affects you. <i>Birth </i>is a film that knows it's playing with heavy forces and that it can only end one way, and so keeps you at arm's length by playing the heartache of </span><span style="font-size: large;">Judy Reyes against the calculating inhumanity of Marin Ireland's modern Frankenstein. As fertile from a speculative, hard sci-fi perspective as it is a psychological or emotional one. <i>Evil Dead, </i>though, that's about three headed demons and watching your family get fed into a woodchipper. </span><br /><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">85.<span style="white-space: pre;"> </span>Dark Harvest</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by David Slade<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">86.<span style="white-space: pre;"> </span>Teen Wolf The Movie</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Russell Mulcahy<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">87.<span style="white-space: pre;"> </span>Retribution</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by Nimród Antal</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbomq1CeBGBBf0HX7NoquMVqqiByoiMRwQYIfS3X30kvyHnaBs0nn3ALAkMwnyNpVMvwEJszYiZLg4P3Sf1-endX5QocCM0uVf10mNqTTFJOh9ZdOK_16I8Ag7WkHAFendJf-uxEwlHyb8bajLAKZVXzIbdbNu3bs9MrXwssFYm-6DybO8raQ18Uxi8HE/s1000/FnXkkxIXkAAXeqO.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="486" data-original-width="1000" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbomq1CeBGBBf0HX7NoquMVqqiByoiMRwQYIfS3X30kvyHnaBs0nn3ALAkMwnyNpVMvwEJszYiZLg4P3Sf1-endX5QocCM0uVf10mNqTTFJOh9ZdOK_16I8Ag7WkHAFendJf-uxEwlHyb8bajLAKZVXzIbdbNu3bs9MrXwssFYm-6DybO8raQ18Uxi8HE/w640-h312/FnXkkxIXkAAXeqO.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Pure form. Directors still out there in the wilderness, who never caught on like they should have. Antal has to craft an entire world from the front seat of a car and chooses all the right angles to do it. Mulcahy puts a bow on the teen-courting TV show he shepherded from day one, and if I was lost as a blind man following the lore the images and montage were clear enough. Slade adapts a novel with a fraction of the budget he needed to do so, and makes every missing cent work on his behalf. Eccentricity is the name of the game. How do you keep an audience engaged when they're primed to tune out on theory alone. Slade's film is maybe the oddest of the three, with its slang-heavy 60s netherworld caught between naivete and bone-deep cynicism, between earnest discussions of civil rights and the sight of kids being exploded like bags of groceries dropped from a great height. The less the film made sense to me the more my affection for it grew. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="white-space: normal;"><span style="font-size: x-large;">88.<span style="white-space: pre;"> </span>Voleuses</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Mélanie Laurent<br /></span></span><span style="font-size: x-large;">89.<span style="white-space: pre;"> </span>Ballerina</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Lee Chung-hyeon</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvskNVTGkoTVmbOZ5O5LLFx7TYBycAmUYxILz2b44Fvf0cY7UJF6EQ6I2sg0dQ_2o36EzznNRScKghv6K5Sd5Jzu8twd74jZogwSi9e9BYjump4A8u5Hhgf8D0OrlgazVdx7LJ5fVrbHZQQO8pheUR0gX4Rwu9gEqzwKM2YW3DG3jss98IA0EKSg5kBHM/s749/lgo_20220929_unit_01408.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="421" data-original-width="749" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvskNVTGkoTVmbOZ5O5LLFx7TYBycAmUYxILz2b44Fvf0cY7UJF6EQ6I2sg0dQ_2o36EzznNRScKghv6K5Sd5Jzu8twd74jZogwSi9e9BYjump4A8u5Hhgf8D0OrlgazVdx7LJ5fVrbHZQQO8pheUR0gX4Rwu9gEqzwKM2YW3DG3jss98IA0EKSg5kBHM/w640-h360/lgo_20220929_unit_01408.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">I don't know much about astrology but if the full moon has you down, enjoy these two movies where ladies kill the ever loving shit out of everybody who wronged them. One is a B movie with a post-Mann spatial sense, the other a <i>Charlie's Angels </i>style romp where our heroes take time out of assassinations and capers to tell each other to drop that zero and get with a hero. Both will cure your hangover. Oh, and shoutout to <i>Joy Ride, </i>which may not have impressive set pieces, but is also a girls trip worth taking. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="white-space: normal;"><span style="font-size: x-large;">90.<span style="white-space: pre;"> </span>Under the Light</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Zhang Yimou<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">91.<span style="white-space: pre;"> </span>Mission Impossible: Dead Reckoning Part 1</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Christopher McQuarrie<br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">92.<span style="white-space: pre;"> </span>Operation Fortune: Ruse De Guerre</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;">by Guy Ritchie</span></span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQ4-r0clOwPO4hP0YAdeEfXS4q1g0rind_Tb6lMtMsaC0r5Q1rVvNTIKWM5_MeEUtzKzO0sJSpFy_fv5fg2CI57o4qvAlgh8vj6F1poZVLtwRUuzZeZ2WEjJ6KpouA47byBzm2zlRUSbcFRbzZUG4qvkpma6dyajDQiXHRXn3Q2Jb-Uf-70KioLf7ntk/s1912/MV5BZDdhMDYzYjctMjY3Ny00MDAwLTliNTYtNDc4ZWFjNWRhY2YwXkEyXkFqcGdeQXVyMTIxMzkyNDM1._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="711" data-original-width="1912" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijQ4-r0clOwPO4hP0YAdeEfXS4q1g0rind_Tb6lMtMsaC0r5Q1rVvNTIKWM5_MeEUtzKzO0sJSpFy_fv5fg2CI57o4qvAlgh8vj6F1poZVLtwRUuzZeZ2WEjJ6KpouA47byBzm2zlRUSbcFRbzZUG4qvkpma6dyajDQiXHRXn3Q2Jb-Uf-70KioLf7ntk/w640-h238/MV5BZDdhMDYzYjctMjY3Ny00MDAwLTliNTYtNDc4ZWFjNWRhY2YwXkEyXkFqcGdeQXVyMTIxMzkyNDM1._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: large;">We love a movie where the guys and the gals get together and wreak havoc on impossible missions. Zhang's tale of police corruption, Chris and Tom's latest compulsively digestible if <a href="https://thespool.net/features/mission-impossible-tom-cruise-retrospective/">flabbergasting treatise</a> on male and female relations, and Guy's horny spy game all throw their teams of <i>searingly </i>hot killers and fall guys into a neon blender. Movies with <i>color </i>and <i>light </i>and <i>heat</i>.</span></span></div><div style="text-align: left;"><span style="white-space: normal;"><span style="font-size: x-large;"><br /></span></span><span style="white-space: normal;"><span style="font-size: x-large;">93.<span style="white-space: pre;"> </span>The Last Voyage of the Demeter</span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by André Øvredal</span></div><div style="text-align: left;"><span style="font-size: x-large;"><span style="white-space: normal;">94.<span style="white-space: pre;"> </span></span>Emily</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Frances O'Connor</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXPozfmPCL4u1EDLHpomJYWuyA-b8x0G18lstLlPEWQiaIF6OoeS3txZ51IgWLe-aPtHgC_Ze-VOjhbCLgg8kxWd5tryWyUcFvDHx5zgUawhmeqaVqwN24lB_slgqjeLIoxqVzPdYAGdrQXGIBMJkuhMyp_rJyvCensISFbhbGS_sOhnFrFJKDP4-7jAA/s1500/emily.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="860" data-original-width="1500" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXPozfmPCL4u1EDLHpomJYWuyA-b8x0G18lstLlPEWQiaIF6OoeS3txZ51IgWLe-aPtHgC_Ze-VOjhbCLgg8kxWd5tryWyUcFvDHx5zgUawhmeqaVqwN24lB_slgqjeLIoxqVzPdYAGdrQXGIBMJkuhMyp_rJyvCensISFbhbGS_sOhnFrFJKDP4-7jAA/w640-h366/emily.jpeg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Stories of women surrounded by and given over to death as the men around them fall apart when presented suddenly with their own frailty and impermanence. Corsets real and metaphorical wrapped around the fate of women chosen <i>not </i>to be great while they still draw breath. A future poet in the wrong time is just a dreamer like any other. A woman fighting her own creeping death will have to succumb to it at some point, on her terms or someone else's. </span></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;">95. The Cow Who Sang A Song Into The Future</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Francisca Alegría<br /></span><span style="font-size: x-large;">96. From Black</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Thomas Marchese</span></div><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDIEBtYoc-1Tb4_yRX-8nr32qskMG-X8xJuDLL_1GYwCa08NOW5StirLrdxrktsumDnO9m25oNjHOZ1aj_n-tL2HH8z2bWeWcvwfpa9MGXgGEiXGcCn2TPm7WngWj5T-mCkODp-wFQpRCylIZS06kiFhUwwPEjeS30A-PE6daa3GmOlLJDj3F-kw4gcNI/s2560/MV5BMWYzMmM2MWEtYjUwZC00ZTg3LWExOTEtY2RhOTQ4MmE5YTM1XkEyXkFqcGdeQXVyMTMyMDYyNTA0._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1440" data-original-width="2560" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDIEBtYoc-1Tb4_yRX-8nr32qskMG-X8xJuDLL_1GYwCa08NOW5StirLrdxrktsumDnO9m25oNjHOZ1aj_n-tL2HH8z2bWeWcvwfpa9MGXgGEiXGcCn2TPm7WngWj5T-mCkODp-wFQpRCylIZS06kiFhUwwPEjeS30A-PE6daa3GmOlLJDj3F-kw4gcNI/w640-h360/MV5BMWYzMmM2MWEtYjUwZC00ZTg3LWExOTEtY2RhOTQ4MmE5YTM1XkEyXkFqcGdeQXVyMTMyMDYyNTA0._V1_.jpg" width="640" /></a></div><div style="text-align: left;"><span style="font-size: large;">Two disparate stories of motherhood, and a psychedelic solution to the crisis of absence. One is gentle and steeped in a rich tradition of latin literature, the other a horror movie with more ambition in its emotional stakes and specificity. Anna Camp shocks as a mother who was given every chance to stop messing things up and <a href="https://thespool.net/reviews/film-review-the-cow-who-sang-a-song-into-the-future/">Mia Maestro</a> enchants as a woman given a reprieve from the beyond. They have little in common as experiences but they share a searching quality, a wish for one more moment. </span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span>97. J</span><span>awan</span></span></div><div><span style="font-size: x-large;">by A</span><span style="font-size: x-large;">tlee Kumar</span></div><div style="text-align: left;"><span style="font-size: x-large;">98. Kandahar</span></div><div style="text-align: left;"><span style="font-size: x-large;">by Ric Roman Waugh</span></div><div style="text-align: left;"><div><span style="font-size: x-large;">99. Plane</span><span style="font-size: x-large;"><span style="white-space: pre;"> <br /></span></span></div><div><span style="font-size: x-large;">by </span><span style="font-size: x-large;">Jean-François Richet</span></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0GatvwME6rlRb9GHLlLtonLuIQVKsBKysO1jFTHL6EcGsSWH7nvem21cyifUTj-MG_b1cjWRxPqfDG219vm_mmJXkPpIVGjI8SRhjbUAAnClsQiYA2kh-KDahoK3WVOdB9DczqTkY0C3jyG_d-YrvOZagX1imASWNJLnBeVBZX-C4A2EmajPTK0fIqk/s1200/download.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0GatvwME6rlRb9GHLlLtonLuIQVKsBKysO1jFTHL6EcGsSWH7nvem21cyifUTj-MG_b1cjWRxPqfDG219vm_mmJXkPpIVGjI8SRhjbUAAnClsQiYA2kh-KDahoK3WVOdB9DczqTkY0C3jyG_d-YrvOZagX1imASWNJLnBeVBZX-C4A2EmajPTK0fIqk/w640-h426/download.jpeg" width="640" /></a></div><div><span style="font-size: large;">Let's hear it for the boys. </span></div></div></div><div style="text-align: left;"><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><span style="white-space: normal;"><span>100. </span></span><span>Anselm</span></span></div><div><span style="font-size: x-large;">by Wim Wenders</span></div><div><span style="font-size: x-large;"><span>101. </span><span>The Zone of Interest</span></span></div><div><span style="font-size: x-large;">by Jonathan Glazer</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuMPAvga7yQVrpQi2fSf8dSTEcpQthf8_ETvEEkgBKSgw09MTWBv_mCCE57wNwX_JadmxJMyJENl2-pjZj1ZBdSB5PpJWh400-QChU6VgnQPhCb6PeIkgcbdGzPZCpdDxf6634wPz9n3wQdCIi0wzW1Az1oZeK9I289kXRMiaQScoLMwb7R8xdGS9bKc/s775/Anselm_image_002.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="525" data-original-width="775" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFuMPAvga7yQVrpQi2fSf8dSTEcpQthf8_ETvEEkgBKSgw09MTWBv_mCCE57wNwX_JadmxJMyJENl2-pjZj1ZBdSB5PpJWh400-QChU6VgnQPhCb6PeIkgcbdGzPZCpdDxf6634wPz9n3wQdCIi0wzW1Az1oZeK9I289kXRMiaQScoLMwb7R8xdGS9bKc/w640-h434/Anselm_image_002.jpeg" width="640" /></a></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: large;">Two films that approach the legacy of the Nazi party from a modern vantage point, with very similar results. Trying to animate a piece (or pieces) of inanimate art processing the grief of a nation, the trauma and shame baked into the very DNA of the German, will always be an uphill climb, in two or three dimensions. So will representing the holocaust without ever showing its violence. The spaces these work create for contemplation is needed, though I found myself unable to embrace them both fully, I was occasionally stunned into silence by formal attempts, by the act of a film asking us to process every day atrocity, because of course it was ordinary and it was extraordinary. The culmination of attitudes you'll find right next door and the loosing of those thousands of neighbors on each other. Trying to locate a space where we <i>must </i>consider this, is not a bad goal, even if the films fall short of their other aims. </span></div><p></p><p></p><p></p>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com2tag:blogger.com,1999:blog-8048150012419794149.post-22072260645502103672023-12-26T21:32:00.013-05:002023-12-26T22:03:02.941-05:00The 2023 Monsieur Oscars<div class="separator"><span style="font-family: Helvetica; font-size: x-large;">Favourite Fiction Film</span></div><div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisoSIZJegaljoJK6iXNEeUDEPgQChMOKImzNtKj-Uhbkkljv5LGuUy-2f3ZDRwbTX6C16ws2lX0ipaUo0aOuQIGcSRlBHjVJS3_hSWU09PdIOQJNS937qg2d3-U6xVg5sBF03RmRkOmaVOhnNI-SmLQp-zoF5au93q_t-EqDFrHX69HlJKCJTAqrbwIbY/s3543/MV5BYjliOTM3OWItYjFhMS00ZTVjLTg5YTctYTMxMTFjYjJiZDE0XkEyXkFqcGdeQXVyMTYzMDUzNjEw._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2193" data-original-width="3543" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisoSIZJegaljoJK6iXNEeUDEPgQChMOKImzNtKj-Uhbkkljv5LGuUy-2f3ZDRwbTX6C16ws2lX0ipaUo0aOuQIGcSRlBHjVJS3_hSWU09PdIOQJNS937qg2d3-U6xVg5sBF03RmRkOmaVOhnNI-SmLQp-zoF5au93q_t-EqDFrHX69HlJKCJTAqrbwIbY/w640-h396/MV5BYjliOTM3OWItYjFhMS00ZTVjLTg5YTctYTMxMTFjYjJiZDE0XkEyXkFqcGdeQXVyMTYzMDUzNjEw._V1_.jpg" width="640" /></a></div><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><br /></p><ol class="ol1"><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Close Your Eyes</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Godzilla Minus One</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Pot-Au-Feu</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Killer<span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Silent Night</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Revolution+1</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Kidnapped</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Winter Boy</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Brother and Sister</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Unrest</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Showing Up</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Asteroid City</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Holdovers</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Old Oak</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Shin Kamen Rider</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Anatomy of a Fall</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Scarlet</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">May December</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Leo</span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Favourite Non-Fiction Film</span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXllAH1kT-GTXBJsC1NS5_popz9iU7XkdDLnINbSUTpNEWOiXLcnyRYuVIQjzWEkwXMT8pq1_54FOy54c5W-Bs0WHC13ZbVe17drqr0ZtcLsXnAjzjk-ICK-RFWkAOX7KV4nGcfv1f_SyCZ2mh_rna_ze_Jat_4pWAudVA2GxJLoN3MfUpwRCSHcbomI/s5120/81182-MENUS_PLAISIRS_-_LES_TROIGROS_-_Official_Still__4_.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="2700" data-original-width="5120" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXllAH1kT-GTXBJsC1NS5_popz9iU7XkdDLnINbSUTpNEWOiXLcnyRYuVIQjzWEkwXMT8pq1_54FOy54c5W-Bs0WHC13ZbVe17drqr0ZtcLsXnAjzjk-ICK-RFWkAOX7KV4nGcfv1f_SyCZ2mh_rna_ze_Jat_4pWAudVA2GxJLoN3MfUpwRCSHcbomI/w640-h338/81182-MENUS_PLAISIRS_-_LES_TROIGROS_-_Official_Still__4_.webp" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Menus-Plaisirs les Troisgros</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Rewind and Play</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Renaissance<span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Desperate Souls, Dark City and the Legend of Midnight Cowboy</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space" style="font-size: large;">Incident</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Our Body</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Youth (Spring)</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Geographies of Solitude</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">In Viaggio<span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Pigeon Tunnel</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Ghost of Richard Harris</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">De Humani Corporis Fabrica</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Joan Baez: I Am A Noise</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Silver Dollar Road</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Anselm</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Miss Me Yet</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">It’s a Zabriskie Zabriskie Zabriskie Zabriskie Point<span class="Apple-converted-space" style="text-indent: -36px;"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">A Compassionate Spy</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">20 Days in Mariupol</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Umberto Eco: A Library of the World</span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;">Favourite Performance by a Director</span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYjlLNQydasAuczIio6hiAojtp83yNwWVatdF2OSiTvDYZo67o_Q1nFFBH6CcTtPoIcMR1UQxNljMyyw1JxkI_ylupYyTp8PfbjQQbRuLSlGousGrDhCwfEOGE05pgEg-HuYOQPLucz-NOCyF_uBSaA6B49hmBt_Bif1kbCqhgbSwfxZ_ksGdhqq9I6Ek/s3543/MV5BODk4ZTVlOTktY2Y1Yi00NmRmLTk3ZGMtYjQxOWUwNGY5ODk2XkEyXkFqcGdeQXVyMjI2NTI1NTI@._V1_.jpg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="2194" data-original-width="3543" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYjlLNQydasAuczIio6hiAojtp83yNwWVatdF2OSiTvDYZo67o_Q1nFFBH6CcTtPoIcMR1UQxNljMyyw1JxkI_ylupYyTp8PfbjQQbRuLSlGousGrDhCwfEOGE05pgEg-HuYOQPLucz-NOCyF_uBSaA6B49hmBt_Bif1kbCqhgbSwfxZ_ksGdhqq9I6Ek/w640-h396/MV5BODk4ZTVlOTktY2Y1Yi00NmRmLTk3ZGMtYjQxOWUwNGY5ODk2XkEyXkFqcGdeQXVyMjI2NTI1NTI@._V1_.jpg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Victor Erice - <i>Close Your Eyes</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">John Woo - <i>Silent Night</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">David Fincher - <i>The Killer</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Marco Bellocchio - <i>Kidnapped</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s2"></span><span class="s1" style="font-kerning: none;">Kelly Reichardt - <i>Showing Up</i></span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">M. Night Shyamalan - <i>A Knock at the Cabin</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">John Hyams - <i>Sick</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Guy Ritchie - <i>Covenant</i> & </span><span style="font-size: large;"><i>Operation Fortune: Ruse De Guerre</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Tran Anh-Hung - <i>The Pot-Au-Feu</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Wes Anderson - <i>Asteroid City</i> & The Roald Dahl Compendium</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Martin Scorsese - <i>Killers of the Flower Moon</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Frederick Wiseman - </span><span style="font-size: large;"><i>Menus-Plaisirs les Troisgros</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Takashi Yamazaki - <i>Godzilla Minus One </i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Nuri Bilge Ceylan - <i>About Dry Grasses </i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Christophe Honoré - <i>Winter Boy</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Michael Mann - <i>Ferrari</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Beyoncé Knowles & Ed Burke - Rennaisance</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Paul Schrader - <i>Master Gardener</i> </span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Steven Soderbergh - <i>Magic Mike's Last Dance, Command Z</i>, and <i>Full Circle</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Hideaki Anno - <i>Shin Kamen Rider</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Arnaud Desplechin - <i>Brother and Sister</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">William Friedkin - <i>The Caine Mutiny Court-Martial</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Todd Haynes - <i>May December</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none; font-size: large;">Herman Yau - <i>Mission Moscow</i></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-family: Helvetica; font-kerning: none; font-size: large;">Lokesh Kanagaraj - <i>Leo</i></span></li></ol><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-align: left; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-align: left; text-indent: -36px;"><span style="font-size: large;">Favourite Performance by an Actor in a Leading Role</span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-align: left; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgww2gWGwUQuVjZJCgqAvn3phkBksybcEjdz0AEeOkCD2nmAEA9g2xFF2YP2M0e0SXyoO4s7hJMnj6Vmk7XMFX-vrN8mPBrrRaPgwK4742bY4cVS-MJpEf63OZMh3nlTwWgOtjmXJa8wjeVgBA6Ykddz1P7b6bzplHl6VM59U2Fh4LWW06iF35Z-8c2rFA/s681/156938.webp" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgww2gWGwUQuVjZJCgqAvn3phkBksybcEjdz0AEeOkCD2nmAEA9g2xFF2YP2M0e0SXyoO4s7hJMnj6Vmk7XMFX-vrN8mPBrrRaPgwK4742bY4cVS-MJpEf63OZMh3nlTwWgOtjmXJa8wjeVgBA6Ykddz1P7b6bzplHl6VM59U2Fh4LWW06iF35Z-8c2rFA/w640-h360/156938.webp" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span style="font-family: Helvetica;">Benoît Magimel - The Pot-Au-Feu / Pacifiction</span><span class="Apple-converted-space" style="font-family: Helvetica;"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Andrew Scott - <i>All of us Strangers</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Tobin Bell - <i>Saw X</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Shen Teng & Jackson Yee - <i>Full River Red</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Dave Bautista & Ben Aldridge - <i>Knock at the Cabin</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Nicolas Cage - <i>The Old Way / Sympathy for the Devil / Butcher's Crossing / The Retirement Plan / Dream Scenario</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Jake Gyllenhaal & Dar Salim - <i>Guy Ritchie’s Covenant</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Jason Schwartzman - <i>Asteroid City</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Joel Edgerton - <i>Master Gardener<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Tobias Menzies - <i>You Hurt My Feelings</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Cillian Murphy - <i>Oppenheimer</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Ralph Fiennes, Rupert Friend, Ben Kingsley, Benedict Cumberbatch & Dev Patel - Wes Anderson’s Roald Dahl Compendium</span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Benicio Del Toro - <i>Reptile</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Koji Yakusho - <i>Perfect Days</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Jacob Elordi - <i>Priscilla</i><span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Michael Fassbender - <i>The Killer</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Paul Giamatti & Dominic Sessa - <i>The Holdovers</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Charlie Melton - <i>May December</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Joaquin Phoenix - <i>Napoleon</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Glenn Howerton & Jay Baruchel - <i>BlackBerry</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">James Urbaniak - <i>Radiant is the Blood of the Baboon Heart</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">David Morrissey - <i>The Long Shadow</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Shah Rukh Khan - <i>Jawan</i></span></li><li class="li1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span style="font-family: Helvetica;">Jason Clarke -</span><i><span style="font-family: Helvetica;"> The Caine Mutiny Court-</span><span class="Apple-converted-space"><span style="font-family: Helvetica;">Martial </span></span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Leonardo DiCaprio & Robert De Niro - <i>Killers of the Flower Moon</i></span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large; text-indent: -36px;">Favourite Performance by an Actress in a Leading Role</span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijdS26tCGh6TzWIObaxJipvdWQU39J0wgzxp-NVaC_g3iDUsv3Kn3chizFEt9b_zor2L4MbE91G-tpG2dVkIn5T2bRCyDrypCm9XRVP4LOJ2xXUHFoLOKvRPMrjRwtDtKaJB9A40HMCZ-OZzNyi6KQP-lqyWTi6ICrkame9H0YrZT-APlQCWfJf-xCxiI/s780/intro-1697762695.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="438" data-original-width="780" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijdS26tCGh6TzWIObaxJipvdWQU39J0wgzxp-NVaC_g3iDUsv3Kn3chizFEt9b_zor2L4MbE91G-tpG2dVkIn5T2bRCyDrypCm9XRVP4LOJ2xXUHFoLOKvRPMrjRwtDtKaJB9A40HMCZ-OZzNyi6KQP-lqyWTi6ICrkame9H0YrZT-APlQCWfJf-xCxiI/w640-h360/intro-1697762695.jpeg" width="640" /></span></a></div><p></p><ol class="ol1"><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Lily Gladstone - <i>Killers of the Flower Moon / The Unknown Country</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Michelle Williams - <i>Showing Up</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Barbara Ronchi - <i>Kidnapped</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Juliette Binoche - <i>Winter Boy & The Pot-Au-Feu</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Julianne Moore & Natalie Portman -<i> May December<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Abby Ryder Fortson - <i>Are You There God, It’s Me, Margaret?</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Naíma Sentíes - <i>Tótem</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Noémie Merlant - <i>The Innocent & Baby Ruby</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Ilinca Manolache - <i>Do Not Expect Too Much From The End of the World</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Da'Vine Joy Randolph - <i>The Holdovers</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Anna Camp - <i>From Black</i><span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Laure Calamy - <i>Origin of Evil<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Park So-Dam & Lee Hanee - <i>Phantom<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Samantha Mathis - <i>12 Desperate Hours</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Sandra Huller - <i>Anatomy of a Fall & The Zone of Interest</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Fantasia Barrino - <i>The Color Purple</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Nikki Amuka-Bird - <i>Jericho Ridge</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Merve Dizdar - <i>About Dry Grasses</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Hayley Atwell - <i>Mission Impossible: Dead Reckoning Part 1</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Kiera Knightley - <i>Boston Strangler<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Kristen Cui - <i>Knock at the Cabin</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Luna Fujimoto - <i>Sniper G.R.I.T.<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Teresa Palmer - <i>The Twin</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Beth Dover - <i>Outpost<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Sophie Thatcher - <i>The Boogeyman</i></span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large; text-indent: -36px;">Favourite Performance by an Actor in a Supporting Role</span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40PpwteBKgmgLdoEO7ejGERNOCe6JYpPcMJEBA8usFbwvFNEZWNgT1ZtEeiah_hHh7RPnkA06gUiLPakV9oHPgaKck5Gxr05N6Httfo5rb8wc1oh97GrHqRew4gNlsVNBo-zqcrjTlLBYJ7xz8wGsNU_qFjTnpXggZgAVnsYgG4_H8LR_rJ52s00wMUs/s1920/Killers_of_the_Flower_Moon_Photo_0139.jpg.photo_modal_show_home_large.jpg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi40PpwteBKgmgLdoEO7ejGERNOCe6JYpPcMJEBA8usFbwvFNEZWNgT1ZtEeiah_hHh7RPnkA06gUiLPakV9oHPgaKck5Gxr05N6Httfo5rb8wc1oh97GrHqRew4gNlsVNBo-zqcrjTlLBYJ7xz8wGsNU_qFjTnpXggZgAVnsYgG4_H8LR_rJ52s00wMUs/w640-h360/Killers_of_the_Flower_Moon_Photo_0139.jpg.photo_modal_show_home_large.jpg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span style="font-family: Helvetica;">Everett Waller, Yancey Red Corn, William Belleau, Jason Isbell, Tatanka Means, Jesse Plemons, John Lithgow, and Brendan Fraser - <i>Killers of the Flower Moon</i></span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Thomas Krestchmann - <i>Infinity Pool<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Andre Benjamin & John Magaro - <i>Showing Up</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Ali Fazal - <i>Kandahar</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Tom Hanks & Geoffrey Wright - <i>Asteroid City</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Forrest Goodluck - <i>How To Blow Up A Pipeline & Pet Seminary: Bloodlines</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Benny Safdie, Jack Quaid, Robert Downey, Jr., David Krumholtz and James Remar - <i>Oppenheimer</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Eric Bogosian - <i>Reptile</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Colman Domingo & Corey Hawkins - <i>The Color Purple</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">John Magaro - <i>Past Lives</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Lance Reddick - <i>The Caine Mutiny Court-Martial</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Danny Webb - <i>The Gold</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Holt McCallany - <i>The Iron Claw</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Peter Guiness & Joel Edgerton - <i>Boys in the Boat</i><span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Adewale Akinnuoye-Agbaje - <i>Marlowe</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Tommy Lee Jones - <i>Finestkind</i><span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Jun Kunimura - <i>The Boy and the Heron</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Toby Jones - <i>The Long Shadow</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Nicolas Cage - <i>Renfield</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Uwe Boll -<i> Do Not Expect Too Much from the End of the World</i></span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large; text-indent: -36px;">Favourite Performance by an Actress in a Supporting Role</span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlg4YQhLjcrYE2dlm-cxfK6CezGuES71oNnqrSbCQFSwfo4DQSP2Z5RS1UYeodHj5urt8dLbqfXH6XWXmywDvBPldTD6DL16GP8PHinzbvufQuiC5bqNlZRxqwcRKAxRH1yi8SSfUpJjEbKO-WR4l1b2COGX5KM8a40Y0YGi7ICujP_cRXFu0sYZ7QyEc/s2000/Master-Gardener-2022.jpeg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1500" data-original-width="2000" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlg4YQhLjcrYE2dlm-cxfK6CezGuES71oNnqrSbCQFSwfo4DQSP2Z5RS1UYeodHj5urt8dLbqfXH6XWXmywDvBPldTD6DL16GP8PHinzbvufQuiC5bqNlZRxqwcRKAxRH1yi8SSfUpJjEbKO-WR4l1b2COGX5KM8a40Y0YGi7ICujP_cRXFu0sYZ7QyEc/w640-h480/Master-Gardener-2022.jpeg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Sigourney Weaver - <i>Master Gardener<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Sakura Ando - <i>Monster</i> & <i>Godzilla Minus One</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Pom Klementieff, Rebecca Ferguson & Vanessa Kirby - <i>Mission Impossible: Dead Reckoning Part 1</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Jiayi Wang - <i>Full River Red</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Nina Hoss - <i>Do Not Expect Too Much from the End of the World</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Taraji P. Henson - <i>The Color Purple</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Emily Beacham - <i>Guy Ritchie’s The Covenant<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Alyssa Sutherland, Nell Fisher & Gabrielle Echols - <i>Evil Dead Rise</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Rachel McAdams - <i>Are You There God, It’s Me, Margaret?<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Olivia Thirlby - <i>Oppenheimer</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Eva Green - <i>The Three Musketeers: D’Artagnan<span class="Apple-converted-space"> </span></i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Golshifteh Farahani - <i>Brother and Sister</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Tilda Swinton - <i>The Killer</i><span class="Apple-converted-space"> </span></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Penelope Cruz - <i>Ferrari</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Saori Gurza - <i>Tótem</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Jillian Dion, Janae Collins & Cara Jade Myers - <i>Killers of the Flower Moon</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Carrie Coon - <i>Boston Strangler</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Pam Grier & Samantha Mathis - <i>Pet Seminary: Bloodlines</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Nikki Amuka-Bird & Abby Quinn - <i>Knock at the Cabins</i></span></li><li class="li1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Monica Raymund - <i>The Caine Mutiny Court Martial<span class="Apple-converted-space"> </span></i></span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large; text-indent: -36px;">Favourite Performance by an Ensemble</span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjw4pAqhLucTIScmS6whAXYYsn1ZiQD_zqDMB1E8u0MYmSVXLDhLXhHxO4EcQ_wSJDeLnhbfBM4ZG8QqZrzguu3ProQQP3k010eIdVSKZsJRmCUvjqSKEFhSUtBhXk8m1mac8X80382RJvoLFvt5swFXE-SPu20-LOMWIJTLJ2oNXsOjybsdKNTyUVus/s1920/thumb_5A38852F-1945-4ACF-965F-33F7F4594E3D.jpeg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjw4pAqhLucTIScmS6whAXYYsn1ZiQD_zqDMB1E8u0MYmSVXLDhLXhHxO4EcQ_wSJDeLnhbfBM4ZG8QqZrzguu3ProQQP3k010eIdVSKZsJRmCUvjqSKEFhSUtBhXk8m1mac8X80382RJvoLFvt5swFXE-SPu20-LOMWIJTLJ2oNXsOjybsdKNTyUVus/w640-h360/thumb_5A38852F-1945-4ACF-965F-33F7F4594E3D.jpeg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">La Chimera</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Tótem</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Brother and Sister</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Showing Up</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Scarlet</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Society of the Snow</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Magic Mike’s Last Dance</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Color Purple</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Caine Mutiny Court Martial</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Oppenheimer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Operation Fortune: Ruse De Guerre</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Boston Strangler<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Moscow</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Jawan</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Leo</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Astrakan</span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;">Best Original Screenplay</span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpqfM_dNO5_Ves9-5gi-2rhS5wHRInCwo85wYsGXXJ2jCNdyFC3RqogRMN-q7w9HKqpIQQqzgBy48kWxrY7AqfRnb64hOfnzWiGFv0BYOn0IDmoVy7sbfcSb7KBUHVklCA0qNK4Ns2A6TteQsIg1rKJ46w6bPAZsjDnr-v2m1QB93JeeWQJdH2dx8ep_g/s1920/p23272175_i_h10_ab.jpeg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpqfM_dNO5_Ves9-5gi-2rhS5wHRInCwo85wYsGXXJ2jCNdyFC3RqogRMN-q7w9HKqpIQQqzgBy48kWxrY7AqfRnb64hOfnzWiGFv0BYOn0IDmoVy7sbfcSb7KBUHVklCA0qNK4Ns2A6TteQsIg1rKJ46w6bPAZsjDnr-v2m1QB93JeeWQJdH2dx8ep_g/w640-h360/p23272175_i_h10_ab.jpeg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Winter Boy</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="-webkit-text-stroke-width: initial; font-size: large;">Master Gardener</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Unrest</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Close Your Eyes</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Boy and the Heron</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Afire</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Brother and Sister</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Padre Pio</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Delinquents</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">About Dry Grasses</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Anatomy of a Fall</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Holdovers</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">You Hurt My Feelings</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Trenque Lauquen</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;">Best Adapted Screenplay<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxZXYN3i1iKoCnqWUjPtIx8qILAQoLfBNwqeTeX300QxpfdXWm0_HFkdE3w8yetR9fQ6bhTtoOg0NY4f24IISK33_iDwXbLq1gLVjosAviXiwx8GTvU8Mg67oyVxDpNuJaZnFGT3zcRFVIuskcyCkNMeDm9Qr5eeWP7uD9e9DcoHxHQgPFSBbSa22p1w/s3024/pic_1691070577_694807c84fd9803d36dae78f1a17b763.jpeg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="2012" data-original-width="3024" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxxZXYN3i1iKoCnqWUjPtIx8qILAQoLfBNwqeTeX300QxpfdXWm0_HFkdE3w8yetR9fQ6bhTtoOg0NY4f24IISK33_iDwXbLq1gLVjosAviXiwx8GTvU8Mg67oyVxDpNuJaZnFGT3zcRFVIuskcyCkNMeDm9Qr5eeWP7uD9e9DcoHxHQgPFSBbSa22p1w/w640-h426/pic_1691070577_694807c84fd9803d36dae78f1a17b763.jpeg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Pot-Au-Feu</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Wes Anderson’s Roald Dahl Compendium</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Are You There God, It’s Me, Margaret?</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><p class="p1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;">Knock at the Cabin</span></p></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Shin Kamen Rider</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Scarlet</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Color Purple</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s2" style="font-kerning: none;">The Killer</span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Zone of Interest</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Caine Mutiny Court Martial</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Napoleon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Society of the Snow</span></li></ol><p class="p2" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;">Achievement in Cinematography</span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCk_phODCSSTYyGEsThBgK7fmj8nKSvuAD6OO1nf9PWvWBGxjzHeGA3oLHCn0klN7QYZL2SRtu4TAwgf1bCgxu4SD47xFx4ZhHUd1yabw7oaR4c2ZePy_U5DEVhn5l3stTD_qjN_JZO5skgUvYWPUiE75rnCSgxRiiI-hcpdVvh_3yKpA6mLyqpjSCuY/s1398/MV5BYzBkYWFlMWMtOWRkYi00MTFhLWIwNDUtYjVlMDg2NGE1ZGExXkEyXkFqcGdeQWFybm8@._V1_.jpg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="786" data-original-width="1398" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCk_phODCSSTYyGEsThBgK7fmj8nKSvuAD6OO1nf9PWvWBGxjzHeGA3oLHCn0klN7QYZL2SRtu4TAwgf1bCgxu4SD47xFx4ZhHUd1yabw7oaR4c2ZePy_U5DEVhn5l3stTD_qjN_JZO5skgUvYWPUiE75rnCSgxRiiI-hcpdVvh_3yKpA6mLyqpjSCuY/w640-h360/MV5BYzBkYWFlMWMtOWRkYi00MTFhLWIwNDUtYjVlMDg2NGE1ZGExXkEyXkFqcGdeQWFybm8@._V1_.jpg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Knock at the Cabin</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Ferrari</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Guy Ritchie's The Covenant</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Renaissance<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Close Your Eyes</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Magic Mike’s Last Dance</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Retribution</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Silent Night</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Killer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Pot-Au-Feu</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Napoleon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Geographies of Solitude<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Priscilla</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">May December</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">About Dry Grasses</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Shin Kamen Rider</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Anselm</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Color Purple</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Outwaters</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;"><span>Achievement in </span><span>Editing</span></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwGFLn0vGDPuF9sUwjX9X-o4VgibbG9vJ8YI34S-4GtEpEo93V0P5hrEmy7hcJtw5NRWd8pJGgsCyQHOk6afjjITJXWYl5ktBKoKxQ8VYWUbR3QRyfMbtqi-V8Gd7Rq5rsDSTdo5cXa7L-o12FnbDy0Jf_zNv0uhXJmFWk4O0bs0-XdROjex4QkqYkRes/s1500/godzilla-minus-one.webp" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="860" data-original-width="1500" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwGFLn0vGDPuF9sUwjX9X-o4VgibbG9vJ8YI34S-4GtEpEo93V0P5hrEmy7hcJtw5NRWd8pJGgsCyQHOk6afjjITJXWYl5ktBKoKxQ8VYWUbR3QRyfMbtqi-V8Gd7Rq5rsDSTdo5cXa7L-o12FnbDy0Jf_zNv0uhXJmFWk4O0bs0-XdROjex4QkqYkRes/w640-h366/godzilla-minus-one.webp" width="640" /></span></a></div><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Leo</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s1"></span><span class="s2" style="font-kerning: none;">Full River Red</span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Knock at the Cabin</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Moscow</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Magic Mike’s Last Dance</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Showing Up</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Jawan<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Silent Night</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Renaissance<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Covenant</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Killer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Evil Dead Rise</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Pot-Au-Feu</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Rewind and Play</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Oppenheimer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Ferrari</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Impossible: Dead Reckoning Part 1</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Retribution</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Shin Kamen Rider</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Desperate Souls, Dark City and the Legend of Midnight Cowboy</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Phantom</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Society of the Snow</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;"><span>Achievement in </span><span>Stunt Performance</span></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNuuG8gc4Sp_GbfX3kRRlT-2W7iDWsjuNgMb29IQkeVrNPJZdBGe411BNnygn3j3jUoUt0EdUAFVZSMa-eRq0_Q3nAf146Mu85oBsMgBTRvtXec0ouWHwca1iEtbqGk5MOjhESESSccXOYQG2kiPaKWC88gM10rBui7NBIn3V8YFnyp4KDfZ-MKQ52kBA/s1200/64ef3ae0613da.image_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNuuG8gc4Sp_GbfX3kRRlT-2W7iDWsjuNgMb29IQkeVrNPJZdBGe411BNnygn3j3jUoUt0EdUAFVZSMa-eRq0_Q3nAf146Mu85oBsMgBTRvtXec0ouWHwca1iEtbqGk5MOjhESESSccXOYQG2kiPaKWC88gM10rBui7NBIn3V8YFnyp4KDfZ-MKQ52kBA/w640-h336/64ef3ae0613da.image_.jpg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Moscow</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Impossible: Dead Reckoning Part 1</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Ferrari</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Full River Red<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Three Musketeers: D’Artagnan<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Shin Kamen Rider</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Phantom</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Killer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Retribution</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Voleuses</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Silent Night</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Napoleon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Jawan</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Polite Society</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Leo</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Boudica Queen of War</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Sniper G.R.I.T.</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">When Evil Lurks</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Achievement in Sound Design</span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHcgCjl7KyNerou32gbMFlCVvBFE6LeGp3c-8CQcndJzjxrPs6_Fs5A6L5-350v934vov_LbMGdnpD9a7t5ojNhCS9tk_I5hRDEkhSP8-r_XVrUbDWsnHcNw7AugvvMmqB5JbHDRxWL6HgE9J1PFY4AYvAwn6Yw2QyN4tf6drM3oXjOC4ZvIFf4JRnUvM/s1200/asteroid-city.jpeg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHcgCjl7KyNerou32gbMFlCVvBFE6LeGp3c-8CQcndJzjxrPs6_Fs5A6L5-350v934vov_LbMGdnpD9a7t5ojNhCS9tk_I5hRDEkhSP8-r_XVrUbDWsnHcNw7AugvvMmqB5JbHDRxWL6HgE9J1PFY4AYvAwn6Yw2QyN4tf6drM3oXjOC4ZvIFf4JRnUvM/w640-h360/asteroid-city.jpeg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s1"></span><span class="s2" style="font-kerning: none;">Asteroid City</span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Showing Up</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Maestro</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Last Voyage of the Demeter</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">R.M.N.</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Moscow</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Retribution</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Mission Impossible: Dead Reckoning Part 1</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Creed III</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Iron Claw</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Phantom</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Pigeon Tunnel</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Ferrari<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Geographies of Solitude</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Color Purple</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Desperate Souls, Dark City and the Legend of Midnight Cowboy</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Society of the Snow</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">About Dry Grasses</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Boy and the Heron</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Knock at the Cabin</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Silent Night</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Killer<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Close Your Eyes</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;"><span>Achievement in </span><span>Production Design</span></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjosB-bcB58QjZVE52w9V-OKciomduLvQO3jQ7OtP57MXI6p-_j_nwvAa4DX0ommuvomuTLzAePwNhpqeqb0vaMKLfPlX7QEJhD4tpDxeeIGpTQdSkDJU7D19poIgJcXP6G2AcGQB_5e-HUVQzRP9KoKArkvW334JeWymqfibESuvHDlEjj0bcmyXSgoFE/s1200/ws_hs_mrk_stills_01_05_54_11.jpeg" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="501" data-original-width="1200" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjosB-bcB58QjZVE52w9V-OKciomduLvQO3jQ7OtP57MXI6p-_j_nwvAa4DX0ommuvomuTLzAePwNhpqeqb0vaMKLfPlX7QEJhD4tpDxeeIGpTQdSkDJU7D19poIgJcXP6G2AcGQB_5e-HUVQzRP9KoKArkvW334JeWymqfibESuvHDlEjj0bcmyXSgoFE/w640-h268/ws_hs_mrk_stills_01_05_54_11.jpeg" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Wes Anderson’s Roald Dahl Compendium</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Magic Mike’s Last Dance</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Close Your Eyes</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Poor Things</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Ferrari</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Evil Dead Rise</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Full River Red<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Napoleon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Priscilla</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Killer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">About Dry Grasses</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s2" style="font-kerning: none;">Oppenheimer</span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Operation Fortune: Ruse De Guerre</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Phantom</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Ballerina</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Teen Wolf The Movie</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span style="text-indent: -36px;">Achievement in </span><span>Art Direction</span></span></p><p class="p1" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7WME6UKqIto7_h_nwkSLsa4PiCGZ1KWm1QaVu5iw1n1OUrzsmd2dahlW7f3-k91oZOG3nFUt3ShgN0zZHBSFKhOPa1EzUDNvLe09bk77iRGdjrD-dfduabJJ2uDYno1HRAw3Rd0AwzPZET7MiYxMaxFLyb0KSSuP7NfGr0yDgH45RjEwGQypAuEP88L8/s3024/Rapito.webp" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="2012" data-original-width="3024" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7WME6UKqIto7_h_nwkSLsa4PiCGZ1KWm1QaVu5iw1n1OUrzsmd2dahlW7f3-k91oZOG3nFUt3ShgN0zZHBSFKhOPa1EzUDNvLe09bk77iRGdjrD-dfduabJJ2uDYno1HRAw3Rd0AwzPZET7MiYxMaxFLyb0KSSuP7NfGr0yDgH45RjEwGQypAuEP88L8/w640-h426/Rapito.webp" width="640" /></span></a></div><p></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Wes Anderson’s Roald Dahl Compendium</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Close Your Eyes</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Ferrari<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><span class="s1"></span><span class="s2" style="font-kerning: none;">Magic Mike’s Last Dance</span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Napoleon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Polite Society</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Jawan</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Showing Up</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">About Dry Grasses</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Evil Dead Rise</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Poor Things</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Marlowe</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Pot-Au-Feu</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Priscilla</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Operation Fortune: Ruse De Guerre</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Ballerina</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;"><span>Achievement in </span><span>Costume Design</span></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBoD8h-NbO0fKHxoO13TKuKtIJMOy2v4H-FimMIl-UYgGrbJHdUqvF2A3KuNEBb4vIE5KsxYtTQ-cUCW6fo0e2sISXXRfE4j4ZI8O-H44h-mRAEF6qYeh7UaU_s4m8Ok_o6J-2KEc_qxAMuGfbCOXXF9yMgEG2PIr0GY8zxMmKQ906VlL91tCDrEo9Y9I/s1200/priscilla_still_01.webp" style="font-family: Times; margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBoD8h-NbO0fKHxoO13TKuKtIJMOy2v4H-FimMIl-UYgGrbJHdUqvF2A3KuNEBb4vIE5KsxYtTQ-cUCW6fo0e2sISXXRfE4j4ZI8O-H44h-mRAEF6qYeh7UaU_s4m8Ok_o6J-2KEc_qxAMuGfbCOXXF9yMgEG2PIr0GY8zxMmKQ906VlL91tCDrEo9Y9I/w640-h426/priscilla_still_01.webp" width="640" /></span></a></p><ol class="ol1"><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Priscilla</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none;"><span class="Apple-converted-space" style="font-size: large;">Kidnapped</span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Asteroid City</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Three Musketeers: D’Artagnan<span class="Apple-converted-space"> </span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Marlowe</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Polite Society</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Pot-Au-Feu</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Full River Red<span class="Apple-converted-space"> </span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Wes Anderson’s Roald Dahl Compendium</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Poor Things</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Holdovers</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Napoleon</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Renaissance<span class="Apple-converted-space"> </span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Unrest</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Operation Fortune: Ruse De Guerre</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">The Last Voyage of the Demeter</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Boston Strangler<span class="Apple-converted-space" style="text-indent: -36px;"> </span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Shin Kamen Rider</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Oppenheimer</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Society of the Snow</span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Ferrari<span class="Apple-converted-space" style="text-indent: -36px;"> </span></span></li><li class="li2" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Chile ’76</span></li></ol><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: large;">Best Original Score</span></p><p class="p3" style="font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7WiBl9pO24Uv2AMqwbL2lFVknK0eV9GNcgY1VPc7KCHAamRmahffEkGkhVJQIBPZUcq2-j8GG9IWa8_I2J-0Gj2xDCA3dm0cIl5xg2PIT6CnmOXekvpNLcK0OMisVhKlYIskgDvDJJSN9gpJXH7oAlyfOyNlKKyqDQKjV6JSQRYAYmImooogKB6Y_ZI8/s640/0x0.webp" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><span style="font-size: large;"><img border="0" data-original-height="360" data-original-width="640" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7WiBl9pO24Uv2AMqwbL2lFVknK0eV9GNcgY1VPc7KCHAamRmahffEkGkhVJQIBPZUcq2-j8GG9IWa8_I2J-0Gj2xDCA3dm0cIl5xg2PIT6CnmOXekvpNLcK0OMisVhKlYIskgDvDJJSN9gpJXH7oAlyfOyNlKKyqDQKjV6JSQRYAYmImooogKB6Y_ZI8/w640-h360/0x0.webp" width="640" /></span></a></p><ol class="ol1"><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Godzilla Minus One</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Emily</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Sympathy for the Devil<span class="Apple-converted-space"> </span></span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Strange Way of Life</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Killer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Kidnapped</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Master Gardener</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Monster</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Padre Pio</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Killers of the Flower Moon</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">The Iron Claw</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Napoleon </span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Leo</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span class="s2" style="font-kerning: none; font-size: large;">Jawan</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Oppenheimer</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Zone of Interest</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">She Came To Me</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Evil Dead Rise</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Boy and the Heron</span></li><li class="li1" style="-webkit-text-stroke: rgb(0, 0, 0); font-family: Helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-size: large;">Godland</span></li></ol>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-91766476362061577262023-04-13T14:53:00.008-04:002023-04-13T15:14:43.103-04:00The End of History<p><span style="font-size: large;">I thought I'd take a moment to post the links for <i>The End of History, </i>the video essay series by myself and Tucker Johnson. This was my most ambitious video essay project to date from the outset. It's funny to think of The Unloved about to make it to its 120th episode later this year because heaven knows I had no idea if it would last that long, so I can't say it was my intention to make something so enormous in scale and scope. But with <i>The End of History, </i>inspired in part by the podcast Blowback by Brendan James and Noah Kulwin, the idea was to make as close to a comprehensive criticism of and celebration of the machinery of Hollywood image making; the ways in which it is possible to make art in a place that rejects it but that the consequences for success in your endeavor may be beyond anyone's control. A cautionary tale, a eulogy for one of the greatest vulgarian artists ever born, and a love letter to men who are at once ubiquitous and misunderstood. </span></p>
<div><br /></div><iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/652258791?h=4a5364da14" width="640"></iframe>
<p><a href="https://vimeo.com/652258791">The End of History - Trailer</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/682436014?h=3b04d562ac" width="640"></iframe>
<p><a href="https://vimeo.com/682436014">The End of History - Chapter 1</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>And a few words on <a href="https://letterboxd.com/honorszombie/film/the-duellists/">The Duellists</a></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/685236332?h=df0c2fd0fe" width="640"></iframe>
<p><a href="https://vimeo.com/685236332">The End of History - Chapter 2</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/someone-to-watch-over-me/">Someone to Watch Over Me</a>. </i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/687528818?h=a5141bfaa9" width="640"></iframe>
<p><a href="https://vimeo.com/687528818">The End of History - Chapter 3</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/hannibal/">Hannibal</a>.</i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/687772217?h=8016d4806c" width="640"></iframe>
<p><a href="https://vimeo.com/687772217">The End of History - Chapter 4</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/thelma-louise/">Thelma and Louise</a>. </i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/696333196?h=a3721cc7fb" width="640"></iframe>
<p><a href="https://vimeo.com/696333196">The End of History - Chapter 5</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/1492-conquest-of-paradise/">1492</a></i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/695987074?h=e7e748b894" width="640"></iframe>
<p><a href="https://vimeo.com/695987074">The End of History - Chapter 6</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/man-on-fire-2004/">Man on Fire</a>.</i><i></i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/697860084?h=cc0d90d883" width="640"></iframe>
<p><a href="https://vimeo.com/697860084">The End of History - Chapter 7</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/legend/">Legend</a></i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/697863298?h=7ace7055cb" width="640"></iframe>
<p><a href="https://vimeo.com/697863298">The End of History - Chapter 8</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <a href="https://letterboxd.com/honorszombie/film/unstoppable-2010/">Unstoppable</a><i></i></p>
<iframe allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/699522397?h=607d70dc11" width="640"></iframe>
<p><a href="https://vimeo.com/699522397">The End of History - Chapter 9</a> from <a href="https://vimeo.com/honorszombiefilms">Scout Tafoya</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p>A few words on <i><a href="https://letterboxd.com/honorszombie/film/all-the-money-in-the-world/">All the Money in the World</a>.</i></p>
<iframe allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/699651507?h=0df1955db2" title="vimeo-player" width="640"></iframe><div><br /></div><div>A few words on <i><a href="https://letterboxd.com/honorszombie/film/the-last-duel-2021/">The Last Duel</a></i> </div><br />Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-73160573290612817902023-01-14T13:39:00.005-05:002023-01-15T18:23:21.815-05:00My Favourite Films of 2022<p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">1.<span style="white-space: pre;"> </span>The Fabelmans<br /></span><span style="font-weight: normal;">by Steven Spielberg</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKsab42qlg6Jk85oEdj-cAawVFNwxtYORqLhWVlR4vP-CCaXsBSgG6VnYtgqGe8zApQhRvtXUpeg-aXWx_tFcSLWX8e4fm3NClJkE2y3QMqlzFGw_83k0V7rmN3Yn4UfrVXSv-VIwtwzINgw-mn3ccrDafKhlvZGDj223G76aobWWdJdWWRDlJbw0o/s681/fabelmans.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKsab42qlg6Jk85oEdj-cAawVFNwxtYORqLhWVlR4vP-CCaXsBSgG6VnYtgqGe8zApQhRvtXUpeg-aXWx_tFcSLWX8e4fm3NClJkE2y3QMqlzFGw_83k0V7rmN3Yn4UfrVXSv-VIwtwzINgw-mn3ccrDafKhlvZGDj223G76aobWWdJdWWRDlJbw0o/w640-h360/fabelmans.webp" width="640" /></a><span><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-size: large; font-weight: normal;">Though it's tempting to say he waited his whole life to let us in, it's more accurate to say he drew us a map and then finally, after decades on the path, we got to where X marks the spot. A man famous for softening us for life's bitter disappointments has finally shown us his own, let us know that all that fantasy, all those impossible things, they were for him as much as for anyone else. Maybe some suspected it all along, but to give us a movie this thorny, this odd, this heartrending and naked, that <i>is </i>a gift. One he knows we can't repay (and America didn't) but he doesn't need it. This is for him and but for people who've been waiting to get here, it's the most wonderfully honest piece of American film art in an age. Revealing at last the source of his perversity, the cries he's been soundproofing in his head, the lack he's been filling, the young man who became the movies themselves. The emotional clarity is magnificent, of course, but so is every composition, every movement of the camera, every sweaty set-piece in which he lets the phantom shape of his friend Brian De Palma ghost direct when he hasn't always the heart to admit things on his own. He's become the director he always set out to be, the man who can entertain you, who can make you cry unabashedly, who can make you think about your own life the way he thinks about his, and he's done it all honestly. He's opened up the doors of the spacecraft at long last and let us in. I can see now why his characters never want to leave the fantasy. Even when it's this thorny, this bleak, this upsetting...there's still no more wonderful place to spend time. "Where's the horizon?" A person and an angle can always change, or they might change history. </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">2.<span style="white-space: pre;"> </span>EO<br /></span>by Jerzy Skolimowski</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_cPti75Vl-NkcZAiTgOHSMvqECfAYyV371imrtGzVaThwMrV2GwWvY49Z5h83YwU8td_0pfkxIq-MgKGqCzQlIZUhu7Qs_INq1VtSe4S1Z8u1CJbctQq8vZiDNfL0DpaY1NjdGHs5EleigFdVjTZtNAPvSOL8W9XBTJr-0lY2jaysevwHBlUf-3q/s1612/Eo.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="820" data-original-width="1612" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb_cPti75Vl-NkcZAiTgOHSMvqECfAYyV371imrtGzVaThwMrV2GwWvY49Z5h83YwU8td_0pfkxIq-MgKGqCzQlIZUhu7Qs_INq1VtSe4S1Z8u1CJbctQq8vZiDNfL0DpaY1NjdGHs5EleigFdVjTZtNAPvSOL8W9XBTJr-0lY2jaysevwHBlUf-3q/w640-h326/Eo.webp" width="640" /></a><span style="font-size: large;">From one old master looking back to another, the perpetual prankishness and grammatical insouciance of Jerzy Skolimowski has at last found its sheath. The punk rocker behind the camera remains, but he's got something important on his hands; the memory of his favourite movie, the movie that made him forget that he too was an artist. How could he share the same class, nay, the same gene pool, with Robert Bresson. If none of his wildly inventive works have earned him that place, than, definitively, with <i>EO, </i>he's earned it. He is a filmmaker worthy of Bresson because he found the soul of the mule from the other angle, with all the blinding, flashing lights and post-Godardian experimentation, everything Bresson would never have allowed himself. And yet there is no loss of meaning. No loss of sight. No greater distance between us and the mule. The waggish formal daring, the dizzying array of angles, the things which Skolimowski's late period has made us accustomed to experiencing, they are more focused than usual, absolutely, but there is no less a sense of possibility here for all his reverence for the great work of art that so stunned him as a younger man. <i>Au Hasard Balthazar </i>is mightier now because we know what it pulled out of an artist as usually inscrutable as Skolimowski. And <i>EO </i>is one of the finest modern films. </span></p><p style="text-align: left;"><span><br /><span style="font-size: x-large;"><span style="font-weight: normal;">3.<span style="white-space: pre;"> </span>Irma Vep<br /></span><span style="font-weight: normal;">by Olivier Assayas</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmG7wUKxkN0o-Xdb6FqEYBSErQog9ZMp50NqNArMVZsxwoPSC05whIA-f51IYNtEkxH_O8uj0MfB3xJdrtA_48wVqP8zGp-ESNQWDX_EEYPKLz49rWvgqCXxlGvtfbKwjjGQ5tlDiazJsb_C6GKP1E61Lpdrp-rXSYO4IOUhviPvoKuPPNL75t6WO-/s2342/Screen-Shot-2022-05-17-at-10.50.24-AM.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1462" data-original-width="2342" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmG7wUKxkN0o-Xdb6FqEYBSErQog9ZMp50NqNArMVZsxwoPSC05whIA-f51IYNtEkxH_O8uj0MfB3xJdrtA_48wVqP8zGp-ESNQWDX_EEYPKLz49rWvgqCXxlGvtfbKwjjGQ5tlDiazJsb_C6GKP1E61Lpdrp-rXSYO4IOUhviPvoKuPPNL75t6WO-/w640-h400/Screen-Shot-2022-05-17-at-10.50.24-AM.webp" width="640" /></a><span style="font-size: large;">It was perhaps inevitable that the man who made the movie that most accurately captures the living dead heart of the modern film economy would be the man who's been chasing ghosts and conspiracies across the globe for decades. His ambient thrillers drop the scent of murder and lead him here, to a remake of his own remake, the completion of his own prophecy. He puts himself, his work, his cheap soul, his place in the streaming economy, his place in his collaborators' hearts (in some cases: nowhere), his ambition, and his fractured legacy under the microscope while refusing to give us anything like a conventional entertainment. Thank heaven. Assayas' crowning achievement. His great novel on being alive in the 21st century, on being Olivier Assayas when being anyone else might be easier. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">4.<span style="white-space: pre;"> </span>Exterior Night<br /></span><span style="font-weight: normal;">by Marco Bellocchio</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRwWbfzDk0fBjKj8HV2ruebtByZAd4mOckAdVre8YivOsdE7JuH6xG5UKN7k3kyziu0eviSEOFt1DpCJzZhr995sTX6hcP-vFXJ6AL9XB7NH8iLL8s2yQqLI1HIS1Sgmeoz1eIWtUrpjAN4A6WL46yIcltkWaCstA1mHCjvQU9H80OPAawprDMd1l/s1600/EsternoNotte_AC_ep-6_DSC7552-1-1600x900-c-default.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRwWbfzDk0fBjKj8HV2ruebtByZAd4mOckAdVre8YivOsdE7JuH6xG5UKN7k3kyziu0eviSEOFt1DpCJzZhr995sTX6hcP-vFXJ6AL9XB7NH8iLL8s2yQqLI1HIS1Sgmeoz1eIWtUrpjAN4A6WL46yIcltkWaCstA1mHCjvQU9H80OPAawprDMd1l/w640-h360/EsternoNotte_AC_ep-6_DSC7552-1-1600x900-c-default.jpeg" width="640" /></a><span style="font-size: large;">The last modernist composes <a href="https://www.rogerebert.com/festivals/nyff-2022-return-to-seoul-she-said-exterior-night">another perfect symphony</a>, a poison pen letter to the country that raised him and betrayed him, the place where brothers died and no one was ever brought to justice who couldn't be replaced.</span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">5.<span style="white-space: pre;"> </span>Earwig<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Lucile Hadžihalilović</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8RLliuC8JqCbkg9jRiWuVG8xJRnWlHYl2MUcGFfW7jAkq7eT8mWPdYX1BKh7GIQXvMepp5oUzUGweRJZVGOmnO7XNiR66z46qnOCbePRXys0FXGRWTt9VEY05-3I04INdn9izv1O4E3f1_5lYFo07QWfZRK59b3pTsHdQkfq7g0NQm6rGYCSGqrcS/s1280/MV5BMmUwY2MyZTgtN2ZmMS00NjZiLTk4ZjctZjY4MWE4ZGJlMGJhXkEyXkFqcGdeQXVyODM3OTYyMTQ@._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8RLliuC8JqCbkg9jRiWuVG8xJRnWlHYl2MUcGFfW7jAkq7eT8mWPdYX1BKh7GIQXvMepp5oUzUGweRJZVGOmnO7XNiR66z46qnOCbePRXys0FXGRWTt9VEY05-3I04INdn9izv1O4E3f1_5lYFo07QWfZRK59b3pTsHdQkfq7g0NQm6rGYCSGqrcS/w640-h360/MV5BMmUwY2MyZTgtN2ZmMS00NjZiLTk4ZjctZjY4MWE4ZGJlMGJhXkEyXkFqcGdeQXVyODM3OTYyMTQ@._V1_.jpg" width="640" /></a><span style="font-size: large;"><span>Men all talk a big game about bringing back the tactile thrills of the B movies of yore, but its women who do the more important task of sickeningly reviving the eroticism and vapor-struck hermeticism of 60s and 70s arthouse. Lucile Hadžihalilović has been chasing the unyielding highs and knee scraping lows of John Huston's strident literary adaptations, Jerzy Skolimowski's sexual confusion, Wojciech Has' inch-thick atmosphere of madness, and the predatory identity crises in the works of Catherine Breillat and Sandy Whitelaw. Well she's come up with something worthy of all of them (indeed, quite a bit better than most). Here we see her adapt a work of cultish skullduggery in which the business of a man with nothing to lose is presented in appalling darkness and dankness. The tone of these scenes falls somewhere between watching an undertaker dress a corpse or a soldier defuse a bomb. He cares for a child without any love for her because he has no love for himself. He tortures himself and others for the crime of his still having to live. He thinks something might save him but nothing could. He is, quite obviously, like <i>everyone </i>in </span><span>Hadžihalilović's oneiric bureaucracy. His misery is the tip of the iceberg. And yet her camera's tightly coiled gaze, the wafting sound design that screams silences at us, and the sun's refusal to shine on this world of thieves, walking suicides, and killers all mark this as an uncommon feat indeed. The evil twin of Orson Welles <i>The Trial. </i>A major work.</span></span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">6.</span><span style="font-weight: normal; white-space: pre;"> </span><span style="font-weight: normal;">The Eternal Daughter<br /></span><span style="font-weight: normal;">by Joanna Hogg</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08iN3QNYvV1rJPw5_Z8bO3HfW9ENoS2KVmKbvBZVKryrvpXrO41cpY9oio7EoLzfq52vL0QuJwzZHR6ahNITb8x_ZO40bkqnRiUzKQxm8YoKkNLadrqN4VFWgD2-zyWj4Xl5aouGWUeSAn-0WiFmuJEiz90FBUvWrSpJ9UowXr5pKvAgMYXth2WrR/s2560/Brody-The-Eternal-Daughter-2.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08iN3QNYvV1rJPw5_Z8bO3HfW9ENoS2KVmKbvBZVKryrvpXrO41cpY9oio7EoLzfq52vL0QuJwzZHR6ahNITb8x_ZO40bkqnRiUzKQxm8YoKkNLadrqN4VFWgD2-zyWj4Xl5aouGWUeSAn-0WiFmuJEiz90FBUvWrSpJ9UowXr5pKvAgMYXth2WrR/w640-h426/Brody-The-Eternal-Daughter-2.webp" width="640" /></a><span><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-size: large; font-weight: normal;">In a corner of misty, mythic Wales a woman enlists strangers and intimate relations alike to appear in a passion play, a story of the loss of her god, her mother. Creeping dutch angles looking up haunted staircases into a brain trying hard to keep its secrets locked away. When we know what's happening we understand why she worked so hard to stay unreadable, a blank. And yet under each half-suggested gesture of reconciliation, of every conversation with her memory, we see the churning interior struggling to break out and flood this corner of the world. "</span></span><span style="font-size: large;"><span>When I was a child, running in the night, a</span><span>fraid of what might be. </span><span>Hiding in the dark, hiding in the street a</span><span>nd of what was following me..." Hiding always, but only from yourself. Everyone else can see you're alone. </span></span></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">7.<span style="white-space: pre;"> </span>Crimes of the Future<br /></span><span style="font-weight: normal;">by David Cronenberg</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGvXN0CKli8bb9jqQA3QD-O3dq6mIGp67A8fGFXf3mIE8WoDI97-v2qPG843qSwdYqZW5I4-XMMmw8YeiCtEb08uZUWf9nF-ImHzhmiGAgbLPv7_n8-2vkO4_Fei6e3P9BDUZs08GdZj4ly5lkTtC3yOHLeWCukttUTkhdVJMJx5NVETKCvUsCxxWQ/s1924/CrimesoftheFuture004.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1040" data-original-width="1924" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGvXN0CKli8bb9jqQA3QD-O3dq6mIGp67A8fGFXf3mIE8WoDI97-v2qPG843qSwdYqZW5I4-XMMmw8YeiCtEb08uZUWf9nF-ImHzhmiGAgbLPv7_n8-2vkO4_Fei6e3P9BDUZs08GdZj4ly5lkTtC3yOHLeWCukttUTkhdVJMJx5NVETKCvUsCxxWQ/w640-h346/CrimesoftheFuture004.jpeg" width="640" /></a><span style="font-size: large;">Presented with the death of art (the death of the planet, too; they go hand in hand thanks to corporate sponsored formless content and the destruction of the rainforest to sell useless tokens of exclusivity to morons), our poet of sickness returned. His latest is a work of the fragility of the artist's ego and body. As he discovers new avenues of self-expression, he grows weaker and weaker. It helps not at all that his art is the sight of his own destruction at the hands of a lover. The message is hard to miss: we still kill the old way. When we no longer risk, art is nothing. Cronenberg will always risk everything. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">8.<span style="white-space: pre;"> </span>Hold Me Tight<br /></span><span style="font-weight: normal;">by Mathieu Amalric</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP6IYDvK1Zu7IqzKz8jW67r5UgcYx0aVkg-mezWzvhlxbRm3SFY3mWnJ88Ebe6JCPNq7-nhFFqDLZW0D60xZ_8v-yDWJa-aYn_cQJhtJyNAQHsAebNBsb3uRj1WhXFq51xqDFjbeM1thTCgUbye9PY8HMsyH5dBnq-zFNUXAohk9iMdXszV5BVHz7h/s1296/34d0071def2a8086e7f16b6ae2d866b5-h-2021.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP6IYDvK1Zu7IqzKz8jW67r5UgcYx0aVkg-mezWzvhlxbRm3SFY3mWnJ88Ebe6JCPNq7-nhFFqDLZW0D60xZ_8v-yDWJa-aYn_cQJhtJyNAQHsAebNBsb3uRj1WhXFq51xqDFjbeM1thTCgUbye9PY8HMsyH5dBnq-zFNUXAohk9iMdXszV5BVHz7h/w640-h360/34d0071def2a8086e7f16b6ae2d866b5-h-2021.webp" width="640" /></a></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;"><a href="https://www.rogerebert.com/interviews/mathieu-amalric-hold-me-tight-interview-2022">One of the greats</a> does his thing with <a href="https://www.patreon.com/posts/hold-me-tight-70162979?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link">casual majesty</a>.</span></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">9.<span style="white-space: pre;"> </span>A Couple<br /></span><span style="font-weight: normal;">by Frederick Wiseman</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTHlPOJDXWGvE9bgLIES1qCqURfH3QevD-ZXi8M2MLz5uu_Ak6jM2gnL1AnsWm6SjMwGqWSON1kzsz5fa_aQpUtqxfoVrFMFakHihgmwNMwHT1aEV3o7UGQqqmg6NGSW18T7trmySVwX9ZtFW8KC9ZimZF5sokN-8f9UZ1OmAcP-NYTGjt5KZufxZD/s640/a5e78a1eb416c04121eae0c05194a26e.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="266" data-original-width="640" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTHlPOJDXWGvE9bgLIES1qCqURfH3QevD-ZXi8M2MLz5uu_Ak6jM2gnL1AnsWm6SjMwGqWSON1kzsz5fa_aQpUtqxfoVrFMFakHihgmwNMwHT1aEV3o7UGQqqmg6NGSW18T7trmySVwX9ZtFW8KC9ZimZF5sokN-8f9UZ1OmAcP-NYTGjt5KZufxZD/w640-h266/a5e78a1eb416c04121eae0c05194a26e.png" width="640" /></a><span><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-size: large; font-weight: normal;">The title a knowing joke, a play on the absence of the lover with whom we are always conversing but who is never present. Wiseman's documentarians eye locates the perfect setting for a treatise on lost love, of endless sacrifice, of never having enough. Even in all this beauty, a human cannot be happy because we don't answer to nature. Tolstoy knew it, and so <strike>does</strike> did </span></span><span style="font-size: large;">Sophie,<span><span> his widow</span></span>. It's people to whom we answer. Wiseman tries constructing a portrait of a relationship as he would the inner workings of a city council or a studio, by psychologically mapping it when he can't do it physically. We know what it was like to be in their house together with the dozen children and the roughness of the master of the house. We know more about her life in Nathalie Boutefeu's pauses than we do about people we've met. We know about not giving up love just because someone dies, and giving it up because it hurts to be near someone whose own love is terrible and wonderful at once. What is the "job," the "purpose," of the muse, the loyal partner, other than to appear in reflection? Wiseman thought that such a person deserved the spotlight, some understanding, as much as we afford the man whose name carries her identity a hundred years after her death.</span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">10.<span style="white-space: pre;"> </span>Against Time<br /></span><span style="font-weight: normal;">by Ben Russell</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4AdiR9tsqjD-E0rNrVNWqxC0TtZWwM778mEhC8G3q5zNDfmAEaT2H1omgxkqeTMCubINdmmTr9JnqEpa5xoZEkRQYrLjtwk6SAMJDQ6j1FeuIPZ8y3ruyuOwU02KSlZW66iRMZClEz4-n_m10DWsZqK5lzJFZN4lXPTolYXJbBU1RVCBuHy0HuBkz/s1340/AGAINST-TIME-PORTAL_1340_c.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1340" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4AdiR9tsqjD-E0rNrVNWqxC0TtZWwM778mEhC8G3q5zNDfmAEaT2H1omgxkqeTMCubINdmmTr9JnqEpa5xoZEkRQYrLjtwk6SAMJDQ6j1FeuIPZ8y3ruyuOwU02KSlZW66iRMZClEz4-n_m10DWsZqK5lzJFZN4lXPTolYXJbBU1RVCBuHy0HuBkz/w640-h344/AGAINST-TIME-PORTAL_1340_c.jpeg" width="640" /></a><span style="font-size: large;">The great <a href="https://www.rogerebert.com/festivals/nyff-2022-against-time-the-novelists-film-pacifiction">avant-garde missive</a> of 2022.</span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">11.<span style="white-space: pre;"> </span>Detective Vs. Sleuths<br /></span><span style="font-weight: normal;">by Wai Ka-Fai</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9CuomOOjElcqpP7Wjm5eyYhEGhvU7IXt7v4g3wh6PXhIe_0udjblVtCBJjYbRF1OzPOvTkprvO0aFwcKPgvG4PfhEBLlHJkz_gaKdFFKjDzkAZwK7qGOZMmq7Z5lRFory1bm71LQrLU6gMq3SyUONcI4TG1-42a494AE4pj_0IeXykVPdxJrqvDVM/s1000/Detective-Vs-Sleuths-cr-res.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9CuomOOjElcqpP7Wjm5eyYhEGhvU7IXt7v4g3wh6PXhIe_0udjblVtCBJjYbRF1OzPOvTkprvO0aFwcKPgvG4PfhEBLlHJkz_gaKdFFKjDzkAZwK7qGOZMmq7Z5lRFory1bm71LQrLU6gMq3SyUONcI4TG1-42a494AE4pj_0IeXykVPdxJrqvDVM/w640-h360/Detective-Vs-Sleuths-cr-res.webp" width="640" /></a><span style="font-size: large;">Johnny To once said of his creative partner Wai Ka-Fai "I really believe in Wai Ka-fai’s creativity: his writing, his ideas, everything....I can’t find any one else in Hong Kong like him: his discipline, talent..." That may be because there is no one else in Hong Kong like Wai Ka-Fai but it's perhaps more accurate to say there is no one <i>alive </i>like him. The director's latest, his cap on a trilogy of off-kilter detective stories, is a film of impossible geometry and exhausting physics. The camera leaps through time and space, destroying everything it touches and rebuilding it with the snap of its lead characters finger gun. Ten thousand ideas a second lead this man, haunted by the crimes he didn't solve, towards the case that could change the course of his life. Our director, the maddest detective of all, juggles genres, timelines, and realities with a Cheshire Cat grin. This? I mean how else am I supposed to make movies? A pleasure to be on his roller coaster, to be held hostage by genius. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">12.<span style="white-space: pre;"> </span>Shin Ultraman<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Shinji Higuchi</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl7mUa3aCriUJuO81HSzDIEoIKfULOwrTPgRU7S-u28k8-0MnutQbBzeOEFTnclgv7DBkdDUulL2b-WeYmG-d1j9g3NGgMTDtRCNHdPe718kmunMnn40OfS916LSYFxCRKEGx0CQt0z2HlniESKMBl2KCwKTy6D6TKvFgSHXn18VWTN5AQ8CvhOYIz/s1920/shin-ultraman.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1008" data-original-width="1920" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl7mUa3aCriUJuO81HSzDIEoIKfULOwrTPgRU7S-u28k8-0MnutQbBzeOEFTnclgv7DBkdDUulL2b-WeYmG-d1j9g3NGgMTDtRCNHdPe718kmunMnn40OfS916LSYFxCRKEGx0CQt0z2HlniESKMBl2KCwKTy6D6TKvFgSHXn18VWTN5AQ8CvhOYIz/w640-h336/shin-ultraman.webp" width="640" /></a><span style="font-size: large;">Shinji Higuchi and his writer, the devilish mastermind Hideaki Anno return to the great monsters of the past once more in this fleet and frisky re-molding of a beloved icon of their childhood. Bureaucrats keeping Japan from crumbling under the weight of its hubris and its malfeasance are our heroes, literally in this case as one grows to the size of a skyscraper to combat monsters and Japan's own negative image. Countless images of people at high-stakes toil, each perfectly framed to keep us enthralled, and through it all a heartfelt message about responsibility. A monster can be anything, even a sleeping bystander, if improperly cared for. Not everyone can handle the responsibility of keeping your people from destruction. We live that every day, don't we?</span></p><div><br /></div><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: 400;"><br /></span><span style="font-weight: normal;">13.<span> </span>This</span> Much I Know To Be True<br />by Andrew Dominik</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nHCdLYPBA7Tlsd-DVHuBoQQ-4CBxWgqDO9F6-P6tT7Mh9J0g_tapLT2_3By1CPu_s-RfThzMPEiziUkyGu4KrddzS_MqHW-6afQQsEEBd6-iUVvYEmv_V5HgbvyGgAxCQq2drueRPcEP_hSDM6Ghq7eYR8YEaE765Thf7WODS782af9bDTDoaGto/s1780/202214813_5_RWD_1780.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1001" data-original-width="1780" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nHCdLYPBA7Tlsd-DVHuBoQQ-4CBxWgqDO9F6-P6tT7Mh9J0g_tapLT2_3By1CPu_s-RfThzMPEiziUkyGu4KrddzS_MqHW-6afQQsEEBd6-iUVvYEmv_V5HgbvyGgAxCQq2drueRPcEP_hSDM6Ghq7eYR8YEaE765Thf7WODS782af9bDTDoaGto/w640-h360/202214813_5_RWD_1780.webp" width="640" /></a><span><br /><span style="font-size: large; font-weight: normal;">Nick Cave trusts Andrew Dominik like he does his own bandmates; maybe more. Warren Ellis has to translate Cave's sadness, his field stripped soul, into mosaics made of sound. Dominik carries the weight of the image of a bereft Cave, the sight of a man who lost his sons before they were old enough to know who they really were, before they'd experienced every great and dreadful thing their father has. In this windowless room, with a camera always present and acknowledged, Cave exorcises his demons, makes visible his pain and regrets, makes the hole in his heart into something full and real and excruciating. It takes bravery to wake up after losing your world. I don't know what to call what Cave exhibits here, but it broke my heart. An essential record of an artist's process, which necessarily includes living with death. </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">14.<span style="white-space: pre;"> </span>Living<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Oliver Hermanus</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOiVG-vS1pfqq2ayG0185HcLbZo_Xy46pB-Z3ESDNcayMRyU0TX58uVPbN0cnmirBXF5dQ5tEqVMAwQH95jeu5go24JaSKqAFzrcbERIQ8amlSbG98tZWUPrSCk4g-CXA64L93044GUNc4e-VwVb1mMLfDrKFoGm4_zNB4yVEjf5uhrKjEW980p4y/s3600/MV5BNjlmMWIxZjktYjIzNS00YTI1LThhOGItMDM0N2JjYjk0MmNlXkEyXkFqcGdeQWFybm8@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2025" data-original-width="3600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOiVG-vS1pfqq2ayG0185HcLbZo_Xy46pB-Z3ESDNcayMRyU0TX58uVPbN0cnmirBXF5dQ5tEqVMAwQH95jeu5go24JaSKqAFzrcbERIQ8amlSbG98tZWUPrSCk4g-CXA64L93044GUNc4e-VwVb1mMLfDrKFoGm4_zNB4yVEjf5uhrKjEW980p4y/w640-h360/MV5BNjlmMWIxZjktYjIzNS00YTI1LThhOGItMDM0N2JjYjk0MmNlXkEyXkFqcGdeQWFybm8@._V1_.jpg" width="640" /></a><span><span style="font-size: xx-large; font-weight: 400;"><br /></span><span style="font-size: large; font-weight: normal;"><i>Ikiru</i> didn't need to be remade, there's no way around that. And yet if anyone was going to use it like a boring tool to uncover the sadness at the heart of the English character, it was Kazuo Ishiguro. He came to England when he was young and his outsider's empathy has been his greatest tool in writing about humanity. To see the things the English give up for propriety, for what's right and good and orderly. More than a remake of <i>Ikiru, </i>it's like something out of Mary Shelley, where a monster of efficiency and disappointment discovers what it means to really be alive. His journeys to the lower depths yield experiences, sights, sounds, smells, friendships, that his existence would never have allowed him. Hermanus directs like Michael Powell is watching over his shoulder, watching him recreate the feel<i> </i>of a place unreachable and the look of England opening up like a flower in bloom. And then there's Bill Nighy, who will reach into you and touch your heart with the twitch of his face, the faraway stare with those dark blue eyes, the opening of an umbrella. Together these artisans have made something unique out of an no-win proposition. I'm glad they decided to remake <i>Ikiru</i>. </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">15.<span style="white-space: pre;"> </span>Nope<br /></span><span style="font-weight: normal;">by Jordan Peele</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFX9x2-S54zlalIavoYPTCIsY-3r4SdnOsYPDaWYlf3EEcOVgyLicW3uKTVMJW0RwK4CLlePTgg1ssA_Blo1uoyRJHkK8eYLrs6gG_CeaPnWelYgT0gpFnu3hqHhagkLajvWeMRMM5GGI2Y9mKRTQpN7VDkZhe6QzQeLkqn9HlkLuVFmtFfpARGyAl/s640/jja_0133_comp.1055.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="447" data-original-width="640" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFX9x2-S54zlalIavoYPTCIsY-3r4SdnOsYPDaWYlf3EEcOVgyLicW3uKTVMJW0RwK4CLlePTgg1ssA_Blo1uoyRJHkK8eYLrs6gG_CeaPnWelYgT0gpFnu3hqHhagkLajvWeMRMM5GGI2Y9mKRTQpN7VDkZhe6QzQeLkqn9HlkLuVFmtFfpARGyAl/w640-h448/jja_0133_comp.1055.jpg" width="640" /></a><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-weight: normal;"><span style="font-size: large;">For <a href="https://vimeo.com/744432774">those</a> who still have skin in the <a href="http://punkeinfilm.blogspot.com/2022/07/holy-spirit-on-high-nope.html">game</a>.</span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">16.<span style="white-space: pre;"> </span>Broker<br /></span><span style="font-weight: normal;">by Hirokazu Kore-Eda</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeCyPDYPKKoEDQMn92U8mOqHmMUz7rNFrUrGRYiF7iObvEkjt6zqwqoyf6ZIwIkbDR0NVUWs3wVrEm4XR4h3ohIOA3oh7gftaiZJ1Ju6-QY-f5pRJUDamGiXtamckune7SZwak_apJaReY4ScD9-xBTXOcsEHY7NxyyW1ZIVjj00oCudkc1HPVBqHj/s2388/Broker.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1592" data-original-width="2388" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeCyPDYPKKoEDQMn92U8mOqHmMUz7rNFrUrGRYiF7iObvEkjt6zqwqoyf6ZIwIkbDR0NVUWs3wVrEm4XR4h3ohIOA3oh7gftaiZJ1Ju6-QY-f5pRJUDamGiXtamckune7SZwak_apJaReY4ScD9-xBTXOcsEHY7NxyyW1ZIVjj00oCudkc1HPVBqHj/w640-h426/Broker.webp" width="640" /></a><span style="font-size: large;">A director whose depictions of the hardships of life on the fringes are casually devastating finds his most potent idea in a decade or more. A family who can't be a family, trying to decide the future of a baby none of them will admit to wanting to keep. The unvoiced agony of having the right words on the tip of your tongue and no power, no idea how to say them. A cast of megawatt Korean stars push through their dismal assignments, discovering too late the things about themselves that could have corrected every step of their path to misfortune. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><span style="font-size: large;"><br /></span></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">17.<span style="white-space: pre;"> </span>The Severing / Going All The Way: Director’s edit<br /></span><span style="font-weight: normal;">by Mark Pellington</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhButumKKrVH_SSZktEDdxTIlKjEGkDeb8HfDp3g_dVv0nNlqnhvR6JqcQ3H7fSFUt9TTWLRF___qcKosiTznqJihngTkX8_R-YqfgpzKZdCt8jzcqjn3B0uF6KgU9b8dmt1L7lzmCb6_NHNXbB6i07_Z4xlL6TlhNXHMAXdR3qvv9yEX_Ts-AJHHvr/s1240/41420420-6E7C-4903-90F1-795E70867CCE.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="698" data-original-width="1240" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhButumKKrVH_SSZktEDdxTIlKjEGkDeb8HfDp3g_dVv0nNlqnhvR6JqcQ3H7fSFUt9TTWLRF___qcKosiTznqJihngTkX8_R-YqfgpzKZdCt8jzcqjn3B0uF6KgU9b8dmt1L7lzmCb6_NHNXbB6i07_Z4xlL6TlhNXHMAXdR3qvv9yEX_Ts-AJHHvr/w640-h360/41420420-6E7C-4903-90F1-795E70867CCE.jpeg" width="640" /></a><span style="font-size: large;">Mark Pellington looks back twice, on the <a href="https://www.patreon.com/posts/severing-mark-61679618">formative traumas</a> of his life, and at his <a href="https://letterboxd.com/honorszombie/film/going-all-the-way-the-directors-edit/">first experience</a> trying to shape his thoughts into images for the big screen. An artist in full control of his brushes, a man who sees it all clearly. May we all be so fearless before ourselves, before the synecdoches that make us up to people we'll never meet, to audiences yet unborn. </span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">18.<span style="white-space: pre;"> </span>Lingui, the Sacred Bonds<br /></span><span style="font-weight: normal;">by Mahamat Saleh-Haroun</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXsJCMjYZMRjbknKMIZ3jYp73VblYhD5uyR6GOUZV42HxpvAsRwJNjvSacuermrbHqLM9aA4S_SPXIbZQicl27SEky77z4qID6TF3MLPsspJgzdULnUXfpmlmoK0y3_MhI95PRufOm8aDTU1GZ0SAjj1B10IvykdiXw9OHIimhFTdN-Wx1AUUrLjIj/s750/ff63abc6183782fa3c4ceb1b3b686f7bec9f73d3-750x400.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="400" data-original-width="750" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXsJCMjYZMRjbknKMIZ3jYp73VblYhD5uyR6GOUZV42HxpvAsRwJNjvSacuermrbHqLM9aA4S_SPXIbZQicl27SEky77z4qID6TF3MLPsspJgzdULnUXfpmlmoK0y3_MhI95PRufOm8aDTU1GZ0SAjj1B10IvykdiXw9OHIimhFTdN-Wx1AUUrLjIj/w640-h342/ff63abc6183782fa3c4ceb1b3b686f7bec9f73d3-750x400.jpeg" width="640" /></a><span style="font-size: large;"><span>Mahamat </span><span>Saleh-Haroun, perhaps </span><i>the </i><span>heir to Ousmane Sembene's neo-realism, makes his finest work to date, about the search for an abortion in a male-ruled society. It's the kind of thing that should be out of date but between</span></span><span style="font-size: x-large;"> </span><span style="font-size: large;">Saleh-Haroun's earnest delivery and the nightmare of knowing such a crisis may never become obsolete. In this director's hands the search for the end of an ironclad amorality that only holds some accountable becomes the stuff of classical cinema. It's all the more horrible to know that for some people nothing changes. Even with all the testimony and art in the world to put the lie to the necessity of fascism and its control of the body, still the world turns in the exact direction it has for centuries. In the old fashioned decency of these characters and the old fashioned care put into this film's images, we find momentary shelter from the way of the world. </span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">19.<span style="white-space: pre;"> </span>Enys Men<br /></span></span><span style="font-size: x-large;">by Mark Jenkin</span></div><p></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNJE4lNmLQXZcGgRed2Y3B46DCJJjvSS7O2NZliqhfDwsFrvW7RuaXVjQCdDpNhuRmUqlfsynI1AqCTjze5wapHlbolsKKZbI-IGX_O7qeBhUlEYeTbD14huoAsFiqmnPqVY4E1Np5afI2izmJrbfDBVwQpDe4FpsajXEqyWXIqqHz0Y-yV54KdGTI/s1280/enysmen.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNJE4lNmLQXZcGgRed2Y3B46DCJJjvSS7O2NZliqhfDwsFrvW7RuaXVjQCdDpNhuRmUqlfsynI1AqCTjze5wapHlbolsKKZbI-IGX_O7qeBhUlEYeTbD14huoAsFiqmnPqVY4E1Np5afI2izmJrbfDBVwQpDe4FpsajXEqyWXIqqHz0Y-yV54KdGTI/w640-h360/enysmen.webp" width="640" /></a></div><p></p><p style="text-align: left;"><span style="font-size: large;">Jenkin's hand-woven folk tales find new patterns in the echoes of long ago loves, marooned sailors, and <a href="https://www.rogerebert.com/festivals/nyff-2022-coma-queens-of-the-qing-dynasty-enys-men">folk horror</a> that used to burn bright in dreary English homes. </span></p><p style="text-align: left;"><span style="font-size: x-large;"><br /><span style="font-weight: normal;">20.<span style="white-space: pre;"> </span></span>Ambulance<br />by Michael Bay</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTMbn5LzU_73AdnCWM9B5xteJpJXGDaakGwhgm7hUiHFf6FpoUSWq1F0-kLVWNAFggzQieS1A0w-r7M-q6Ja5kczuWNEb0YNp1TCN3W9oAJz8hT3Xma9mPElVXDcNmtW7t1YP_hghuX7Q2dQHg80yHuva1iensBRD7vcmfQP3JjmogIIBB0lj2XHi/s1451/ambulance-trailer.png" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="739" data-original-width="1451" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTMbn5LzU_73AdnCWM9B5xteJpJXGDaakGwhgm7hUiHFf6FpoUSWq1F0-kLVWNAFggzQieS1A0w-r7M-q6Ja5kczuWNEb0YNp1TCN3W9oAJz8hT3Xma9mPElVXDcNmtW7t1YP_hghuX7Q2dQHg80yHuva1iensBRD7vcmfQP3JjmogIIBB0lj2XHi/w640-h326/ambulance-trailer.png" width="640" /></a><span style="font-size: large;">Even after the tides have turned, and the crowds want something else, and the money is going towards a formless mass of gray, <a href="https://www.rogerebert.com/mzs/the-unloved-part-104-ambulance">Michael Bay don't stop</a>. He's a shark.</span></p><p style="text-align: left;"><br /><span style="font-size: x-large;"><span style="font-weight: normal;">21.<span style="white-space: pre;"> </span>Both Sides of the Blade<br /></span><span style="font-weight: normal;">by Claire Denis</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwAHkMnCaQPphIjcagIDw0XPD49oz3ylJf67Ppx9dr971_7gUJfXR9EgF0s0NOzUa6ngasBKzGhrWHG_cotGsmn6J5fO0o3Ps8ZmlBIrKPiVa9u0P6V1gnmfRSP6VzxrvLQyFp9dNGLd92xEX4XH6wMwUi3ugRyKLs-bqFFKsXxhbf24hEyPgc_Gj/s1900/Both%20Sides%20Of%20The%20Blade.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1090" data-original-width="1900" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTwAHkMnCaQPphIjcagIDw0XPD49oz3ylJf67Ppx9dr971_7gUJfXR9EgF0s0NOzUa6ngasBKzGhrWHG_cotGsmn6J5fO0o3Ps8ZmlBIrKPiVa9u0P6V1gnmfRSP6VzxrvLQyFp9dNGLd92xEX4XH6wMwUi3ugRyKLs-bqFFKsXxhbf24hEyPgc_Gj/w640-h368/Both%20Sides%20Of%20The%20Blade.jpeg" width="640" /></a><span><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-size: large; font-weight: normal;">Claire's looked at infidelity before but perhaps never with such focus or clarity. Binoche and Lindon are their usual heart-stopping selves, trying to navigate the kind of difficulty only loving adults can give each other. The heart will take from you peace and happiness just like that. Your center can fall away at any moment because humans are unlike any other creature, and the usual sensuous form stares at a crumbling family with a burning regard, a desire to know more, a need for more awful intimacy. This is what it means to love, sometimes. </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">22.<span style="white-space: pre;"> </span></span>Vikram<br />by Lokesh Kanagaraj</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQE0jkOIh2uF840NUWUENb1cJOF6fGQnG2LCPwtm2G5Alyuxz5FmHvKpkraFUJHXKlQWOLsACVdGSOKk_-R8tCXh8-jqZg-FHPS7_SZpp4edDmfETghjyYHyswipLIvDHKyJAIszcIejcaW6TgPPaVGUWmE-418ysrKPW6MIUEY-jRPUTryQVcv76G/s1200/vikram-6-1656127370.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQE0jkOIh2uF840NUWUENb1cJOF6fGQnG2LCPwtm2G5Alyuxz5FmHvKpkraFUJHXKlQWOLsACVdGSOKk_-R8tCXh8-jqZg-FHPS7_SZpp4edDmfETghjyYHyswipLIvDHKyJAIszcIejcaW6TgPPaVGUWmE-418ysrKPW6MIUEY-jRPUTryQVcv76G/w640-h360/vikram-6-1656127370.jpeg" width="640" /></a><span style="font-size: large;"><i>RRR </i>will remain in the American groundwater, but it was riotously shown up by this saga of over-the-hill crooks out to right the wrongs of the past with .50 caliber bullets and bone-crunching body blows. Few films seem as genuinely interested in the inner lives of even their worst characters, to the point that a meth lab explosion is a genuine tragedy. Its kineticism was unmatched from even the very good action pictures this year, and its musicality turned street fights into boleros. Here men dance together by the train tracks as a prelude to killing each other at a wedding. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">23.<span style="white-space: pre;"> </span>Deception<br /></span><span style="font-weight: normal;">by Arnaud Desplechin</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNRyTXZc1vtkfcL4J5oAXJGXr9KITibXy1qAdJBUwENRcRCxm7BaAx46qGp7uDLgR252CSfhjaOM4T-IkDO2bu_0yWT_GMP8y-68o11oR9IDjh-fWyNtUP1exMrUN735Rf5PB8wuP9noXj83dnW-UTRHa1ome5DAVGuQXkRfH5aaDE2RljNwcGsd1J/s1856/merlin_206721639_b2fee158-abcf-4df5-b801-02df6af66eae-superJumbo.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1236" data-original-width="1856" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNRyTXZc1vtkfcL4J5oAXJGXr9KITibXy1qAdJBUwENRcRCxm7BaAx46qGp7uDLgR252CSfhjaOM4T-IkDO2bu_0yWT_GMP8y-68o11oR9IDjh-fWyNtUP1exMrUN735Rf5PB8wuP9noXj83dnW-UTRHa1ome5DAVGuQXkRfH5aaDE2RljNwcGsd1J/w640-h426/merlin_206721639_b2fee158-abcf-4df5-b801-02df6af66eae-superJumbo.jpeg" width="640" /></a><span style="font-size: large;">Desplechin's willingness to push himself and experiment with different tones, genres, and places is one of the more endearing things about him. He tried out a straight-down-the-plate police procedural, which didn't give him enough room to be himself, and recovered with this, a two-hander love letter set mostly in hotel rooms and beds. Lea Seydoux and Denis Podalydès capture the fervor of lust, of wanting so badly to tell someone everything you know, maybe more than you want to sleep with them. The warming touch of a mind open to yours, the feeling of entanglement with a body belonging to someone that wants to be there as much as you, Desplechin's films have always been about romances, big, small, fleeting, forbidden, but it's quite something to see him digging into a text where there's nothing between himself and the peculiarities of lust-as-love.</span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large; font-weight: normal;">24.<span style="white-space: pre;"> </span></span><span style="font-size: x-large;">Kimi</span><br /><span style="font-size: x-large;">by Steven Soderbergh</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRP7Vn4KyG2A-sYMGzM2syLSb3VNoUdoSeHn68ZfXbHOr56VTs-WYW5dHBgp59LZ7MRrQb4t8M_FEpveroFr0saGP86rXgiHOUAsudbYvbP8nB5VyMGVjkL-l6fU05KO7X5bSzX-rthk-2W-9GnFa0ovduAoFY8RDlAvIQpsaoVO41cma4J4Ushcw/s740/thumb_720A168B-B4DE-44C6-8AC8-8FA270D13D36.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="380" data-original-width="740" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJRP7Vn4KyG2A-sYMGzM2syLSb3VNoUdoSeHn68ZfXbHOr56VTs-WYW5dHBgp59LZ7MRrQb4t8M_FEpveroFr0saGP86rXgiHOUAsudbYvbP8nB5VyMGVjkL-l6fU05KO7X5bSzX-rthk-2W-9GnFa0ovduAoFY8RDlAvIQpsaoVO41cma4J4Ushcw/w640-h328/thumb_720A168B-B4DE-44C6-8AC8-8FA270D13D36.jpeg" width="640" /></a><span style="font-size: large;">Steven Soderbergh's tech thriller is shockingly analogue, from its simple premise, to its climactic cobbling together of <i>Wait Until Dark </i>and The Beastie Boys, this is a pop thriller decoupage genuinely sexy and terrifying. A director like Soderbergh isn't afraid of doing some damage, so we don't know who's making it out of this one alive. As always happens, a woman starts tugging at a thread and soon the whole sweater has collapsed on her and started to smother her. Cliff Martinez's score, one of his best, coats our hero's journey from shut-in cynic to most dangerous woman in the world in chilling textures. A reminder that they're always watching you, and the only thing stopping them from getting everything they want is that they're simply not very good at what they do. Now more than ever "the truth is, these are not very bright guys, and things got out of hand.</span><span style="font-size: x-large;">"</span></p><p style="text-align: left;"><span><br /><span style="font-size: x-large;"><span style="font-weight: normal;">25.<span style="white-space: pre;"> </span>RRR<br /></span><span style="font-weight: normal;">by S.S. Rajamouli</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjytRBWLXRZ6ftCaszeOpUr6PVrmcw3CMvkjgpI39YD-CMIzjeB7-X0lt2bFNiQiVzAHvVxF0JXjQFeY-jLX4ZY4lg6Ew-rFknx3S5Mi4ixTzBBUbx7vcWmSIwXQgGJUFCm6aceBLuGwEE02w61UOYqFlBDo177ow_ZdzKqMoiqbzdfm_Q92eZk3P5M/s960/new-rrr.png" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="540" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjytRBWLXRZ6ftCaszeOpUr6PVrmcw3CMvkjgpI39YD-CMIzjeB7-X0lt2bFNiQiVzAHvVxF0JXjQFeY-jLX4ZY4lg6Ew-rFknx3S5Mi4ixTzBBUbx7vcWmSIwXQgGJUFCm6aceBLuGwEE02w61UOYqFlBDo177ow_ZdzKqMoiqbzdfm_Q92eZk3P5M/w640-h360/new-rrr.png" width="640" /></a><span style="font-size: large;">Perhaps the most profound entry in the modern "Dudes Rock" canon, this problematic number broke through in a way I didn't think movies <i>did </i>anymore. Sure it flirts with the superheroic but it's mostly about the real, unbreakable bonds of brotherhood. Such a thing is easily slotted into an evil context, but provided we keep our head above water it becomes <i>very </i>easy to enjoy the film's non-stop parade of spectacle. A party crashed by Noah's Ark, men with Terminator-like ability plowing through riots to catch their charges, the world's most important anti-colonialist dance off, and finally a beat down out of Hal Needham's wildest dreams. There's more movie in this one than some people see in a year. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;"><span style="font-size: x-large;">26.<span style="white-space: pre;"> </span>Deep Water</span><br /></span></span><span style="font-size: x-large;"><span style="font-weight: normal;">by Adrian Lyne</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPuEtAo4F31fL_JwTEV8ffALvPsnGoosaYzJH_UhCr_AgiND3Q_QS09Glr16qp2YGxLsY7kNEQYqHhSQppDI_z7YQqM0NYraYWApRgpnzxfc9vtAnf4yWNQIwKQvoA6vNEr3yG_GBb2CQsMHy0bA-SfghiIlafeUwzAel3FKvpoZCOchOycwPLn8GE/s1000/Deep-Water.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPuEtAo4F31fL_JwTEV8ffALvPsnGoosaYzJH_UhCr_AgiND3Q_QS09Glr16qp2YGxLsY7kNEQYqHhSQppDI_z7YQqM0NYraYWApRgpnzxfc9vtAnf4yWNQIwKQvoA6vNEr3yG_GBb2CQsMHy0bA-SfghiIlafeUwzAel3FKvpoZCOchOycwPLn8GE/w640-h360/Deep-Water.webp" width="640" /></a><span style="font-size: large;">A <a href="https://www.rogerebert.com/mzs/the-unloved-part-105-deep-water">new neo-noir classic</a> with both the best cuckolded patsy and the wriggliest <a href="https://www.rogerebert.com/features/the-great-performances-of-2022">femme fatale</a> in a half century. </span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">27.<span style="white-space: pre;"> </span>Decision to Leave<br /></span><span>by Park Chan-Wook</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHoMPFQZBn8ek1hB_lkpriHkuRDGsdkNTUXHMvfEsvw34FIpUniy2soRLsZbrTQuHuP2jvfPm55i2ECcZC6anApmv8kKdMRbeBtlFsAEeQ3-2DlZO1I9kwT-r62yhk_N2rSSGr7Ydhpgi23ET_yBHIlznUajzXXHFXYG1Tb16Pbcfvsi2eVa3Pt37W/s1600/Decision-to-Leave-1-1-1600x900-c-default.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHoMPFQZBn8ek1hB_lkpriHkuRDGsdkNTUXHMvfEsvw34FIpUniy2soRLsZbrTQuHuP2jvfPm55i2ECcZC6anApmv8kKdMRbeBtlFsAEeQ3-2DlZO1I9kwT-r62yhk_N2rSSGr7Ydhpgi23ET_yBHIlznUajzXXHFXYG1Tb16Pbcfvsi2eVa3Pt37W/w640-h360/Decision-to-Leave-1-1-1600x900-c-default.jpeg" width="640" /></a></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;">Park Chan-Wook has always been as much scoundrel scientist as cheap-seat show-off (said with all my love), and here he lets go of the pleasures of violence and the flesh and allows himself to treat longing like he's trying to <a href="https://www.rogerebert.com/features/the-great-filmmaking-craft-of-2022">split the atom</a>. A mystery that's no mystery, and a romance that didn't stand a chance. </span></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">28.<span style="white-space: pre;"> </span>One Second<br /></span><span style="font-weight: normal;">by Zhang Yimou</span></span></p><p style="text-align: left;"></p><p style="text-align: left;"></p><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDeHQYk9gcQ3MPCQlGTU4rEaV9O0dTyME3yYmwHEIJ0WjFtGUSUtCU8N1tYOwtuZuMJNoQ9zwGVmFgJpWBa4OHdXzkeHydlALuf1ISwJ0wzNqpJVB0ISfE3QCFNq7LM4mUkFGnOUPuxZnfZSlr3e6YLmscBSPKEQMAPPguR9gm0VIC4BWEhM9Bmq9j/s681/one-second_still-02-res-cr-edko.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDeHQYk9gcQ3MPCQlGTU4rEaV9O0dTyME3yYmwHEIJ0WjFtGUSUtCU8N1tYOwtuZuMJNoQ9zwGVmFgJpWBa4OHdXzkeHydlALuf1ISwJ0wzNqpJVB0ISfE3QCFNq7LM4mUkFGnOUPuxZnfZSlr3e6YLmscBSPKEQMAPPguR9gm0VIC4BWEhM9Bmq9j/w640-h360/one-second_still-02-res-cr-edko.webp" width="640" /></a></div><span><span style="font-weight: normal;"><div><span><span style="font-size: large; font-weight: normal;">Censored and misunderstood, Zhang Yimou's long-shelved magic-of-the-movies film is a harrowingly bleak tale of prison breaks and hostage taking. More so even than The Fabelmans, this movie posits that though the filmed image has power, it's not the sort with which you want to idly engage. Once it has you in its snares there is no getting free of it. To see the beauty, the magic, you have to look past your own frailty and admit that a recorded image will call to you, will demand things from you, and it will last forever. But you have to live knowing that there's something calling to you that you can never grasp. Images are capable of provoking the most profound things, but they're gone as quickly as they arrived. The father who failed can only see the promise he once held in the face of his daughter captured in a movie. It's an illusion. It's a dream. And it'll be gone as soon as the lights come up. </span></span></div><div style="font-size: xx-large;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></div><div style="font-size: xx-large;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></div><span style="font-size: x-large;">29.</span><span style="font-size: xx-large; white-space: pre;"> </span><span style="font-size: x-large;">All That Breathes</span><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">by </span><span style="font-weight: 400;"> Shaunak Sen</span></span></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVrvCUobsNDw_qxtzBq0n2R43GaChTUa4Vn6cBxD8HYUebuo-i6jXbOYV3PNkdUdgkq4Ic2LJfvgFevi_iQ0WKYV0vqNiR0mGzrLBmo4dRuT9pBHwEDXuIMquPOKgKzUP2oSkQFbh5zdq6Xz5myEApnAteXFcb9lM6YCrUq3-H12C1kyE74v8cc6y1/s1873/20breathes1-1-adb8-superJumbo.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="985" data-original-width="1873" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVrvCUobsNDw_qxtzBq0n2R43GaChTUa4Vn6cBxD8HYUebuo-i6jXbOYV3PNkdUdgkq4Ic2LJfvgFevi_iQ0WKYV0vqNiR0mGzrLBmo4dRuT9pBHwEDXuIMquPOKgKzUP2oSkQFbh5zdq6Xz5myEApnAteXFcb9lM6YCrUq3-H12C1kyE74v8cc6y1/w640-h336/20breathes1-1-adb8-superJumbo.jpeg" width="640" /></a><span style="font-size: large;">The Black Kite will never know that the best friend it has in the world is a young man from New Delhi. That's the bargain. Altruism means doing things you'll never ever see a reward for from the people to whom you behave benevolently. The brothers at the center of <i>All That Breathes,</i> who have made falconry their work and first aid their calling, are trying to heal a city by taking care of its invisible inhabitants. Creatures whose voices, whose cries of pain, cannot be heard above the din of human misery. Is it a futile thing? Can generosity and comfort ever be said to be futile? The world looks down on people like this, doesn't make room for them, doesn't allow them their own breathing room, but without them life would be nothing but chaos. Getting a window into a room where all is peaceful, all moves towards convalescence, shot with such sensitivity, is much needed, even if it comes with the hard truth that maybe none of it matters.</span></div><div><span><span style="font-weight: 400;"><span style="font-size: large;"><br /></span></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></div><div><span style="font-size: x-large;"><span style="font-weight: normal;">30.<span style="white-space: pre;"> </span>The Munsters<br /></span><span style="font-weight: normal;">by Rob Zombie</span></span><p></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidy_ZfF3NS9AGtb3QGohRC7TLAv6MoQIFvuwYQnyOKP9BFiK6-SUMQUGByN47BcVNbPflfGpINJP8s0mg-M6RW-f-Edy8IuZSlmgeUIYIIIzxdZ6zWVZfXfC4WEFpMY5DzNt4pfMXZflFNS3PCRv7D2NsY4u0blJXYy99By3SHY57j83pQW3bv4noU/s1200/5c3dd867-7ac4-40ae-ab03-145d9f4a9ae5-jon_angle_-_SheriMoonZombie2.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidy_ZfF3NS9AGtb3QGohRC7TLAv6MoQIFvuwYQnyOKP9BFiK6-SUMQUGByN47BcVNbPflfGpINJP8s0mg-M6RW-f-Edy8IuZSlmgeUIYIIIzxdZ6zWVZfXfC4WEFpMY5DzNt4pfMXZflFNS3PCRv7D2NsY4u0blJXYy99By3SHY57j83pQW3bv4noU/w640-h360/5c3dd867-7ac4-40ae-ab03-145d9f4a9ae5-jon_angle_-_SheriMoonZombie2.webp" width="640" /></a></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;">The Hellbilly king of the pictures proves there is really and truly <i><a href="https://www.rogerebert.com/reviews/the-munsters-film-review-2022">nothing</a> </i>he can't do.</span></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">31.<span style="white-space: pre;"> </span>Three Thousand Years of Longing<br /></span><span style="font-weight: normal;">by George Miller</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVPSw-BDcmyrbudkGISH_6MSQVo5rNJ85YO-Q0bALuMqBwrbBJttv4Z0aqayReb05cb3HCdbr4kuFvr-sH5mScQHcWJziu0opu4QMoGbiLg_1DdVStHsTz29VipvqcoLVmcpcNtpZjzSaPz7zBPriIgH48inLWqceVKbfHLD9nOKfEk7mH3943NGTm/s4491/e4140ddd-9871-41f0-b938-970ee7a159e8.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2994" data-original-width="4491" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVPSw-BDcmyrbudkGISH_6MSQVo5rNJ85YO-Q0bALuMqBwrbBJttv4Z0aqayReb05cb3HCdbr4kuFvr-sH5mScQHcWJziu0opu4QMoGbiLg_1DdVStHsTz29VipvqcoLVmcpcNtpZjzSaPz7zBPriIgH48inLWqceVKbfHLD9nOKfEk7mH3943NGTm/w640-h426/e4140ddd-9871-41f0-b938-970ee7a159e8.jpeg" width="640" /></a><span style="font-size: large;">Having destroyed the earth nearly as many times as a supervillain, Miller decides to build it anew. His ode to The Archers is a magnificently opulent offering, a land of giants, lost princes, inebriate dreams of impossible, forgotten pleasures, of lords and ladies bent into supernatural postures divining the farthest reaches of the human experience. A storybook fantasy in its innocence, a trip to Plato's retreat at its most course and voluptuous, and at last a story of a connection that will never break between two beings doomed to never join. A fine effort from a man who has only allowed his imagination more room to breathe since becoming a cultural fixture. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><span style="font-size: large;"><br /></span></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">32.<span style="white-space: pre;"> </span>Jackass 4.5 / </span>Jackass Forever<br />by Jeff Tremaine</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9wE87CjWp6QVTY8oFp4ORR634wYcMx7gdfDn5WYEkdAPTrHVnfWCwRDspxsvC1L-CnmBq4CxUT0HpLI22zfxZFJj83U56v26XQRgquO1be3PDVYhD4avXJCFEnTuW4cScIkHXA3xpTSR4zTUR-4K74uoVLeSz1FYViFgDodYNQa9o-7D-joiFtXs5/s550/jackass-4-5-inline2.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="309" data-original-width="550" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9wE87CjWp6QVTY8oFp4ORR634wYcMx7gdfDn5WYEkdAPTrHVnfWCwRDspxsvC1L-CnmBq4CxUT0HpLI22zfxZFJj83U56v26XQRgquO1be3PDVYhD4avXJCFEnTuW4cScIkHXA3xpTSR4zTUR-4K74uoVLeSz1FYViFgDodYNQa9o-7D-joiFtXs5/w640-h360/jackass-4-5-inline2.jpeg" width="640" /></a><span style="font-size: large;">The boys are back in town. I enjoy the cinematic ambition of Jeff Tremaine in the original theatrical movie culled from this latest batch of daredevil grotesquery, but I'll always be partial to the straight-to-video outtake movie. In that you'll find a wider range of bits, more costumes, more of a sense of the gang and what it's like to be thrown off the horse this far into their lives. It is enormously moving that they still come together for each other and they have no compunction about interacting with each other's aging bodies and making room for the lower pain threshold some of them have while the new class of Jackass steps up to fill in for them. Our premiere comedy team, our most un-gallant dance troop, our most lovable losers. </span></p><p style="text-align: left;"><span><br /></span></p><p style="text-align: left;"><span><br /><span style="font-size: x-large;"><span style="font-weight: normal;">33.<span style="white-space: pre;"> </span>Skinamarink<br /></span><span style="font-weight: normal;">by Kyle Edward Ball</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhYUuKC1JrwDQ61dl7PCBUmR_1B3kTg-4xVVSZbWKaa_scr9x81SI6135ceLNZtABWswkNWn6oUnUu-zV8imxqQu7Q4JtAo-5ggF6BYznXp36Ax53Wdyt0z3MBc1ivfzczcbhPg9Fw40dpSzXbHUyyluFORiZTCOwy7dEWr5q1NRDqKOsmDgmhgI_w/s500/MV5BYjFhODI5NzMtMGVkMC00NmViLWFkOWUtOWUzYjJmZTZiZWM4XkEyXkFqcGdeQWFybm8@._V1_QL75_UX500_CR0,0,500,281_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="281" data-original-width="500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhYUuKC1JrwDQ61dl7PCBUmR_1B3kTg-4xVVSZbWKaa_scr9x81SI6135ceLNZtABWswkNWn6oUnUu-zV8imxqQu7Q4JtAo-5ggF6BYznXp36Ax53Wdyt0z3MBc1ivfzczcbhPg9Fw40dpSzXbHUyyluFORiZTCOwy7dEWr5q1NRDqKOsmDgmhgI_w/w640-h360/MV5BYjFhODI5NzMtMGVkMC00NmViLWFkOWUtOWUzYjJmZTZiZWM4XkEyXkFqcGdeQWFybm8@._V1_QL75_UX500_CR0,0,500,281_.jpg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">Like Peter Strickland or Ben Wheatley, Kyle Edward Ball uses techniques culled from the avant-garde and his own nightmares, great and small, to craft a thoroughly singular piece. Trapped in a house where the adults are menacing shadows making promises to do harm, his two child aged heroes have to piece together what life is without supervision. The plot, such as it is, keeps this from being a work like the grainy experiments from which it takes its visual ideas, but as an experience, a mind-boggling trip into the unknown, I could not be more grateful it exists. A work about the confusion of childhood emotions and experiences that is every bit as confusing as it is to be a child. </span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">34.<span style="white-space: pre;"> </span>Neptune Frost<br /></span><span style="font-weight: normal;">by Saul Williams and </span><span style="font-weight: 400;">Anisia Uzeyman</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6xkAikWks9xr-mRn3VMvtBEpGKz7dDQnFEhuHJticLY_sOIB35M3Man0AbR7CGXwey6y_g8Z_x8JpS1vI9Gu4VBJvCHQTArVhNtPOLgj0IR4_yb08PkGhz1CZ_3M8gYqL5LonwehFbI6X4Eg3NOLMPlPNexonUqymAqq7pKBwU0_9iRk2B_ihSnkl/s1296/neptune_frost_01-H-2021.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6xkAikWks9xr-mRn3VMvtBEpGKz7dDQnFEhuHJticLY_sOIB35M3Man0AbR7CGXwey6y_g8Z_x8JpS1vI9Gu4VBJvCHQTArVhNtPOLgj0IR4_yb08PkGhz1CZ_3M8gYqL5LonwehFbI6X4Eg3NOLMPlPNexonUqymAqq7pKBwU0_9iRk2B_ihSnkl/w640-h360/neptune_frost_01-H-2021.webp" width="640" /></a><span style="font-size: large;">Williams afro-futurism mixes with a more ancient sensibility and rhythm. The future can only be accessed through reckoning with what has passed. He and Uzeyman's every new image is a mind-boggling feat of creativity and ingenuity, every song designed to stick in your head but no more so than the spirit of the work. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">35.<span style="white-space: pre;"> </span>Nobody’s Hero<br /></span><span style="font-weight: normal;">by Alain Guiraudie</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFgKQSCIUXez7NHWl11B5vqQjcdYBvS2Uxx8GAHeb4HnwkXA82XzGjstqSTG69lYUEu-Z4fHfF5iC06rUFY3slGe4YVCgBqI9FLf7Ud5Q0yb9_IsWloLsN3hC1RLWq58AN1hqQduz-wQj7bwg0jAFHEegELif5rIS9WH1Qc7ptWqUgGw3msVn9_l6L/s1280/maxresdefault1.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFgKQSCIUXez7NHWl11B5vqQjcdYBvS2Uxx8GAHeb4HnwkXA82XzGjstqSTG69lYUEu-Z4fHfF5iC06rUFY3slGe4YVCgBqI9FLf7Ud5Q0yb9_IsWloLsN3hC1RLWq58AN1hqQduz-wQj7bwg0jAFHEegELif5rIS9WH1Qc7ptWqUgGw3msVn9_l6L/w640-h360/maxresdefault1.jpeg" width="640" /></a><span style="font-size: large;">In a cramped apartment in France, the country's 21st century plays out like a play rehearsal. A lothario fixates on a sex worker who finds him irresistible, his liberalism saves a young man's life only for him to be right in kicking him out when he grows suspicious, and he's the nice one in the building. Everything he does he's right to do, and everytime there's an obstacle it's society's fault. Guiraudie's surrealist technique finds its biggest target and the steadiest hands he can manage to nail the bullseye. No one can be right all the time, but our "hero" tries and when he fails he invents a reason why he didn't. Marvelously astute criticism of masculinity between hysterical bouts of ego re-birth. A full throated chorus of "La Marseillaise"</span><span style="font-size: x-large;"> </span><span style="font-size: large;">as the country sinks further and further into oblivion. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large; font-weight: normal;">36.<span style="white-space: pre;"> </span></span><span style="font-size: x-large;">The Tsugua Diaries</span><br /><span style="font-size: x-large;"><span>by </span><span style="font-weight: 400;">Maureen Fazendeiro & Miguel Gomes</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMPeh9nzHj1CcBOEfr8VY-uNQt-3yjDPbsHryQPn_OieU1mX4sUCk0IA0FXpZGx5LOOraqb7RoJri3D0GD3YwgQcmI-22eIrnBn2ryXQGzHs490PcJJrgajbXOJSpL1j8mnj1BFCNxYeRFpzmCxLiAgzM1HkwAj_mJ011lq7LIKLxUo34PrBH1cEfL/s628/tsugua-628x348.png" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="348" data-original-width="628" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMPeh9nzHj1CcBOEfr8VY-uNQt-3yjDPbsHryQPn_OieU1mX4sUCk0IA0FXpZGx5LOOraqb7RoJri3D0GD3YwgQcmI-22eIrnBn2ryXQGzHs490PcJJrgajbXOJSpL1j8mnj1BFCNxYeRFpzmCxLiAgzM1HkwAj_mJ011lq7LIKLxUo34PrBH1cEfL/w640-h354/tsugua-628x348.png" width="640" /></a><span style="font-size: large;">Gomes' fourth wall playset, some assembly required. To the strains of a far away guitar or to Frankie Valli's soulful pop music a film crew learns and unlearns and relearns how to make a movie with three actors, a bare set, a tractor, and nowhere to run. Covid hangs over their every move, dampening the spirit of enthusiastic improvisation, threatening to break their moral. Just getting to the end of a shoot is a victory, and having something exuberant and buoyant to show for it is more than that. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">37.<span style="white-space: pre;"> </span>Coma<br /></span><span style="font-weight: normal;">by Bertrand Bonello</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha7t16bDAWtyQsAVFBimcLz8SN-lgajq8L_wcgBtXRTUAvAMoJKPYKP921oB_kSk9GPwl8i9EU67hL7f8FUGLClhgYkbRfzdyJLoJ9j4Oyn90jbxV8KdnyzfJmRwCnDHEPnFCMtSzNFYEsd9WimMRU6dbCA1Luki9Xy0bN5Bb84EnfGioMRwYjcLL_/s1000/Coma.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha7t16bDAWtyQsAVFBimcLz8SN-lgajq8L_wcgBtXRTUAvAMoJKPYKP921oB_kSk9GPwl8i9EU67hL7f8FUGLClhgYkbRfzdyJLoJ9j4Oyn90jbxV8KdnyzfJmRwCnDHEPnFCMtSzNFYEsd9WimMRU6dbCA1Luki9Xy0bN5Bb84EnfGioMRwYjcLL_/w640-h360/Coma.webp" width="640" /></a><span style="font-size: large;"><a href="https://www.rogerebert.com/festivals/nyff-2022-coma-queens-of-the-qing-dynasty-enys-men">At home with Bertrand Bonello</a>. A tragic Covid sleepover with the dying soul of Europe and the limbs we must remove to feel something, <i>anything, </i>once again.</span></p><p style="text-align: left;"> <span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;">38.<span style="white-space: pre;"> </span>Hidden Fox<br /></span><span style="font-weight: normal;">by </span>Lei Qiao</span></p><p style="text-align: left;"></p><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrhZxk-E4ZEWzju-u0ioAHWjtIc83nbRBMBQrvkdEVvCIDoLrLSFWK_5_ZICTbzm589zsxRH4dasYgVJezbb5V6e_vnyKSaE5dsDVzdSMq1sjtDHTKnYYWJF0iUY9tsCu6fVhbcoLecUqDbetzpGN8brvB02IT8tTw_vr4lsSdGYnBrb0K-lJi_gQV/s1920/Still-00040.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrhZxk-E4ZEWzju-u0ioAHWjtIc83nbRBMBQrvkdEVvCIDoLrLSFWK_5_ZICTbzm589zsxRH4dasYgVJezbb5V6e_vnyKSaE5dsDVzdSMq1sjtDHTKnYYWJF0iUY9tsCu6fVhbcoLecUqDbetzpGN8brvB02IT8tTw_vr4lsSdGYnBrb0K-lJi_gQV/w640-h266/Still-00040.jpg" width="640" /></a><span style="font-size: large;">A stirring martial art standard (the doomed men-on-a-mission movie) given a new coat of paint courtesy of the energetic Lei Qiao, a name to look out for. Sun-kissed duels to the death, mountain top vengeance exacted with Rembrandt colors, wild, hungry animals in every dark corner of a mountain stronghold, and men with the thirst for blood and gold to match anything with claws; these are just a few of the chess pieces on this handsomely appointed board. </span></div><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span><p></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">39.<span style="white-space: pre;"> </span>The Silent Twins<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Agnieszka Smoczynska</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJLZYPnSx61dvyWbsH_4PYkhDT_Ma5NO0LdjeQYTIhi53eyKJVS_B_qMo87R3xhqav-pKJa_MTu9icvQ3x--tpQGjNflQboLYdnITA7LWTCZeWeGJBtQ7C3aDtrM9GHLUT5Yu_afuoaH8a_Nr018OPBwGH6frL-XvOZmdQtExlsPmiBl7lYDGs4n/s1920/MV5BMjcxZGI1ZTctMTJmZS00Mzc2LWFkM2YtZjNiY2NmODkyMDQ1XkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fJLZYPnSx61dvyWbsH_4PYkhDT_Ma5NO0LdjeQYTIhi53eyKJVS_B_qMo87R3xhqav-pKJa_MTu9icvQ3x--tpQGjNflQboLYdnITA7LWTCZeWeGJBtQ7C3aDtrM9GHLUT5Yu_afuoaH8a_Nr018OPBwGH6frL-XvOZmdQtExlsPmiBl7lYDGs4n/w640-h360/MV5BMjcxZGI1ZTctMTJmZS00Mzc2LWFkM2YtZjNiY2NmODkyMDQ1XkEyXkFqcGdeQVRoaXJkUGFydHlJbmdlc3Rpb25Xb3JrZmxvdw@@._V1_.jpg" width="640" /></a></p><p style="text-align: left;"><span style="font-size: large;"><span><span style="font-weight: 400;">From insta-midnight movie to social problem movie, Poland's Michel Gondry is not messing around. </span></span>Smoczynska's relentless inventiveness finds purchase in the story of two women who couldn't handle the world so created their own. The stop-motion and animation and drug-induced fugues all perversely help this movie's claustrophobic ambitions. We never leave the minds of these women, and so while we see things the world could not, or had no interest in, we know that there are things they could never see. To gain the world meant to lose the one you already had with the person who understood you most. Pitched between a modern social realist picture and a sugar high childhood odyssey, this film finds raw tragedy and an eerie, ordinary kind of hope. The kind we've learned not to trust. </span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">40.<span style="white-space: pre;"> </span>X<br /></span><span style="font-weight: normal;">by Ti West</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt2tInxKLA8TY73-S7hkYPj9eEgUca8raxSnJx0bTLTPqnHZlY-cvjUkm4pjttLsXo1iT0HewbXGC8JH8esGXec27-Ds2e9njyJthEX74gKxA0YhJLyouGpdUDGPCoqJyl1k1M5VsMBJ98_GWc70VcmLJElYTkGxhYnt4plCdesVJPkgzAnkEY4YgN/s800/x.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="532" data-original-width="800" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt2tInxKLA8TY73-S7hkYPj9eEgUca8raxSnJx0bTLTPqnHZlY-cvjUkm4pjttLsXo1iT0HewbXGC8JH8esGXec27-Ds2e9njyJthEX74gKxA0YhJLyouGpdUDGPCoqJyl1k1M5VsMBJ98_GWc70VcmLJElYTkGxhYnt4plCdesVJPkgzAnkEY4YgN/w640-h426/x.jpeg" width="640" /></a><span style="font-size: large;">"The camera changes <a href="https://www.patreon.com/posts/x-2022-ti-west-64061355">things</a>."</span><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">41.<span style="white-space: pre;"> </span>Riotsville, USA<br /></span><span style="font-weight: normal;">by Sierra Pettengill</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXE4trgfsnCC2aMpfeC6IRCWzT6PKqU9RHgI0ZKys2Yb1ceWBlPFE6aRkIdj42z7P0E9K0hIRKzbOnXnYCTNqnzWetLV1vyhPzh-MHOFz0yTkklAKHBks9TbKXtYHkpfwONNsLySocuhlRnEUxZZkKb42_wVF_M8SaBtaRLleKxw4_6PaH6f7sHuk4/s1600/RiotsvilleUSA.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXE4trgfsnCC2aMpfeC6IRCWzT6PKqU9RHgI0ZKys2Yb1ceWBlPFE6aRkIdj42z7P0E9K0hIRKzbOnXnYCTNqnzWetLV1vyhPzh-MHOFz0yTkklAKHBks9TbKXtYHkpfwONNsLySocuhlRnEUxZZkKb42_wVF_M8SaBtaRLleKxw4_6PaH6f7sHuk4/w640-h360/RiotsvilleUSA.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">An essay on power, on the ease with which colonizers have fun at their subjects' expense. Here's what they think of the other, whoever that may be. An odd feeling to be lost in the texture of a piece, of that lithe and beautiful film grain, but know that you're being shown doomsday plans that have already been enacted. Apocalypse now, but also long before and much later. This is what we call home in America. This is where we hang our hat, or, if you like, our helmet. It was easier to plan to kill people than it was to plan for a world where that wasn't necessary. </span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">42.<span style="white-space: pre;"> </span>Untitled (With Zoey)<br /></span><span style="font-weight: normal;">by Bram Ruiter</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqZDNe8-3-zyt9zT1BHAru_7uRV_m7COycTdTQghYWPJ0PPJYPnYSEmYpqDYvAIjStA_CstfM54B3uc8zqQY8-Bs0PxQjvKgol5mLQZIGMUxWKRQfmd35C27xBJXJaAi0zPzO81NcTbagBz0NA4JgJ-elfL-7fosyvxyjM6Z-sBqlcprB9lfDHIVzr/s1440/Still-00008.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1440" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqZDNe8-3-zyt9zT1BHAru_7uRV_m7COycTdTQghYWPJ0PPJYPnYSEmYpqDYvAIjStA_CstfM54B3uc8zqQY8-Bs0PxQjvKgol5mLQZIGMUxWKRQfmd35C27xBJXJaAi0zPzO81NcTbagBz0NA4JgJ-elfL-7fosyvxyjM6Z-sBqlcprB9lfDHIVzr/w640-h480/Still-00008.jpg" width="640" /></a><span style="font-size: large;">Creation pared down to the search for light. Bram's lithe geometry and playful doubling of forms finds it purest expression over the shoulder of a peer. The trust between artists, the gentle embrace of a medium with hands, the melding of a camera with a mind at study. A retreat into the sublime.</span></p><p style="text-align: left;"><span><span style="font-size: x-large; font-weight: normal;"><br /></span></span></p><div style="text-align: left;"><span><span style="font-size: x-large; font-weight: normal;">43. </span></span><span style="font-size: x-large;">Moonfall<br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">by Roland Emmerich</span></span></div><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ0KCPtt2y_fWwUGyxg8ksudvjTShKJuX_-6_IzVdm-A9_NydlGS2XAaf5IoDBhTcpNET7mWlfqQbOfTiD2i7vFxSmkTjQnNzwlFrfGoM8YpP_xYIrGgQ43zuHdu-JYVx-GdFfsDhiaJy_g4TNCvGqFdOee1IjrgujOR5cA9h4Bi9cHGNzt9k8vGfi/s2048/11.%20MOONFALL_First%20Look.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="2048" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ0KCPtt2y_fWwUGyxg8ksudvjTShKJuX_-6_IzVdm-A9_NydlGS2XAaf5IoDBhTcpNET7mWlfqQbOfTiD2i7vFxSmkTjQnNzwlFrfGoM8YpP_xYIrGgQ43zuHdu-JYVx-GdFfsDhiaJy_g4TNCvGqFdOee1IjrgujOR5cA9h4Bi9cHGNzt9k8vGfi/w640-h338/11.%20MOONFALL_First%20Look.webp" width="640" /></a><span style="font-size: large;">There is still no one who can kill us like <a href="https://www.patreon.com/posts/moonfall-2022-62254057">Roland</a>. </span><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">44.<span style="white-space: pre;"> </span>Vesper<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Kristina Buozyte & Bruno Samper</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoqlGqC4V_TgrRHN4lKmgc4ToDRWy-mls0xxFhBRGC83v9IcL6pG3eeABUq554YZMkxkkDu0a39igr5t-WbdWXIzleGePre07-A2-QWgrJcO-KZIVpZvnQ6S6dFu3PsVMgndnKAYvxkL87FtD_PiuKSPxUC9_Eg0GDJwdd5jEaOtAetjVHuKVegTsc/s1920/MV5BZWM2ODQ2Y2MtNTMzZC00OGQ4LTliYjktYjBkYmUwNmM1ZDA1XkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="804" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoqlGqC4V_TgrRHN4lKmgc4ToDRWy-mls0xxFhBRGC83v9IcL6pG3eeABUq554YZMkxkkDu0a39igr5t-WbdWXIzleGePre07-A2-QWgrJcO-KZIVpZvnQ6S6dFu3PsVMgndnKAYvxkL87FtD_PiuKSPxUC9_Eg0GDJwdd5jEaOtAetjVHuKVegTsc/w640-h268/MV5BZWM2ODQ2Y2MtNTMzZC00OGQ4LTliYjktYjBkYmUwNmM1ZDA1XkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg" width="640" /></a><span style="font-size: large;">Kristina Buozyte & Bruno Samper, the pair responsible for <i>Vanishing Waves, </i>one of those sci-fi films that knocked my heart sideways when I first saw it, <i>finally </i>return with their latest fantastic yet all-too understandable looks at worlds beyond our understanding. Here a young girl must plan for a future on a barren planet with nothing but her father's consciousness to keep her company. Shockingly tense and bursting with visual and technical imagination, Vesper was worth waiting for.</span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">45.<span style="white-space: pre;"> </span>Avatar: The Way of Water<br /></span><span style="font-weight: normal;">by James Cameron</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZJwdcymsRE8I__7-uIWL6Tb3n9oIgOQUCHd84gMLFsOa4kaAu70jWNFgu9HhbpueS_HS0cF2QNaoaMVqV8aklbLk_EoO_C4qw0lF6es26IhqGt53jW8E3g0FLXRlzmXf1DldP1KqnrKqbbqPlNUqeETsgQ5fTVoH8J2DAWBl6MrSRP9qvDdd6wYWX/s414/NWEEKRASB5BDBFSLHMBN6FGGDU.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="276" data-original-width="414" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZJwdcymsRE8I__7-uIWL6Tb3n9oIgOQUCHd84gMLFsOa4kaAu70jWNFgu9HhbpueS_HS0cF2QNaoaMVqV8aklbLk_EoO_C4qw0lF6es26IhqGt53jW8E3g0FLXRlzmXf1DldP1KqnrKqbbqPlNUqeETsgQ5fTVoH8J2DAWBl6MrSRP9qvDdd6wYWX/w640-h426/NWEEKRASB5BDBFSLHMBN6FGGDU.jpeg" width="640" /></a><span style="font-size: large;">The man who truly rewrote the rules for what can still be a box office success, first by looking backwards, then by looking <i>heedlessly </i>forward, armed with lessons culled from Joseph Campbell and Kevin Costner. A decade has passed since our last visit to Pandora, and somehow I've come around to Cameron's fabulism, his cocktail of testosterone and peyote, his search for a way to go so far into the machinery of creation that he finds peace and tranquility. However he's doing it, it's working. Every few seconds of this dropped my jaw and had me whispering "How did he do that?" far too loudly. He made a believer out of me. </span></p><p style="text-align: left;"><br /></p><div style="text-align: left;"><span style="font-size: x-large;">46. Top Gun: Maverick <br /></span><span style="font-size: x-large;">by Joseph Kosinski</span></div><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTIVPrSVklaYTGKFE4AvfsnZ_0e8e8RN_7s3F5dJd8pb2wwUBPRyakOTA3I-9Y1bMhovJeL6CFbNJsGTp2w97TIcpgxJ5_32dVqWdRSz_7DuFkUyzKxw3eKagal2oQ47xGplUyhfhTAvjizcPkVl4I29YwHr4iWdO1VuhqkL_HxZQClPUb26k5X4Ki/s2980/220511102708-01-top-gun-maverick.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1676" data-original-width="2980" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTIVPrSVklaYTGKFE4AvfsnZ_0e8e8RN_7s3F5dJd8pb2wwUBPRyakOTA3I-9Y1bMhovJeL6CFbNJsGTp2w97TIcpgxJ5_32dVqWdRSz_7DuFkUyzKxw3eKagal2oQ47xGplUyhfhTAvjizcPkVl4I29YwHr4iWdO1VuhqkL_HxZQClPUb26k5X4Ki/w640-h360/220511102708-01-top-gun-maverick.jpeg" width="640" /></a></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;">Until he really does <a href="https://www.patreon.com/posts/top-gun-maverick-67006610">die up there on screen</a>, I have little choice but to bow my head before his every attempt to do so. He has to die for us, he's transgressed far too much, he can't live. But then again...did anyone live as much as he did?</span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">47.<span style="white-space: pre;"> </span>Beast<br /></span><span style="font-weight: normal;">by </span>Baltasar Kormákur</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04Zv9abaX2twTNZY9_dvNZQWTVhOLbWyS_9d4fl8ap14V9GxMvfep49TwIeHRRKgFIAnxOSKhJzku8qffKRANhfieKT95wFmkwpORabtosCUqjNXBLXMa_FDhe23Koc9a8YMklCtj8npDfOmc8FfAjtqtKfdiVXDQIKw4weqZzyKx3x-pJjet72va/s1150/beast.png" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="650" data-original-width="1150" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04Zv9abaX2twTNZY9_dvNZQWTVhOLbWyS_9d4fl8ap14V9GxMvfep49TwIeHRRKgFIAnxOSKhJzku8qffKRANhfieKT95wFmkwpORabtosCUqjNXBLXMa_FDhe23Koc9a8YMklCtj8npDfOmc8FfAjtqtKfdiVXDQIKw4weqZzyKx3x-pJjet72va/w640-h362/beast.png" width="640" /></a><span style="font-size: large;">A steadicam opera of fake lions and real trauma, or maybe it's the other way around. Kormákur's <i>Hatari! </i>is a little horror nightmare, of teeth in the dark and failure in the light. Idris Elba steps up to be John Wayne and his director paints his every step quickly but carefully. The stress never ceases as a man learns he can't be much of a father if he can't recognize that there are some fights you don't win. I shouted, grabbed the armrest like it was a life line, and couldn't wait for more mayhem; in other words a great time at the pictures. </span></p><p style="text-align: left;"><span><br /></span></p><p style="text-align: left;"><span><br /><span style="font-size: x-large;"><span style="font-weight: normal;">48.<span style="white-space: pre;"> </span>Apollo 10 1/2: A Space Age Adventure<br /></span><span style="font-weight: normal;">by Richard Linklater</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi74HiCUrlWlAdwKyItPILkoXF7Dg3qvDc42KxJYREUkIbYmOW5nSgqMo3wV04BoDNnWugl3IvEWjxRgxjYS8Qgg5pY4qDOnXgSu-_yS9ghNc4HadNoPHvoTa-wrKFI7carnk28E3CMXSzZqMyAWBosfqMW7IdA66aWbUs2PMLfgyS1jURhnwEev9D8/s980/attachment-Apollo_10_1_2__A_Space_Age_Childhood_00_15_16_09.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="652" data-original-width="980" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi74HiCUrlWlAdwKyItPILkoXF7Dg3qvDc42KxJYREUkIbYmOW5nSgqMo3wV04BoDNnWugl3IvEWjxRgxjYS8Qgg5pY4qDOnXgSu-_yS9ghNc4HadNoPHvoTa-wrKFI7carnk28E3CMXSzZqMyAWBosfqMW7IdA66aWbUs2PMLfgyS1jURhnwEev9D8/w640-h426/attachment-Apollo_10_1_2__A_Space_Age_Childhood_00_15_16_09.jpeg" width="640" /></a><span style="font-size: large;">Linklater's essay about the TV that soundtracked his development and the ambition that never left him; to see the earth from space. He managed after a fashion, drawing portraits of every shape and size of life as we live it, the highs and lows, the drunken parties and stoned conversations, the lovers who build their world with words, the wage slaves and parents earning minimum wage, the rock stars and the nobodies, they all started in the back of a station wagon in the shadow of men headed to the moon. Linklater may not have seen us from the moon, but he has seen us with detail and understanding you couldn't get from a telescope. He sees it all, and now, at last, he's looking back at himself. This and <i>The Fabelmans </i>would make a bang-up south western adolescent double feature. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">49.<span style="white-space: pre;"> </span>Dos Estaciones<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Juan Pablo González</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWcQQMdjw2xNuLxuuHNyT9Rc01ZjsHv2nXUst0ca5FYE_4bGP_ELqbV8h-wcOpSppOiyXOCDYf-Tod1qFEZG_hiaWGMsKj9UGz5eTc1lx9XeehlcGDtXhmFvjVVSZNdH3vtn4AJzlANmA-t4Ct0xai1FY6BiUz513KQxEc6ZQa2379SNEKogjszeBL/s2048/08dos-estaciones1-superJumbo.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1107" data-original-width="2048" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWcQQMdjw2xNuLxuuHNyT9Rc01ZjsHv2nXUst0ca5FYE_4bGP_ELqbV8h-wcOpSppOiyXOCDYf-Tod1qFEZG_hiaWGMsKj9UGz5eTc1lx9XeehlcGDtXhmFvjVVSZNdH3vtn4AJzlANmA-t4Ct0xai1FY6BiUz513KQxEc6ZQa2379SNEKogjszeBL/w640-h346/08dos-estaciones1-superJumbo.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: 400;">A tequila empire in the shadow of a stubborn queen, who will not let the outside world rest control of her destiny from her. A ghost tour of a house built in the skeleton of industry. America dreams up its version of the Central American economy, the truth is more beautiful, more strange, more raw than anything we could tell ourselves, and this, </span></span><span style="font-size: large;"><span> </span><span>possessed of stillness and steadfastness, is a <span>quiet</span> marvel. </span></span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span></span></p><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">50.<span style="white-space: pre;"> </span>Stars at Noon <br /></span></span><span style="font-size: x-large;">by Claire Denis</span></div><p></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiME_AgTfcdP917YApcWBY1YT3F_wGenQFKVJr-rOlcYEcsHMIMOO2GIgoBX31pqs1PIWMPyZukHF-3FrV74R5AGPtINiH4ksWUOH2sOVNSNi7dwJzDSI1ZnbW9w4e6SdfjtBLg7D8DYDY8dspOptmKU3uqcT79duOFdlLTu0fWqnhFRqd-zhx6nNLD/s3000/13starsatnoon-1-999f-videoSixteenByNine3000.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1687" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiME_AgTfcdP917YApcWBY1YT3F_wGenQFKVJr-rOlcYEcsHMIMOO2GIgoBX31pqs1PIWMPyZukHF-3FrV74R5AGPtINiH4ksWUOH2sOVNSNi7dwJzDSI1ZnbW9w4e6SdfjtBLg7D8DYDY8dspOptmKU3uqcT79duOFdlLTu0fWqnhFRqd-zhx6nNLD/w640-h360/13starsatnoon-1-999f-videoSixteenByNine3000.jpeg" width="640" /></a><span style="font-size: large;">The sexuality of Claire Denis' movies is a crucial part of her syntax. Without sex, what is life? Her heroes are sex-struck, horny as if under a spell or a fever. They cannot stop their lust to save themselves, and finally that is the undoing of her heroes, living by night, fucking by day. Bazinian boys and valley girls in the countries they ruined by proxy. The devil is a functionary, and god is in the dark looking at two pale bodies falling from grace and into each other. </span><span><br /></span></p><div style="text-align: left;"><span style="font-size: x-large;"><span><span style="font-weight: normal;"><br /></span></span></span></div><div style="text-align: left;"><span style="font-size: x-large;"><span><span style="font-weight: normal;">51.<span style="white-space: pre;"> </span>One Fine morning<br /></span></span><span><span style="font-weight: normal;">by </span></span><span>Mia Hansen-Løve</span></span></div><p></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIM3r4Hxx8f9P076NOfZvwJYwYHa5BdfiUijOj1mDHuEpPPE4oPg03ylYoUsLiD7CNkCekV3bzE2SFA2TsItpIvCAWF3iCsjbFqxFK-NNM-ww26XrsoEl9JekyuPnFSflAoTueHtmq2BcfFK6MGbRIIOurzkmAqXjGAyJrWoUKjR8dZ9tWKwNGAkpF/s1600/onegood-1-1600x900-c-default.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIM3r4Hxx8f9P076NOfZvwJYwYHa5BdfiUijOj1mDHuEpPPE4oPg03ylYoUsLiD7CNkCekV3bzE2SFA2TsItpIvCAWF3iCsjbFqxFK-NNM-ww26XrsoEl9JekyuPnFSflAoTueHtmq2BcfFK6MGbRIIOurzkmAqXjGAyJrWoUKjR8dZ9tWKwNGAkpF/w640-h360/onegood-1-1600x900-c-default.jpeg" width="640" /></a><span><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-size: large; font-weight: normal;">Though it seemed like she was running out of avenues for her patient humanist mise-en-scene, </span></span><span style="font-size: large;">Mia Hansen-Løve is back in fine form for this study of a woman caught between conflicting versions of herself; the caregiver and mother, the daughter and public figure, the lover and stubborn idealist, the woman who lives for her own pleasure and serves at the pleasure of others, the woman who knows right from wrong and the one who doesn't want to anymore. Lea Seydoux, who only seems to do great work in our best films anymore, carries the burden of </span><span style="font-size: large;">Hansen-Løve's thorough and full idea of a woman at a crossroads in her life. To be sober, like her director's way of thinking through the problems presented by a woman's life, is difficult when at every turn is the temptation to stop showing up, to just be selfish. It is a good feeling to be in the company of such a generous film from such a thoughtful artist. </span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">52.<span style="white-space: pre;"> </span>Return to Seoul<br /></span><span style="font-weight: normal;">by Davy Chou</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx-GsA5-xbL8qmo9newuN5RnOMIRI_o8SogCURIn-W-p4veqBzvUMwwWJ0iVT9d35d4n-z2_3eXIcRE5OyEoJXDqgDOL4b1hUM4lDDx1bUbIXv-WdAMSgytnlj__6lrAowoYWDtbubj40IIr3XQHTqJ4Sjvot5XRNqmdyRjwJiqH22RbpHusEMyyTe/s710/Return-to-Seoul-3-hero-min.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="400" data-original-width="710" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx-GsA5-xbL8qmo9newuN5RnOMIRI_o8SogCURIn-W-p4veqBzvUMwwWJ0iVT9d35d4n-z2_3eXIcRE5OyEoJXDqgDOL4b1hUM4lDDx1bUbIXv-WdAMSgytnlj__6lrAowoYWDtbubj40IIr3XQHTqJ4Sjvot5XRNqmdyRjwJiqH22RbpHusEMyyTe/w640-h360/Return-to-Seoul-3-hero-min.jpeg" width="640" /></a></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: large;"><a href="https://www.rogerebert.com/festivals/nyff-2022-return-to-seoul-she-said-exterior-night">A picaresque</a> of tragic intrigue and frustrated lust. </span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">53.<span style="white-space: pre;"> </span>No Bears<br /></span><span style="font-weight: normal;">by Jafar Panahi</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8vSVLyQiKFV7m0avkyAgt2dL6vcDQorEw8ewUj2vG8MzTqyET0jMhaPZkn_ztfreeDJZhyFJiJ0MC7B8C--42y3BmvxD0ych8vjW5t8NNfXIdJ2705ej01T9TeeSdLsMBfvlg06BLDp-SsCMkZuCY6vQ0j3F6j0qYL14QOSOchC8P0wfCbN9ZHcy/s1587/No-Bears.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1058" data-original-width="1587" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8vSVLyQiKFV7m0avkyAgt2dL6vcDQorEw8ewUj2vG8MzTqyET0jMhaPZkn_ztfreeDJZhyFJiJ0MC7B8C--42y3BmvxD0ych8vjW5t8NNfXIdJ2705ej01T9TeeSdLsMBfvlg06BLDp-SsCMkZuCY6vQ0j3F6j0qYL14QOSOchC8P0wfCbN9ZHcy/w640-h426/No-Bears.webp" width="640" /></a><span style="font-size: large;">An artist in exile learning to love form again, brave enough to shoot something the way he used to, before he was imprisoned, before he became a martyr for the cause of his people. Panahi attempts to find cinema out his window and finds himself once more in the thicket of personal problems and tyrannical expectations. A film that once more finds Panahi cleverly skirting the authorities to tell the stories of the brutalized, the forgotten, the unfortunate. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><span style="font-size: large;"><br /></span></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">54.<span style="white-space: pre;"> </span>Kicking The Clouds<br /></span><span style="font-weight: normal;">by Sky Hopinka</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh79-JC4QQLq6cP0cADmWBP_DETUOrWV_euJCdcLjj-y3zkhzCv9o7KsStt62PmZ1mstVJr6bLkWHO7wMXemntkDIqYNM7RGlJ2rKh3zoB98Mgc34upTXT19KkxcdYc4HDEbAiTLjuMR29-Jy7d6wAMq3sApHu4YHRurhoga5j54Vo4-QMc5LKABFdg/s1928/SKY-HOPINKA_-KickingTheClouds_16.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1440" data-original-width="1928" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh79-JC4QQLq6cP0cADmWBP_DETUOrWV_euJCdcLjj-y3zkhzCv9o7KsStt62PmZ1mstVJr6bLkWHO7wMXemntkDIqYNM7RGlJ2rKh3zoB98Mgc34upTXT19KkxcdYc4HDEbAiTLjuMR29-Jy7d6wAMq3sApHu4YHRurhoga5j54Vo4-QMc5LKABFdg/w640-h478/SKY-HOPINKA_-KickingTheClouds_16.jpeg" width="640" /></a></p><p style="text-align: left;"><span style="font-size: large;">Few filmmakers have as keen an eye for the split between man and nature as Sky Hopinka, who throws one displacement device after another between our eye and the image as a mirror of our unhealthy rejection of the land. The resilience of mothers fuels this one, a beautiful 16mm diary entry about the people we lose, and how precious the art we make with our hands is in remembering them and everyone else. Whole people preserved in beads, in voice recordings, in filmed images. America takes and takes. Sky Hopinka gives. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">55.<span style="white-space: pre;"> </span>Nanny / Saint Omer<br /></span><span style="font-weight: normal;">by Nikyatu Jusu</span><span style="font-weight: 400;"> / </span><span>Alice Diop</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikSvGZqBNeAb_1LxLWlYqOkD4vYO5QZjvgxmDb-ZuzDctByJnUolPCGT2_RbDjLeUP5MnBt8GyCGSwv00znS0Ng-P9nEzwCAu1aa-2yN61oSaDsltSusbAoGBymGWJyvF9S232KwgNiB2czIVcA05UIR0KfzidgnDKWN5xeFM-QNsb5YB_j6Sp2SEi/s3900/MV5BYTI5NzUxMzMtZjdiMi00ODAxLWIxM2ItNjhiZTE2ODY5NWZlXkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1944" data-original-width="3900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikSvGZqBNeAb_1LxLWlYqOkD4vYO5QZjvgxmDb-ZuzDctByJnUolPCGT2_RbDjLeUP5MnBt8GyCGSwv00znS0Ng-P9nEzwCAu1aa-2yN61oSaDsltSusbAoGBymGWJyvF9S232KwgNiB2czIVcA05UIR0KfzidgnDKWN5xeFM-QNsb5YB_j6Sp2SEi/w640-h320/MV5BYTI5NzUxMzMtZjdiMi00ODAxLWIxM2ItNjhiZTE2ODY5NWZlXkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_.jpg" width="640" /></a><span style="font-size: large;">A Diop diaspora double feature, primal scream therapy for displaced mothers. One, starring Anna, a cautionary tale of letting people be your master, the other, directed by Alice, a Duras-indebted testimony prepared for the ears of unfeeling gods. Let no one sit in judgment of you when they refuse to change the world so that they do not sit at the top of the food chain. "The cruelty is the point" goes the saying. We can perhaps only listen, or so it sometimes seem, but listen we must. Mothers have their babies taken and give them up all the time and both are proof of the violence of living by someone else's rules. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">56.<span style="white-space: pre;"> </span>You Won’t Be Alone<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Goran Stolevski</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv7NHBFBVi8NF2Rq8VC0wP2YbTeeLx4k9a_LHGVF7hF_xzSY4PXJ4_boQwOZfzeW4cxsvVkL1oV-9X8S0ibkmC9aQxmELsMxtKBa7ymOUIAF8lhTgN1M1ugYYuaFXTssJ7XDApKJC0TRW2dgZ7hXdy8hxzIWPDBxjxLpW217_hecS4WRVpOk8j7FhK/s2560/MV5BODRkOTU3MTEtMTQ0Ni00MWViLWFhNDItOTZmZTMyYWQzZjMyXkEyXkFqcGdeQWFybm8@._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1440" data-original-width="2560" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv7NHBFBVi8NF2Rq8VC0wP2YbTeeLx4k9a_LHGVF7hF_xzSY4PXJ4_boQwOZfzeW4cxsvVkL1oV-9X8S0ibkmC9aQxmELsMxtKBa7ymOUIAF8lhTgN1M1ugYYuaFXTssJ7XDApKJC0TRW2dgZ7hXdy8hxzIWPDBxjxLpW217_hecS4WRVpOk8j7FhK/w640-h360/MV5BODRkOTU3MTEtMTQ0Ni00MWViLWFhNDItOTZmZTMyYWQzZjMyXkEyXkFqcGdeQWFybm8@._V1_.jpg" width="640" /></a><span style="font-size: large;">It was only a matter of time before someone (other than <a href="https://vimeo.com/ondemand/eyam">me</a>) used Malick's pointilist grammar for a horror movie and what an exciting first foray this is for director Goran Stovelski. Romantic and spare, a film about yearning, about living in your skin for the first time, of the remoteness of human beings, even if they are technically your species. </span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span></span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">57.<span style="white-space: pre;"> </span>Dead For a Dollar<br /></span><span style="font-weight: normal;">by Walter Hill</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwhRIeC4J5fDU5xKJldxanl_HpiZ0T9Cdy7CpZDqsCmP-Ha5d60zyU17WSXs9fLsOG9kL5dPyw-PPB22SiyOuvYL1Ep-LUUUL5uE4LF3IvldtDOZgjVJIbMbXy5qovMPDhazkTViSsP2LP7Fla4q4OiR3P2F_msohNqm9Bf5ZSSxG11YoS6YNHqxx1/s1280/maxresdefault.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwhRIeC4J5fDU5xKJldxanl_HpiZ0T9Cdy7CpZDqsCmP-Ha5d60zyU17WSXs9fLsOG9kL5dPyw-PPB22SiyOuvYL1Ep-LUUUL5uE4LF3IvldtDOZgjVJIbMbXy5qovMPDhazkTViSsP2LP7Fla4q4OiR3P2F_msohNqm9Bf5ZSSxG11YoS6YNHqxx1/w640-h360/maxresdefault.jpeg" width="640" /></a><span><span style="font-size: xx-large; font-weight: normal;"><br /></span><span style="font-size: large; font-weight: normal;">Hill's three times surprised audiences with nifty digital genre pieces that rewrite his obsessions. <i>Bullet to the Head </i>re-cast his signature buddy comedies as something murkier, <i>The Assignment </i>put his loner hero in a new, re-gendered body, and <i>Dead for a Dollar </i>is his long-overdue tribute to the westerns of Budd Boetticher. Every thing Hill made was a western, he's claimed, but it's still nice to see a gristly, hand-made trinket from Hill's own hand with the shape of <i>7 Men From Now </i>or <i>Decision at Sundown</i>. All men who live by the gun must</span></span><span style="font-size: large;"><span> </span><span>eventually</span><span> prove they can actually do it. Hill finds a gangster, a bounty hunter, a gambler, a widow, a soldier, and a jilted husband must meet in their hour of judgment. Hill, the oldest gunslinger of the bunch, draws fast and first. A great final chapter in his book on broken men and desperate women. </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">58.<span style="white-space: pre;"> </span>Dark Glasses<br /></span><span style="font-weight: normal;">by Dario Argento</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmJD9X4dRczU-XQsyq47X28XVBpOwaCOVp4QOZaXFNwAr4Z2PZnmcgbClJMIOTl2S1HOei_sxVh582YTXXE_2uQd2cAuDvyVhJYFBJfHKUvipwx0wyNw98ozMQRyipQbW2x10zflriVTwsu5BLheutgFFUY2bp7hqSL5GLUXZmw0FwRxCvEoMLXnZ/s600/merlin_208935399_ba769ada-cff3-4366-9b1d-c78f65cd2f62-articleLarge.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="400" data-original-width="600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmJD9X4dRczU-XQsyq47X28XVBpOwaCOVp4QOZaXFNwAr4Z2PZnmcgbClJMIOTl2S1HOei_sxVh582YTXXE_2uQd2cAuDvyVhJYFBJfHKUvipwx0wyNw98ozMQRyipQbW2x10zflriVTwsu5BLheutgFFUY2bp7hqSL5GLUXZmw0FwRxCvEoMLXnZ/w640-h426/merlin_208935399_ba769ada-cff3-4366-9b1d-c78f65cd2f62-articleLarge.webp" width="640" /></a><span><span style="font-size: large; font-weight: normal;"><a href="https://www.patreon.com/posts/dark-glasses-66660991?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link">Italy's black, bleeding heart</a> emerges from semi-retirement to remind us that no genre machinery has been erected to replace the perverted long ago sorcerers who once ruled. How has this country, knowing such corruption, not emerged once more to scare and disgust audiences? </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">59.<span style="white-space: pre;"> </span>All the Beauty and the Bloodshed<br /></span><span style="font-weight: normal;">by Laura Poitras</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYBeJOOFpKl8um6N9L15D5JDdaWjo8XaLDjllZt4NZz4nnyUboJkb6_kFIXBH9YSlvTxEzNAnsQrQ8uviURYk3-QIDTrK7Q_8dnw0I_9_yaB0eNNK78NhNjKo_WGxCE8Jy3jev2PtSWPlAbdkGwS9TQvKQvoTfOhyKAhJ7c_8bWU1rBa8Suf3prOV/s1486/download.png" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="990" data-original-width="1486" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYYBeJOOFpKl8um6N9L15D5JDdaWjo8XaLDjllZt4NZz4nnyUboJkb6_kFIXBH9YSlvTxEzNAnsQrQ8uviURYk3-QIDTrK7Q_8dnw0I_9_yaB0eNNK78NhNjKo_WGxCE8Jy3jev2PtSWPlAbdkGwS9TQvKQvoTfOhyKAhJ7c_8bWU1rBa8Suf3prOV/w640-h426/download.png" width="640" /></a><span style="font-size: large;">The scars of the hundred epidemics that gutted the artistic class in America during what should have been a golden age upon the unbreakable figure of Nan Goldin. There will be no accounting for the homicidal policies that killed everyone in Goldin's orbit, but she's trying. The film is, above all else, about not letting go. Not consigning the dead to history. Not allowing people to get away with their murder just because they weren't holding a gun. Not letting the million portraits and photographs and songs and paintings become museum pieces without context. Not letting death become silence. Not letting silence become permanent. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">60.<span style="white-space: pre;"> </span></span><span>Fire Island</span></span><br /><span style="font-size: x-large;">by Andrew Ahn</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj5JWGIol07NszSc8EsbwBt5wK6o5Lj2ySlBukMrqvM3496EVk3qPMXVXQakGTECYoT3X46xw9n5vbp5Mxevn9lUHshghL4OYA8_2RKFGmmDG14Yc_4f_7vCp3pGBsy9bhr1oVBhvO3pH7UmWMu8HZCbumfl2a7gVWDmo13MvrRY1HoyWQnphMh_IB/s3000/fireisland1-videoSixteenByNine3000.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1688" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj5JWGIol07NszSc8EsbwBt5wK6o5Lj2ySlBukMrqvM3496EVk3qPMXVXQakGTECYoT3X46xw9n5vbp5Mxevn9lUHshghL4OYA8_2RKFGmmDG14Yc_4f_7vCp3pGBsy9bhr1oVBhvO3pH7UmWMu8HZCbumfl2a7gVWDmo13MvrRY1HoyWQnphMh_IB/w640-h360/fireisland1-videoSixteenByNine3000.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">Andrew Ahn tries on a candy-colored melodramatic near-musical rom-com and knocks every single bit of that out of the park. Our great sensuous pioneer, whisperer of the quiet moments of connection for which we all yearn finds he's equally at home screaming as he is keeping it quiet. A joyous revamping of a classic with a cast of charismatic knock-outs. Just a shame this one didn't get a fair shake with theatrical audiences, it wouldn't have to wait so long to be called a new classic. </span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">61.<span style="white-space: pre;"> </span>The Headhunter’s Daughter<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Don Josephus Raphael Eblahan</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmJwOD_FuDG_q7cGGH3Ov4vW3hK8P21CIKY45lHssU_LR1vzXqwAnmRL6fbWxq98WepdbbYf3xwem0DBXlmdxf0VdpaRW-22cmLEb0X6THw5vcJc4m84Wvuc1Giy0lo0f6j7As9LTbCCbFvpsH00CoqwWFMBPC9oE62I2ItxhZDakdQxSP4lfIUDHW/s1600/HeadhuntersDaughter.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmJwOD_FuDG_q7cGGH3Ov4vW3hK8P21CIKY45lHssU_LR1vzXqwAnmRL6fbWxq98WepdbbYf3xwem0DBXlmdxf0VdpaRW-22cmLEb0X6THw5vcJc4m84Wvuc1Giy0lo0f6j7As9LTbCCbFvpsH00CoqwWFMBPC9oE62I2ItxhZDakdQxSP4lfIUDHW/w640-h360/HeadhuntersDaughter.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: 400;">The crown jewel of last year's sundance slate and proof that there may be no greater eye for talent than programmer Adam Piron, this is a beautiful western fable in which our last cowboy looks for a barroom to sing her song. Unrelenting in its pursuit of true images, this remarkably gentle little movie loves its hero so purely, and its images hold her like a loving parent. Every story has been told, but the search for the quiet moment, the in-between, yields stellar things. </span></span></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: 400;"><br /></span></span></p><p style="text-align: left;"><span><span style="font-weight: 400;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">62.<span style="white-space: pre;"> </span>The Quiet Girl<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Colm Bairéad</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIMtdxzaIsNfKvMGf4GyjrL4QybfsBLkrnPh7OZM0obP5P5apMarUOKCwBfwVYk4_AFapxxc7xSdA7oKhbEBduF7SVWbXBOM2F4GSsSPTvAwZ5rhXrtW8voT-fogvPfsrE4p8w_Tik-JbFTAjuE_qqiwtRZdyhsbpqK_TH3fo5FmQT3TXuXmIMuFNI/s960/the-quiet-girl.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="540" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIMtdxzaIsNfKvMGf4GyjrL4QybfsBLkrnPh7OZM0obP5P5apMarUOKCwBfwVYk4_AFapxxc7xSdA7oKhbEBduF7SVWbXBOM2F4GSsSPTvAwZ5rhXrtW8voT-fogvPfsrE4p8w_Tik-JbFTAjuE_qqiwtRZdyhsbpqK_TH3fo5FmQT3TXuXmIMuFNI/w640-h360/the-quiet-girl.jpeg" width="640" /></a><span style="font-size: large;">Magnificently understated, this Irish language drama finds strenght in the unspoken but steadfastly felt. A passel of excellent performances carry a young girl from uncertainty into the facts of being loved and allowing love in return, something she has yet to know. Good, honest movies like this are always needed, and the shots of embraces, of silent understanding, will last a very long time, indeed. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">63.<span style="white-space: pre;"> </span>Thirteen Lives<br /></span><span style="font-weight: normal;">by Ron Howard</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZayVRxNibD86N2ZiAN6bpHc8Kj5iVWOke6KVMu2WLATGPYOlHcl4dtTMTTFNo4iKB6v0lo8nej6LGoCP7RbVP_hLq30aQJwRSdnnZJ2MMPFg19PEkPYRlNTWUZJQA8eV8DQgxcQQc3gD2ma-atp66nBD5lxIoYcRQ4mQzhbEPZyqsggxEJDHBnSA/s3000/thirteen1-videoSixteenByNine3000.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1688" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZayVRxNibD86N2ZiAN6bpHc8Kj5iVWOke6KVMu2WLATGPYOlHcl4dtTMTTFNo4iKB6v0lo8nej6LGoCP7RbVP_hLq30aQJwRSdnnZJ2MMPFg19PEkPYRlNTWUZJQA8eV8DQgxcQQc3gD2ma-atp66nBD5lxIoYcRQ4mQzhbEPZyqsggxEJDHBnSA/w640-h360/thirteen1-videoSixteenByNine3000.jpeg" width="640" /></a><span style="font-size: large;"><a href="https://www.patreon.com/posts/thirteen-lives-69618590">Tales of men just doing a job </a>should never be taken for granted. With Sayombhu Mukdeeprom as his eyes, Ron Howard renders the plight of rescuers hoping they aren't too late in the closest to docu-realistic fashion he knows how. Unimaginably compelling. </span> </p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">64.<span style="white-space: pre;"> </span></span><span>Devotion </span><br /><span>by JD Dillard</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9legupPkUq2JdJH1CUT0QqhdJNYj9j2kTFjqWMkT4UnidwdAyCxEhHtAqFJ3eIc1jIeB6T5EH2hxDaloPRgRN4yQCQRPIAX1XYTEON-ilvev_t2nfNrvYPOB-ctDwRacbJkCDfIYzYzJE2E3yumhs11IqNg9jx4A-oTApZjnJxbSb46iMNvhSSg2/s1200/devotion-movie-review-2022.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl9legupPkUq2JdJH1CUT0QqhdJNYj9j2kTFjqWMkT4UnidwdAyCxEhHtAqFJ3eIc1jIeB6T5EH2hxDaloPRgRN4yQCQRPIAX1XYTEON-ilvev_t2nfNrvYPOB-ctDwRacbJkCDfIYzYzJE2E3yumhs11IqNg9jx4A-oTApZjnJxbSb46iMNvhSSg2/w640-h266/devotion-movie-review-2022.jpeg" width="640" /></a><span style="font-size: large;">The <i>other </i>great movie about strapping young lads riding rockets to eternity, <i>Devotion's </i>post-classical eye for combat and ceremony is enormously winning. Jonathan Majors all but leaks out of his skin here, giving his all and then some to his performance of a man desperate to prove himself so no one else ever has to in the same way. A marvelously old fashioned look at the many forms courage can take, and how, typically, tears are as crucial to self-respect as any feat of strength. </span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><div style="text-align: left;"><span style="font-size: x-large;"><span>65.<span style="white-space: pre;"> </span></span><span>Queens of the Qing Dynasty<br /></span></span><span><span style="font-size: x-large;">by Ashley McKenzie</span></span></div><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9jDq9NcIAVEFGl_viSff6IjRp8JkiyTeiILUcveapuBX_yBbgi_lRTQTVs3EsqI4rc91NHYq8XjgDHgAN0Y7oerKoENABDO36DDRfgNHom_IzMuftjhL29IsigrXh72NkOnxENfqBvudvNpXSU0cmh1NGX8issrunKBTyaTOHAcY-BYCUCWB3FC4y/s1600/filmlinc-nyff60-queens-of-the-qing-dynasty-stills-0-1671317-1-1600x900-c-default.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9jDq9NcIAVEFGl_viSff6IjRp8JkiyTeiILUcveapuBX_yBbgi_lRTQTVs3EsqI4rc91NHYq8XjgDHgAN0Y7oerKoENABDO36DDRfgNHom_IzMuftjhL29IsigrXh72NkOnxENfqBvudvNpXSU0cmh1NGX8issrunKBTyaTOHAcY-BYCUCWB3FC4y/w640-h360/filmlinc-nyff60-queens-of-the-qing-dynasty-stills-0-1671317-1-1600x900-c-default.jpeg" width="640" /></a><br /><span style="font-weight: normal;"><span style="font-size: large;">Reaching out for someone, knowing you're only giving half your hand, is as hard as accepting someone else's when you know you aren't the one to do it. <a href="https://www.rogerebert.com/festivals/nyff-2022-coma-queens-of-the-qing-dynasty-enys-men">Ashley McKenzie</a>, the young poet of co-dependency, writes another bold treatise.</span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">66.<span style="white-space: pre;"> </span>Pearl<br /></span><span style="font-weight: normal;">by Ti West</span></span></p><p style="text-align: left;"><span style="font-size: x-large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4BPZOl5UEPlKfcd1R8vtHRI0dxxeMdBrBsWBWe1pzB-eHlxbfKDf73xB3UU3LCUZW26IAId8rkbYa50IPqt-by0UKaxDcVfqlBoyPwgVb7eCbhXJHfQ0zLPgbVP-2LYkIlSOzpfJebO537VR2aZY_f7Rx-NEq4NPZcCJWzLd9FgF-sypMXOt0X0P/s2000/image.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4BPZOl5UEPlKfcd1R8vtHRI0dxxeMdBrBsWBWe1pzB-eHlxbfKDf73xB3UU3LCUZW26IAId8rkbYa50IPqt-by0UKaxDcVfqlBoyPwgVb7eCbhXJHfQ0zLPgbVP-2LYkIlSOzpfJebO537VR2aZY_f7Rx-NEq4NPZcCJWzLd9FgF-sypMXOt0X0P/w640-h426/image.jpeg" width="640" /></a></span></div><span><span style="font-size: large;">Ti West's dime novel Fassbinder fantasia finds his ingenue going to seed under the dizzying lights of promise. Mia Goth in fine form, a farm-bound Bette Davis willing a Hollywood ending out of diced bodies and screamed hopes. Tomorrow never comes for some. </span><br /></span><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;">67.<span style="white-space: pre;"> </span></span>Confess, Fletch<br />by Greg Mottola</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguRzsX9kEsrR3ieq2VS62ChShp2qh1jgk7YlgFXjT_g5H_W9nJMgh8FOV7GTJ8uxtkS92uZYU1g6QCdfs1oKETmagpT0tWi-_zs77OsDDjhuGERhyj0oBY0fTofhSI1VBy_bZPWzlP0KnN4axjVYeLSqJUwIII1rIuhufaUtMpJowmWUXp8ob1ls_q/s1486/download.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="991" data-original-width="1486" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguRzsX9kEsrR3ieq2VS62ChShp2qh1jgk7YlgFXjT_g5H_W9nJMgh8FOV7GTJ8uxtkS92uZYU1g6QCdfs1oKETmagpT0tWi-_zs77OsDDjhuGERhyj0oBY0fTofhSI1VBy_bZPWzlP0KnN4axjVYeLSqJUwIII1rIuhufaUtMpJowmWUXp8ob1ls_q/w640-h426/download.jpeg" width="640" /></a><span style="font-size: large;">Breezy, silly, handsome, and fun, like its star, this is the little comedy that could. Replace the smug self-satisfaction of Chevy Chase's early incarnation of the character with a kind of goony knowingness, Jon Hamm tries one more time to make as big a splash as a comedic actor as he has a dramatic one. If you can't hope to follow up a performance as monolithic as Don Draper? Don't! <i>Confess, Fletch </i>was pilloried at worst and forgotten at best, but this is one I'll be watching for years to come. Every little character turn is memorable and larger than the last. A great and silly Boston comedy to go with all our dour sagas of poisoned masculinity. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">68.<span style="white-space: pre;"> </span>Wendell & Wild<br /></span><span style="font-weight: normal;">by Henry Selick</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEityYhxWDHQbkJsY_1XA05XfInSp_UNc27UThyz-9mfixcDSzzjy0G2uui_b12viNSeh4PSg4lq9TusktyoVoE_t9xT52U9-gvAAh8esH6g47lOfHMlnv9SuJysq8oL4Fu5cQ4Ug-uIhygZcs_nND72Xw7iq6Gbx9mmPdjqAqFKc_gz4x_Khir5eJby/s3000/merlin_215188017_347523d0-9652-41ab-9cb6-98b64333a93f-videoSixteenByNine3000.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1688" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEityYhxWDHQbkJsY_1XA05XfInSp_UNc27UThyz-9mfixcDSzzjy0G2uui_b12viNSeh4PSg4lq9TusktyoVoE_t9xT52U9-gvAAh8esH6g47lOfHMlnv9SuJysq8oL4Fu5cQ4Ug-uIhygZcs_nND72Xw7iq6Gbx9mmPdjqAqFKc_gz4x_Khir5eJby/w640-h360/merlin_215188017_347523d0-9652-41ab-9cb6-98b64333a93f-videoSixteenByNine3000.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">Henry Selick returning is great, and returning with a wider canvas afforded him by benefactor and star Jordan Peele is even better. This stupendously imaginative foray into urban legends and haunted school halls is as much a "fuck you" to his early producers as it is a thank you to his new ones. His spark is undeterred and his creations are some of his most lovely to behold. A feast of sick, slick characters and lived-in detail discovering whole universes inside themselves and outside of time. </span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">69.<span style="white-space: pre;"> </span></span><span>Alienoid</span><br /><span style="font-weight: normal;">by</span><span style="font-weight: 400;"> Choi Dong-hoon</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6yFdNP_TVjYcIVcDXAaWxH4bwjGXidOTVx1WDYm_uRBvpDZRuv6CPPOLe2wO8JF9bxbJ7_ZBgkYml2wQH3c6TZzKdVEjY-TSfd3noNHs0tgTnTW5-h_QITj2xSp11RUJP11kgmTOMVf4NAJPIQ7ebYzvxHYW8c1cDV4KMDY6JV814tXtqaIuaCn6E/s1280/MV5BYjg3OTIyZDYtODU4MC00MDAyLWFkYTItYjk4OThkZTg0MDQxXkEyXkFqcGdeQXVyMTQ3NzE4ODM3._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="853" data-original-width="1280" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6yFdNP_TVjYcIVcDXAaWxH4bwjGXidOTVx1WDYm_uRBvpDZRuv6CPPOLe2wO8JF9bxbJ7_ZBgkYml2wQH3c6TZzKdVEjY-TSfd3noNHs0tgTnTW5-h_QITj2xSp11RUJP11kgmTOMVf4NAJPIQ7ebYzvxHYW8c1cDV4KMDY6JV814tXtqaIuaCn6E/w640-h426/MV5BYjg3OTIyZDYtODU4MC00MDAyLWFkYTItYjk4OThkZTg0MDQxXkEyXkFqcGdeQXVyMTQ3NzE4ODM3._V1_.jpg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">I didn't know going into <i>Alienoid </i>that it was part of a proposed diptych, and after two plus hours of aliens, time travel, wire work wuxia, gunplay, car chases, and family drama, I couldn't believe we still had more to look forward to. Your money's worth and then some, this absurdity has everything, including a typically incendiary turn from the underrated Kim Tae-Ri as a gun-toting warrior princess stuck in time. More movie than you'll know with what to do. </span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">70.<span style="white-space: pre;"> </span>Corsage<br /></span><span style="font-weight: normal;">by Marie Kreutzer </span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRa1Np6X7B2zsgeY_ii98EHnqnLhd2RxSxI5s_GKXygzmaBEmCtMjMknQdAqlLTvGWduPBWH5hIWPjr5GFux5mRu-ata5hf6Nqesp-usE4TpfnbZbSdEef88fONLpRusz0cLzkipsH8uGAxezvWoVzC75vLdkgSHEM6Du1_n2OPCfYoJl_1KNjikUf/s1248/1653044833494_1248x0695_0x0x0x0_1653044852117.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="695" data-original-width="1248" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRa1Np6X7B2zsgeY_ii98EHnqnLhd2RxSxI5s_GKXygzmaBEmCtMjMknQdAqlLTvGWduPBWH5hIWPjr5GFux5mRu-ata5hf6Nqesp-usE4TpfnbZbSdEef88fONLpRusz0cLzkipsH8uGAxezvWoVzC75vLdkgSHEM6Du1_n2OPCfYoJl_1KNjikUf/w640-h356/1653044833494_1248x0695_0x0x0x0_1653044852117.jpeg" width="640" /></a></p><p style="text-align: left;"><span style="font-size: large;">A <a href="https://letterboxd.com/honorszombie/film/corsage/">love song</a> to oneself because no one else's love is enough. A poem written in discarded dresses and torn up diary pages.</span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">71.<span style="white-space: pre;"> </span>The Story of My Wife<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Ildikó Enyedi</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTR_p-pZ3YUUXDqpIfBBHzJdm_rYEi68MYLbqKGzz4LoRHvO9whpqOEup5kr_Zx7F5bPtV7g7R7MZY3On1pBRTCSkyWl-0TJmHE6rweOXrRtZrH3hLHd4fQUHKF7nPuyRci_cw3gjxuXdwsoB7npbVgbDxir9Onp5Cp1mEqKHwxfWTuDPDdTekGEvM/s1664/the-story-of-my-wife.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1084" data-original-width="1664" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTR_p-pZ3YUUXDqpIfBBHzJdm_rYEi68MYLbqKGzz4LoRHvO9whpqOEup5kr_Zx7F5bPtV7g7R7MZY3On1pBRTCSkyWl-0TJmHE6rweOXrRtZrH3hLHd4fQUHKF7nPuyRci_cw3gjxuXdwsoB7npbVgbDxir9Onp5Cp1mEqKHwxfWTuDPDdTekGEvM/w640-h416/the-story-of-my-wife.webp" width="640" /></a><span style="font-size: large;">As frankly erotic as it is unnervingly depressive, this found a busy Lea Seydoux unearthing a new note in her register, a woman all too aware that she's her husband's lust object fabrication, and all too happy to keep playing dead for him. Her deep cadence and chic exterior suggests Rita Hayworth and Lauren Bacall, but Seydoux's particulars are all her own. Even in a five performance year, this one stands tall. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">72.<span style="white-space: pre;"> </span>Listen to the Beat of our Images<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;"> Maxime Jean-Baptiste & Audrey Jean-Baptiste</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHqjD4ZtxNjZHvqzLj6idKxW7s1EQgijeHTixK8pY16zgR3oecaZ_DV2Op6AskgItFXkQ9H0X-NuMtT7ZYI_E4RqwEg7Fc6OFUFPOI9i4epq_W1baVfLOQjAdDqUqELTzWCDfyEAcOcWld43hepDpZ21bkF3Id8PB_IPWYG-zz3g8ZkfyITKCGYakD/s1850/ListentotheBeatofOurImages-still.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1041" data-original-width="1850" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHqjD4ZtxNjZHvqzLj6idKxW7s1EQgijeHTixK8pY16zgR3oecaZ_DV2Op6AskgItFXkQ9H0X-NuMtT7ZYI_E4RqwEg7Fc6OFUFPOI9i4epq_W1baVfLOQjAdDqUqELTzWCDfyEAcOcWld43hepDpZ21bkF3Id8PB_IPWYG-zz3g8ZkfyITKCGYakD/w640-h360/ListentotheBeatofOurImages-still.jpeg" width="640" /></a><span style="font-size: large;">A indigenous <a href="https://frame.land/hope-is-a-terrible-thing-sundance-2022/">futurist dream of flight</a>, of space, of the things meant <i>only </i>for colonizers who cannot imagine what it really means to be held, to be weightless because your ancestors support you, to be the last people but to still be alive because <i>they </i>could not kill you. A wonderful thing. I cannot wait to see what these filmmakers do next. </span></p><p style="text-align: left;"><br /></p><p style="text-align: left;"><br /></p><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">73.<span style="white-space: pre;"> </span></span>Traveling Light<br /></span><span style="font-size: x-large;"><span>by Bernard Rose</span></span></div><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpUzZlMHAK6gWWVi2WMGsNwyHNPjK_8fjl5fR6E6jwWZKc3TaBgnHwB6WETUDOJs0afXGFn-LyaVvyM34RCLveN4AyJXGrR-gVD5ZzRMKE4azGjLIWptxRtqy_sBrzY8NpDLCY7SKLI-YaRH60-05savTKGZMO1UOFl-V6pON1631WcYgOYbkYICOM/s1000/Traveling-Light.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpUzZlMHAK6gWWVi2WMGsNwyHNPjK_8fjl5fR6E6jwWZKc3TaBgnHwB6WETUDOJs0afXGFn-LyaVvyM34RCLveN4AyJXGrR-gVD5ZzRMKE4azGjLIWptxRtqy_sBrzY8NpDLCY7SKLI-YaRH60-05savTKGZMO1UOFl-V6pON1631WcYgOYbkYICOM/w640-h360/Traveling-Light.webp" width="640" /></a></p><p><span style="font-size: large;">Bernard Rose takes a break from high minded punk rock lit adaptations and goes digging for heartache of a more modern variety. Tony Todd is the lonely traveler living through his fares on a long day in LA. The whole world is partying while the world burns except him, and he can't find solace in anything anymore. The towering Todd has rarely been such an exposed nerve, short with people, out of hope he'll find his missing child, surrounded by the poorest people in America's richest city. Like <i>Three Thousand Years of Longing, </i>a look into a kingdom from the outside. </span></p><p><br /></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">74.<span style="white-space: pre;"> </span>God’s Country<br /></span><span style="font-weight: normal;">by Julian Higgins</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTDCLr_dl-rih2JrAlSubLp6QuQJZv4qAUlLirbipBecFMMAvxHhqiypUIZN4HLtD_2MadnbvX0rPpZf82Q6ZPdGAuADHqj8vlRIP8esZ1G3vAKhrC5pnmanvHTqyvqieZ547w7JtCtrj9E0pN0cMe-LGjCt7d6b54tl7vulRyGaRFHjEStU7vfQ8/s2560/gods-country.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1441" data-original-width="2560" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTDCLr_dl-rih2JrAlSubLp6QuQJZv4qAUlLirbipBecFMMAvxHhqiypUIZN4HLtD_2MadnbvX0rPpZf82Q6ZPdGAuADHqj8vlRIP8esZ1G3vAKhrC5pnmanvHTqyvqieZ547w7JtCtrj9E0pN0cMe-LGjCt7d6b54tl7vulRyGaRFHjEStU7vfQ8/w640-h360/gods-country.webp" width="640" /></a><span style="font-size: large;">When all is sai<span>d and done, when revenge is finally yours, what else can you do but reach for a tall, cool Steel Reserve. <a href="https://frame.land/hope-is-a-terrible-thing-sundance-2022/">Thandiwe Newton</a> earned hers like Victor MacGlaglen in <i>She Wore a Yellow Ribbon. </i>She<i> earned</i> this<i>. She earned so much more than this</i>.</span></span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">75.<span style="white-space: pre;"> </span>Orphan: First Kill<br /></span><span style="font-weight: normal;">by William Brent Bell</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglGAT2o36vkownlpC6aU2jtPeAKbFtTVhE5V4-gVZPmThD3zSX-zdSu_YNuSoVnWVXPb92r5ALXwxpoHjeSH7-50dtNkOeuVWHBEwTW-GdpvWEHHVi8rlSWKEwXvBPcE2zEjnNvW3zwDHZXosyBcXlNzp8d8cNRpogyjudQz9Qo80pBX2D_ZaRdVo0/s1500/Orphan-First-Kill-Esther-and-Tricia.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1002" data-original-width="1500" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglGAT2o36vkownlpC6aU2jtPeAKbFtTVhE5V4-gVZPmThD3zSX-zdSu_YNuSoVnWVXPb92r5ALXwxpoHjeSH7-50dtNkOeuVWHBEwTW-GdpvWEHHVi8rlSWKEwXvBPcE2zEjnNvW3zwDHZXosyBcXlNzp8d8cNRpogyjudQz9Qo80pBX2D_ZaRdVo0/w640-h428/Orphan-First-Kill-Esther-and-Tricia.jpeg" width="640" /></a><span style="font-size: large;">My <a href="https://www.patreon.com/posts/orphan-first-70996198?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link">favourite hellion</a> returns for more outrageousness, this time with a WASP super mother who's every bit as deranged. </span></p><p style="text-align: left;"><span style="font-size: xx-large;"><br /></span></p><div style="text-align: left;"><span style="font-size: x-large;"><span><span>76.</span><span style="white-space: pre;"> </span></span><span>I Love My Dad / Patton Oswalt: We All Scream </span></span></div><div style="text-align: left;"><span style="font-size: x-large;">by James Morosini / Patton Oswalt</span></div><p></p><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqOfazmYahAyB13ohCKo2Cc26fus1fvM_n8VHQH2D3js-XzTLABUSFh6dLPYEF2cUbBcsJGMlQ0K5PA9phyXU2bkd6PDK-Tdgh_WkVicbRY_LuqgHdP2R5FazU8soagjpMU-PZJN_xcK7JViQFY90-w5o7o58rR2BudJYmD5l2GA_WXjvoscSqf4Dj/s2500/MV5BMDU0ZmU4NDItNjBhNS00MTIxLWFkNjItZTU4MDA5OTg5ZWIwXkEyXkFqcGdeQWxiaWFtb250._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1406" data-original-width="2500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqOfazmYahAyB13ohCKo2Cc26fus1fvM_n8VHQH2D3js-XzTLABUSFh6dLPYEF2cUbBcsJGMlQ0K5PA9phyXU2bkd6PDK-Tdgh_WkVicbRY_LuqgHdP2R5FazU8soagjpMU-PZJN_xcK7JViQFY90-w5o7o58rR2BudJYmD5l2GA_WXjvoscSqf4Dj/w640-h360/MV5BMDU0ZmU4NDItNjBhNS00MTIxLWFkNjItZTU4MDA5OTg5ZWIwXkEyXkFqcGdeQWxiaWFtb250._V1_.jpg" width="640" /></a><span style="font-size: large;">Patton had a great year. Between his wonderfully homey stand-up special, which somehow wrings his usual neuroses and acrid consternation from domestic bliss, and his star turn as the world's worst father, he showed off parts of himself even an artist as open as Oswalt doesn't often get to showcase. <i>I Love My Dad </i>flirts with the grammar of sundance comedies but in Oswalt's lip-biting lead performance, it finds turf closer to Elaine May and John Cassavetes. He squirms his way to absurdity, never knowing when enough is enough, while on his own stage he shows that happiness doesn't mean perfection. One of the great chroniclers of the too-frequently forgotten side of masculinity; trying to simply show up, be present, and live for other people has its own challenges. Patton Oswalt's great project is documenting the enormity, the good, the bad, and the ugly, of being alive. Just living can be trying to manage a circus single handedly, and as <i>I Love My Dad </i>shows, you're only one bad decision away from losing your grip on the tent before it blows away in a storm.</span></div><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">77.<span style="white-space: pre;"> </span>No Exit<br /></span><span style="font-weight: normal;">by Damien Power</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmf25umVIiUm7qJHr9iQ3B8AhklPicO0p_jPnQN5t6Z1XFIN8baoIAYzYYIqrBq8syby9IADXbC6m65OMo9JmlUy38XCM_3wr9_Cx_aZiikS8-cxWHJyvlQ2dvR_CxlfEW-8deolkyvrs3RpkDFEKm5IwwExAsBXzIj1ilSols6Ix0x6LP9yDq0Oh/s1296/No-Exit-Still-5-Disney-Publicity-H-2022.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmf25umVIiUm7qJHr9iQ3B8AhklPicO0p_jPnQN5t6Z1XFIN8baoIAYzYYIqrBq8syby9IADXbC6m65OMo9JmlUy38XCM_3wr9_Cx_aZiikS8-cxWHJyvlQ2dvR_CxlfEW-8deolkyvrs3RpkDFEKm5IwwExAsBXzIj1ilSols6Ix0x6LP9yDq0Oh/w640-h360/No-Exit-Still-5-Disney-Publicity-H-2022.webp" width="640" /></a><span style="font-size: large;">In a year with two dreary and expensive Agatha Christie riffs, this stupendous little number wrings sweat and white knuckles from a premise right out of the Dame's dream journal at half the cost and twice the fun. Havana Rose Liu is the twitching former addict trying to get home to handle some family business when a snowstorm traps her with a room full of guilty people. The questions Are just how guilty and of what? She'll find out both the hard way. Bloody, adrenaline-fueled fun on one set with a great cast. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">78.<span style="white-space: pre;"> </span>The Harbinger<br /></span><span style="font-weight: normal;">by Andy Mitton</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHvrZ8qIFwPdy8O8IWkIbWQkRJY6DvwsZwQTxVD7ESOGDxwMt1xwwE_qk-evWfItAihpG0RttwZNn-TSGCUBEAt6OtmZfNRtCw_mVbf-yRKPRmwcTGB6gpA8Mq_pbCLUWMRe_2uzznXhTeu3iNQgcM0mIGCjAIQtNFjwC3hQp7NApuZnTZ_Ppjj09/s800/the-harbinger.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="431" data-original-width="800" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHvrZ8qIFwPdy8O8IWkIbWQkRJY6DvwsZwQTxVD7ESOGDxwMt1xwwE_qk-evWfItAihpG0RttwZNn-TSGCUBEAt6OtmZfNRtCw_mVbf-yRKPRmwcTGB6gpA8Mq_pbCLUWMRe_2uzznXhTeu3iNQgcM0mIGCjAIQtNFjwC3hQp7NApuZnTZ_Ppjj09/w640-h344/the-harbinger.jpeg" width="640" /></a><span style="font-size: large;">New England's poet laureate of backyard horror strikes again, creating a never-ending bad dream of confinement, of the end of restful sleep, of an anxiety with claws and teeth. This Russian nesting doll of bad vibes starts with covid paranoia and ends with family trauma growing wings. No corner of the screen is a safe refuge, and no idea can't be consumed by the bad dreams on display. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><div style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">79.<span style="white-space: pre;"> </span></span></span><span style="font-size: x-large;">Is That Black Enough For You?<br /></span><span style="font-size: x-large;">by Elvis Mitchell</span></div><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinbFvLyxIjWxpxWHdabwAddB33x4Hm7AN5g93z91s2a22Vd65GHO_UlkuCwu1XHu_kJQvKioHNFD8WxwD-uhdu-C_AengKQkfEPNdkQRRJE5cZFDjdVFCiq65udPWCZMgSw2tDVzO0M1UdHNxB73UeWWv8PwltQkzFbP0ldmqJDU8aq3TUP5IFIZO7/s1296/Is_That_Black_Enough_For_You___00_09_47_03-H-2022.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinbFvLyxIjWxpxWHdabwAddB33x4Hm7AN5g93z91s2a22Vd65GHO_UlkuCwu1XHu_kJQvKioHNFD8WxwD-uhdu-C_AengKQkfEPNdkQRRJE5cZFDjdVFCiq65udPWCZMgSw2tDVzO0M1UdHNxB73UeWWv8PwltQkzFbP0ldmqJDU8aq3TUP5IFIZO7/w640-h360/Is_That_Black_Enough_For_You___00_09_47_03-H-2022.webp" width="640" /></a></span></span></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">Elvis Mitchell takes a break from being the most charming film critic and talking head in the business to being one of the most charming video essayists. He renders an enormous and alienating-in-its-enormity genre cycle achingly personal and understandable. Movies with "fuck you" attitude become like valentines passed around an elementary school classroom; these weren't just the product of economic opportunity, they <i>meant </i>something to kids like Mitchell, who peels back the bombast to find the beating heart of works as diverse as <i>Three the Hard Way, Coffy, </i>and <i>Cooley High.</i> One of the most gripping history lessons (even for people who know the history), and all so amiably performed in Mitchell's ingratiating voice. It's always good to have Elvis Mitchell back on my TV. </span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">80.<span style="white-space: pre;"> </span>There There<br /></span><span style="font-weight: normal;">by Andrew Bujalski</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN12aDkmA0p9EQm_Y0fF_L_5th5txfSrVH6IfXo9vvdF0B-wGBayl8ZtFMh8bcLtyTJnVPfuybe5N8yqEI9zuoakhvTsOe_tlDOCKpKvXKkdEPPxroF3hV-6ww-9_dYpcLrZLBa06fN98LbVInI-wLVgfcnM2WHnS2MGe0u4wg0Y1ZeK1RnTP15JU8/s3000/18bujalski-film4-videoSixteenByNine3000.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1688" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN12aDkmA0p9EQm_Y0fF_L_5th5txfSrVH6IfXo9vvdF0B-wGBayl8ZtFMh8bcLtyTJnVPfuybe5N8yqEI9zuoakhvTsOe_tlDOCKpKvXKkdEPPxroF3hV-6ww-9_dYpcLrZLBa06fN98LbVInI-wLVgfcnM2WHnS2MGe0u4wg0Y1ZeK1RnTP15JU8/w640-h360/18bujalski-film4-videoSixteenByNine3000.jpeg" width="640" /></a><span style="font-size: large;">Andrew Bujalski used covid-19 to his advantage and reverse engineer a social comedy from absence and limitations. Many people's covid movies are deliberately small things, commenting neccesarily on their own existence, but Bujalski's is a bigger movie movie about pretending. Pretending you're in control, pretending your scene partner is in the room with you, pretending you're making a movie the usual way, and pretending there's still an audience for a drama about adults having honest conversations. Bristling and brittle, this little film has a lot to awaken the conflict avoidant in all of us. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">81.<span style="white-space: pre;"> </span></span>You Are Not My Mother / Here Before<br />by Kate Dolan / Stacey Gregg</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgttVmwun9mgbE5DLTYAPq1GMFdouRYXA09J359zCR6Kj6zH2ReV4ngZd4s04Q0y7PnZXziVM3gEwaTCfFb5v_FbHbH9G8VOt6zgDg4GQ-wddzC47eKxNQE5V1Y0cMXOUpq_NBw4j4-9r-EaGht_jVTfJRyNLZqPHc-hjrHixkUY2Y6grXFglz0JgJz/s2048/MV5BMDk5N2M4MGMtYzEwYi00ZGY3LWI5MDctNmQxOGE4ZDU0ZmQwXkEyXkFqcGdeQXVyNjI0NTQ2Nw@@._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="858" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgttVmwun9mgbE5DLTYAPq1GMFdouRYXA09J359zCR6Kj6zH2ReV4ngZd4s04Q0y7PnZXziVM3gEwaTCfFb5v_FbHbH9G8VOt6zgDg4GQ-wddzC47eKxNQE5V1Y0cMXOUpq_NBw4j4-9r-EaGht_jVTfJRyNLZqPHc-hjrHixkUY2Y6grXFglz0JgJz/w640-h268/MV5BMDk5N2M4MGMtYzEwYi00ZGY3LWI5MDctNmQxOGE4ZDU0ZmQwXkEyXkFqcGdeQXVyNjI0NTQ2Nw@@._V1_.jpg" width="640" /></a><span><span style="font-size: large; font-weight: normal;">Two ghost stories about things still-living. In one Andrea Riseborough, on most days our greatest actress, searches for a daughter in her memory in the face of a stranger's child. In the other Hazel Doupe's mother returns from a prolonged absence, something about her has not come back. There are no easy answers when we lose what was always right in front of us and a false substitute appears.</span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span><span style="font-weight: normal;">82.<span style="white-space: pre;"> </span></span></span><span>I Came By</span></span></p><div><span style="font-size: x-large;"><span><span>by Babak Anvari</span></span></span></div><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80ClWn2BAhWuDn9BOzxuo-XLrfMWnpFbrCWcvXcNbnmdvPsC-ureJbKyewawBNXZIBKjO-r5XyXVFB7mkATOgKYtZUefgkpGgNpitTRAXF9c2du30IfNoOagFRa_5rYipv_L7HktyENdqlpZpLAhgqsmuAJW5PVyP-S1VvcKwUimS0PwALLUa_2RY/s1000/I-Came-By-2022-on-Netflix-scaled-e1662185332144.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="667" data-original-width="1000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh80ClWn2BAhWuDn9BOzxuo-XLrfMWnpFbrCWcvXcNbnmdvPsC-ureJbKyewawBNXZIBKjO-r5XyXVFB7mkATOgKYtZUefgkpGgNpitTRAXF9c2du30IfNoOagFRa_5rYipv_L7HktyENdqlpZpLAhgqsmuAJW5PVyP-S1VvcKwUimS0PwALLUa_2RY/w640-h426/I-Came-By-2022-on-Netflix-scaled-e1662185332144.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-weight: normal;"><span style="font-size: large;">One of a dozen economic parables (horror always tells the truth) this year, genre stalwart Babak Anvari slowly takes the power and agency from his characters as he reveals that life on the poverty line is life in a panopticon. No matter what you think you have, what you imagine you've earned, someone wealthier can always take it all. At times breathtakingly bleak, this further cements the Iranian director as a man unafraid of staring into abysses. </span><br /></span></span></p><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span><p></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">83.<span style="white-space: pre;"> </span></span>Emily The Criminal <br />by John Patton Ford</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuvbueCJzFS6TNlIsjCUqIZ4zxcO6EN1OEWDXgskCVMh5SycHwRiVDAzmavsR8Rouo96XmCtG0V9P2ZePIbbWEjDL9lscfJMoyBXF2uKoBv-Dgoj1NMWhtdOPxXXpMVCoyvxGgn30jt20tRDJ8sWSJBi1VB5_ky_hmggSeehwMxAsHVEK21D8FjkAa/s1200/emily-the-criminal-movie-review-2022.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="498" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuvbueCJzFS6TNlIsjCUqIZ4zxcO6EN1OEWDXgskCVMh5SycHwRiVDAzmavsR8Rouo96XmCtG0V9P2ZePIbbWEjDL9lscfJMoyBXF2uKoBv-Dgoj1NMWhtdOPxXXpMVCoyvxGgn30jt20tRDJ8sWSJBi1VB5_ky_hmggSeehwMxAsHVEK21D8FjkAa/w640-h266/emily-the-criminal-movie-review-2022.jpeg" width="640" /></a><span style="font-size: large;">A dynamic as old as the pictures (specifically pre-code pictures), the brassy outsider trying to make it in a world of counterfeit luxury and paper ideals. Aubrey Plaza is the Barbara Stanwyck-styled striver who will join high society or destroy it, whichever comes first. Tense as a blind date and bursting at the seams with the potential for violence, a great use of a low budget and a star looking to prove she can be small as well as huge. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">84.<span style="white-space: pre;"> </span></span>The Last Movie Stars <br />by Ethan Hawke </span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Z678xh3m0y0uxAIlAZJjid6wvvaE_6vgySN82RzAWzXAWgmBeUKz7UruQXaa6EroGL3P5OzRNYcfthlVDHKr-fubXhpdEULDS3Wp9bQRyzaVS0GDlk4farfA4Kv_5m93MCk4OUWazKFq6UcJ6o1NEe0s1Hx1OP58w8iNAomaoj0rc_Vt4IPn5tKU/s1200/newman-woodward-the-long-hot-summer-getty-156472628-1280.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Z678xh3m0y0uxAIlAZJjid6wvvaE_6vgySN82RzAWzXAWgmBeUKz7UruQXaa6EroGL3P5OzRNYcfthlVDHKr-fubXhpdEULDS3Wp9bQRyzaVS0GDlk4farfA4Kv_5m93MCk4OUWazKFq6UcJ6o1NEe0s1Hx1OP58w8iNAomaoj0rc_Vt4IPn5tKU/w640-h336/newman-woodward-the-long-hot-summer-getty-156472628-1280.jpeg" width="640" /></a><span style="font-size: large;">A fond look back at the land of the <a href="https://thespool.net/reviews/tv/the-25-best-tv-shows-of-2022/">giants</a> and their too-human aches.</span><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">85.<span style="white-space: pre;"> </span>The Woman King<br /></span><span style="font-weight: normal;">by Gina Prince-Bythewood</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVnOm5ITJQARDkaCV7oot_ArKsUvsvHLqX9-jGwCl9kMOR7VoWAoNaINguejMadI5FBTgOr3TXSR_eM1TWvAz4aehgIVdWZ6x-CpCH-BX69wyXiCE3Ox9OsAj1WO5A_KQMYiSYhTZdcO9SMRkfAXujMv8oTOg-xdoyBQY4MMFagZVkfRjNxGypWTLD/s2500/220913190323-01-woman-king-film.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1668" data-original-width="2500" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVnOm5ITJQARDkaCV7oot_ArKsUvsvHLqX9-jGwCl9kMOR7VoWAoNaINguejMadI5FBTgOr3TXSR_eM1TWvAz4aehgIVdWZ6x-CpCH-BX69wyXiCE3Ox9OsAj1WO5A_KQMYiSYhTZdcO9SMRkfAXujMv8oTOg-xdoyBQY4MMFagZVkfRjNxGypWTLD/w640-h428/220913190323-01-woman-king-film.jpeg" width="640" /></a><span style="font-size: large;">Given someone else's version of a superhero in <i>The Old Guard, </i>Prince-Bythewood has given us something closer to <i>her </i>idea of the same thing. A cadre of outspoken, fearless warrior women out to prove something on which their lives depend. Prince-Bythewood directs with an old school sturdiness I never want to take for granted, because rock solid images of real people in genre cinema are not commonplace in America any longer. It was compared to Gladiator but the earthier setting, the more careful historicity, the beautiful costumes and make-up, and those performances all put Ridley Scott's opus in its place. An epic needn't be measured in crowd scenes with no end, nor in terms of pride and operatic dramatic turns. Sometimes it's as simple as pulling a tooth out of an old wound, or beating the hell out of someone while a dozen people watch. A movie that does every single thing it sets out to do with complete assurance. </span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">86.<span style="white-space: pre;"> </span>First Love<br /></span><span style="font-weight: normal;">by A.J. Edwards</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRd_789lV_TJFM0WGwpOfGw2jsTsw5PqU6ryx690mwseF4ib_07vrOdgXmfTrmcpp-_ecyqfah6zvWKEGOZE2TWlz8wx8lmm9pV-zW7gHaw8pz2NpQWLpS0HwjIGn_sdrGwFaAw2s4xjqPYsi3EqJ6PBg_p5IuDf-FZLvQI6gB2ojyeIoPFRYMURH/s1296/MCDFILO_EC056-H-2022.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRd_789lV_TJFM0WGwpOfGw2jsTsw5PqU6ryx690mwseF4ib_07vrOdgXmfTrmcpp-_ecyqfah6zvWKEGOZE2TWlz8wx8lmm9pV-zW7gHaw8pz2NpQWLpS0HwjIGn_sdrGwFaAw2s4xjqPYsi3EqJ6PBg_p5IuDf-FZLvQI6gB2ojyeIoPFRYMURH/w640-h360/MCDFILO_EC056-H-2022.webp" width="640" /></a><span style="font-size: large;">A.J. Edwards using Malick's pointillism to uncover the secrets of less sacred (though no less beautiful)</span><span><span style="font-weight: normal;"><span style="font-size: large;"> objects is a good reminder that A. studios don't think Americans want art in their lives, and B. every forgotten American is worthy of representation in the art no one wants them to have. After studying Lincoln's dirt poor childhood and a teen aging out of foster care, he turns his sights to an ordinary family running out of road. As a father comes to grips with financial insecurity and the resultant inadequacy it engenders, a son tries to make a life for himself in terms with which he's unfamiliar. The simplicity is the point; two men who don't know what they're doing and are too afraid to ask for help. This is real life. The very thing most American movies want us to forget most days. Edwards may be happily in Malick's shadow, but I'm grateful he's turned his gaze to the lives of regular people experiencing everyday crises. We are going be grateful someone was paying attention in a few years time. </span><br /></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">87.<span style="white-space: pre;"> </span>Hansan: Rising Dragon / The Pirates: The Last Royal Treasure <br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Kim Han-min / </span><span style="font-weight: 400;">Kim Jeong-Hoon</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghRd2lagVf_iUxeCWPhYuxSEwPcWM8MOBcad-MIF1n7ohVtTIce8rUCnwnV40rfyflkYAGRwkRPUjZf-M6bcpeGDlgtlZbRpHdXEHC81pxIf3wXkxfPAGrRcVh7H5016OKWfEOouoPzx8sMWleacXluAjY_RpWMtYbpJccbkRJGbA7fL7uiKKX1aAJ/s2000/the-pirates-netflix.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1270" data-original-width="2000" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghRd2lagVf_iUxeCWPhYuxSEwPcWM8MOBcad-MIF1n7ohVtTIce8rUCnwnV40rfyflkYAGRwkRPUjZf-M6bcpeGDlgtlZbRpHdXEHC81pxIf3wXkxfPAGrRcVh7H5016OKWfEOouoPzx8sMWleacXluAjY_RpWMtYbpJccbkRJGbA7fL7uiKKX1aAJ/w640-h406/the-pirates-netflix.jpeg" width="640" /></a><span style="font-size: large;">Nautical twins of the wars fought, private and public, on the Korean seas. One is a battering ram of a military drama, the other a happy-go-lucky Tsui Harkian adventure, every bit as free from the confines of the ordinary as you'd hope. Both are dressed to the nines and fixing for a fight, both are immaculate entertainments. The South Korean blockbuster is a purer and more exciting thing than the American version. I should send Lotte Entertainment a bouquet of roses for continuing to bring this stuff to my front door. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">88.<span style="white-space: pre;"> </span>Firestarter<br /></span><span style="font-weight: normal;">by Keith Thomas</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBk-Py-hBPCxi-O-NiH-L6I1uK6kDR_-MFWZMkNUK0ekDZwg4XCakc3c5lmZLLvMIZsB2WLIBMeoHfGtVv4L1B7TUFZwTkUqlial6hdcQ5kCCxYJgr5ntEwBGueB-x8qEuGGAasOa8-SEYUVmdaCM2Mk1U_embD-9u6H-ATs_-2S0lshZVb4dzGe6w/s3000/merlin_206434050_1fe829e3-7b8d-4e1a-9d3d-29a467e941ef-videoSixteenByNine3000.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1687" data-original-width="3000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBk-Py-hBPCxi-O-NiH-L6I1uK6kDR_-MFWZMkNUK0ekDZwg4XCakc3c5lmZLLvMIZsB2WLIBMeoHfGtVv4L1B7TUFZwTkUqlial6hdcQ5kCCxYJgr5ntEwBGueB-x8qEuGGAasOa8-SEYUVmdaCM2Mk1U_embD-9u6H-ATs_-2S0lshZVb4dzGe6w/w640-h360/merlin_206434050_1fe829e3-7b8d-4e1a-9d3d-29a467e941ef-videoSixteenByNine3000.jpeg" width="640" /></a><span style="font-size: large;">No movie where the evidence of a missing 20 or so minutes could ever be as good as it ought be, but the feeling and talent here are too evident for me to complain. From John Carpenter's score (completing a circle begun when they took the original away from him) to the performances of Michael Greyeyes (ferocious yet understated), Kurtwood Smith (tragically haunted), and Ryan Kiera Armstrong (heartbreaking) to Keith Thomas' admirably restrained direction, there's so much to like in 90 too-short minutes. Anymore might have been too much, but any less was too little. I'll always take a movie with heart.</span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">89.<span style="white-space: pre;"> </span>Lou<br /></span><span style="font-weight: normal;">by Anna Foerster</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIMMl87WxHP8ub34AA9c_uwxLVAkV7rjwmwxyRLiGdmeFm_8lJuVvEwRyp7rlPlVRqWaykx41G8bWpjsPllTFrvAYyOdLApg2B48r3HQm4PkE5RaeLHX_ppWUUn_mMzwLjm0I7H4wz0ydqhwwqyBg51OJX3aUJXJwh6iQiIZtm5d3HDDqQmXZB49x/s3840/MV5BOWIxYjBjNWMtMTI1NC00NWM3LTk3ZmQtNGQ2ZTIyY2ZkNzVlXkEyXkFqcGdeQXVyODk4OTc3MTY@._V1_.jpg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1605" data-original-width="3840" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIMMl87WxHP8ub34AA9c_uwxLVAkV7rjwmwxyRLiGdmeFm_8lJuVvEwRyp7rlPlVRqWaykx41G8bWpjsPllTFrvAYyOdLApg2B48r3HQm4PkE5RaeLHX_ppWUUn_mMzwLjm0I7H4wz0ydqhwwqyBg51OJX3aUJXJwh6iQiIZtm5d3HDDqQmXZB49x/w640-h268/MV5BOWIxYjBjNWMtMTI1NC00NWM3LTk3ZmQtNGQ2ZTIyY2ZkNzVlXkEyXkFqcGdeQXVyODk4OTc3MTY@._V1_.jpg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-weight: normal;"><span style="font-size: large;">Anna Foerster's first outing as a feature director was an unfortunate use of her talent. How are you meant to make sense of your strengths in the context of the fifth sequel to a movie no one likes? However, starting from scratch, she's an exquisite visual stylist. The churning maelstrom that envelopes her characters is a reflection of their inner turmoil. Every crashing wave, breaking bridge, and muddy embankment one more element between two women and freedom from their past. Bone crunching set-pieces and bloodied bodies littering a journey to absolution; Foerster's proper arrival as a director. </span><br /></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">90.<span style="white-space: pre;"> </span>Ticket to Paradise / Mrs. Harris Goes to Paris<br /></span><span style="font-weight: normal;">by Ol Parker / Anthony Fabian</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWtzqEfO-44XAsWFbSjfod3T7tGclQW7222MUMjv_bpdaklpUNVYOt5jM757mq45u-Ot6NpQPqbBvC15SGHuEG6JF1211acGl9JjdT0rYmXe30AD8O7r8LaInu0nq4TeuRZx4fmLeTNTkg5B3M8WXAdjRHFQ82IDI0GBWj8HZIsnlxtP0fmz2VTR1M/s779/Screen-Shot-2022-06-29-at-11.01.42-AM.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="377" data-original-width="779" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWtzqEfO-44XAsWFbSjfod3T7tGclQW7222MUMjv_bpdaklpUNVYOt5jM757mq45u-Ot6NpQPqbBvC15SGHuEG6JF1211acGl9JjdT0rYmXe30AD8O7r8LaInu0nq4TeuRZx4fmLeTNTkg5B3M8WXAdjRHFQ82IDI0GBWj8HZIsnlxtP0fmz2VTR1M/w640-h310/Screen-Shot-2022-06-29-at-11.01.42-AM.webp" width="640" /></a><span style="font-size: large;">The anemia that has befallen major studios means that it's possible to effectively squeeze an audience with the promise of a nostalgic pang for something that no one was ever that excited for in the first place. In hindsight, of course, people will tell you how much they love <i>Notting Hill </i>or <i>One Fine Day, </i>but they were just wallpaper at the time. One more thing you could see. Now that you <i>can't </i>just go to the multiplex and be charmed so when you <i>can </i>it's something to be treasured. Both <i>Ticket to Paradise </i>and <i>Mrs. Harris </i>don't go out of their way to play the nostalgia card (nostalgia for what? 2006?) because they know they're offering you things you truly cannot get elsewhere. And so while neither exactly breaks the mold, the stars and directors give us enough laughs and warmth to make us hungry for more easy emotional engagement. Light comedy hijinks with 1000 watt star power? Turns out we need those. </span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">91.<span style="white-space: pre;"> </span>Fall<br /></span><span style="font-weight: normal;">by Scott Mann</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiS1uPii53gk2Rawb-Jt6ChaU12U_3gQtTggjcKbJLkRCiWZIad3GCfBXf05UWCr5CqK5Fy8duH3pI4BwuxTLoT3g4JrZkoYUDtQ9IEZoL2L3B1weYgsrirCqLALhxrnzcgxhLMfBctR5OCTQ93p4Rv5683ZW_1tZTRaXj7IqKiXMPB22nOGVHCKAP/s3840/Photo-6-FALL-Lionsgate.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2160" data-original-width="3840" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiS1uPii53gk2Rawb-Jt6ChaU12U_3gQtTggjcKbJLkRCiWZIad3GCfBXf05UWCr5CqK5Fy8duH3pI4BwuxTLoT3g4JrZkoYUDtQ9IEZoL2L3B1weYgsrirCqLALhxrnzcgxhLMfBctR5OCTQ93p4Rv5683ZW_1tZTRaXj7IqKiXMPB22nOGVHCKAP/w640-h360/Photo-6-FALL-Lionsgate.webp" width="640" /></a><span style="font-size: large;">You simply must hand it to a movie that can provoke nausea with its every camera angle. Not for the faint of heart (I nearly passed out and I was laying down when I watched it) but the perfect use of a modern film screen and a modern film budget. A B -movie in the clouds. Scott Mann's one of our great thriller specialists.</span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">92.<span style="white-space: pre;"> </span>Happening<br /></span><span style="font-weight: normal;">by Audrey Diwan</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJpJHaHLrvLjfw_4Rje-FNrMKfqvSdBjJeRz42zJpqAGUqCuRoQJjbX-5HzVPfNIAo-uHlsvkhVYLHJlwOpxXDmbe7Tum0lDfSOS8cYg4pCDmamkYNkFuAb-MW1_wq-y0-ZOwc2YsSU5rV1j-DJV8R4eGq9SeIu7anqBUl-NZImG6MEXELaXF-zXk2/s1850/Screen-Shot-2022-02-18-at-8.47.15-AM.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1000" data-original-width="1850" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJpJHaHLrvLjfw_4Rje-FNrMKfqvSdBjJeRz42zJpqAGUqCuRoQJjbX-5HzVPfNIAo-uHlsvkhVYLHJlwOpxXDmbe7Tum0lDfSOS8cYg4pCDmamkYNkFuAb-MW1_wq-y0-ZOwc2YsSU5rV1j-DJV8R4eGq9SeIu7anqBUl-NZImG6MEXELaXF-zXk2/w640-h346/Screen-Shot-2022-02-18-at-8.47.15-AM.webp" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">Diwan's cool gaze follows her heroine from post-new wave milieu study to her nauseated retreat from the freedom it promised. Her points are many but I dig that among them was that the New Wave was a space for men first and even women with all the brute force of personality in the world were still at the mercy of the less fair sex. "Cool" is a posture, an attitude. It can't buy your way out of a biological bind, and it cannot account for poor decisions at other people's expense. The Cahiers era is in need of this kind of needling and I'm heartened to know that for her next trick, Diwan will tackle <i>Emmannuelle, </i>another myth of liberation. Ask not for whom the <i>Belle du Jour</i> tolls. </span></span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">93.<span style="white-space: pre;"> </span>Last Seen Alive / Memory<br /></span><span style="font-weight: normal;">by Brian Goodman / Martin Campbell </span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkoPH271Y2_qt8P5TOVdYSkT44OsAeIInJZq81AsFwGKDWrYottFmzRijic9DP1laZy-HGZmYqRXyuWBD6nsN4h35vND4ZSwYspot8yw2Wwu4h4Ibc_w1LwO8dyDUdbnQ6dRbLe19KBn1zgJQ9FsDIVETT0G9bxD6xwHMSlPAT-PfHdiXe3G9fcVm/s2529/jaimie-alexander-last-seen-alive-2-1654352136.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1429" data-original-width="2529" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkoPH271Y2_qt8P5TOVdYSkT44OsAeIInJZq81AsFwGKDWrYottFmzRijic9DP1laZy-HGZmYqRXyuWBD6nsN4h35vND4ZSwYspot8yw2Wwu4h4Ibc_w1LwO8dyDUdbnQ6dRbLe19KBn1zgJQ9FsDIVETT0G9bxD6xwHMSlPAT-PfHdiXe3G9fcVm/w640-h362/jaimie-alexander-last-seen-alive-2-1654352136.jpeg" width="640" /></a><span style="font-size: large;">Two of our greatest action star workhorses getting a quick workout from two genre specialists working for little money but a lot of (failing) heart. The pictures may have gotten small, but the boys are as big as ever.</span></p><p style="text-align: left;"><span><span style="font-size: xx-large; font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">94.<span style="white-space: pre;"> </span>Nitram / Blonde<br /></span><span style="font-weight: normal;">by Justin Kurzel / Andrew Dominik</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTNTqVS01pADE7R8tbt4TQXYI_X3pQ5vpTYtkJfRNcyYEhhY6miAi8hgRAJi8Oq2gy7oLwd-mlyEisxIbV5xrW8UHTl2BiVFUUibtwAPAJGYycBCjUfKE1x2PLTYxkaAWrVssqdSz5PxfyaBq94T5YXtyONCdw87BoxN_LjTECQK-WGR_v3DVYiqF/s1280/maxresdefault.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTNTqVS01pADE7R8tbt4TQXYI_X3pQ5vpTYtkJfRNcyYEhhY6miAi8hgRAJi8Oq2gy7oLwd-mlyEisxIbV5xrW8UHTl2BiVFUUibtwAPAJGYycBCjUfKE1x2PLTYxkaAWrVssqdSz5PxfyaBq94T5YXtyONCdw87BoxN_LjTECQK-WGR_v3DVYiqF/w640-h360/maxresdefault.jpeg" width="640" /></a></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;">Two anti-social Australian odysseys into the heart of darkness. One concerns a man who destroys everything he touches, the other a woman who only touched the men who wanted to destroy her. Both a deliberate <i>bad </i>time. Both crystal clear evocations of hell.</span><br /></span><span style="font-size: xx-large; font-weight: normal;"><br /></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">95.<span style="white-space: pre;"> </span>Gladbeck: The Hostage Crisis<br /></span><span style="font-weight: normal;">by Volker Heise</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihoqrlFUfTprix__wL0sqKz5goEoE4eSeKmgzzaYHO59g9Ml5ShQQi4PK74rB_CgGMxHT2vNCIYIfzbP3Soe327jSL4hcBsq2V-w1x1W4tNxIvs0Paeg3dM4qOHynO6qbabUwD-xJQWWz9BYFwvXpxih9krqXA-zTNtWmOQ0Jjww7EBciUhMvsMrbM/s976/_103061984_degowski_roesner_alamy976.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="690" data-original-width="976" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihoqrlFUfTprix__wL0sqKz5goEoE4eSeKmgzzaYHO59g9Ml5ShQQi4PK74rB_CgGMxHT2vNCIYIfzbP3Soe327jSL4hcBsq2V-w1x1W4tNxIvs0Paeg3dM4qOHynO6qbabUwD-xJQWWz9BYFwvXpxih9krqXA-zTNtWmOQ0Jjww7EBciUhMvsMrbM/w640-h452/_103061984_degowski_roesner_alamy976.jpeg" width="640" /></a><span style="font-size: large;">A rubbernercker's delight, a true window into madness as two men decided they'd had enough of modern life and did something about it. The sight of handsome monsters with guns on public transportation just waiting for freedom they had to know they'd never find is the most off kilter kind of uncanny sight. This just... <i>happened</i>. Took days to bring it to a close. We truly are powerless in the face of a will slightly stronger than the normal order. What are you going to do when people decide they're done working. That they want the better life they'd been promised? America had to answer this last year and still hasn't come up with an answer. What do you do when destiny rides the bus with a gun in its hand? Watch, I guess. </span><span style="font-size: x-large;"><span style="font-weight: normal;"><br /></span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">96.<span style="white-space: pre;"> </span>Nothing Compares / Sirens <br /></span><span style="font-weight: normal;">by Kathryn Ferguson / Rita Baghdadi </span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6_A44xAfIm-4eZyTtJ1S5-34edwObhdyREmbHVy4EjuqQwdoOZAWmF_aR1QHHAaEwxK93JzS9DNfZuiq42JNhmRLYsSLhTEu6QAwZ1rocXHCvrym0UxjQdn6KKICAFQs_kdfpT5LLdHWuwBQ2rOkmXNHfpZgDHFn728M8yH1lYNn3dHK6LhqLVGHn/s2000/image.webp" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6_A44xAfIm-4eZyTtJ1S5-34edwObhdyREmbHVy4EjuqQwdoOZAWmF_aR1QHHAaEwxK93JzS9DNfZuiq42JNhmRLYsSLhTEu6QAwZ1rocXHCvrym0UxjQdn6KKICAFQs_kdfpT5LLdHWuwBQ2rOkmXNHfpZgDHFn728M8yH1lYNn3dHK6LhqLVGHn/w640-h320/image.webp" width="640" /></a></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;">Two searing documentaries about rock stars who were born into controversy, some at the start of their journey, some at the end, but the heartbreaking particulars are the same. It's hard out there when you're metal as fuck. </span></span></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: large;"><br /></span></span></p><p style="text-align: left;"><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">97.<span style="white-space: pre;"> </span>Lost Bullet 2<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Guillaume Pierret</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq7btdRmhfXaT-LMDatc5TLPcSAgWTOlZu--0ksyDk436zYOe-OpL9DigqbdifIq-TJ8hYzCV6rPpS2Vh2Qqi7KtSRZB4fzIY9qtKwPfKEDwdWHziS24t2MgRR8AgIdE6dPsKxG1I81w6UnUiSg-kQYvbFP1bPxF3SC_3yIgmlFzheF_dG8upYxkOC/s1024/AAAABU4ljwWHNx06itIXIU8rL8vNcFBTa92Bcfp7XiMdt81sdhsIwE4FbS_d5eGwbuwTnoPvbQ0KM0egxurFDlmMrRc5wEqTJLmAQgsL.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="576" data-original-width="1024" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq7btdRmhfXaT-LMDatc5TLPcSAgWTOlZu--0ksyDk436zYOe-OpL9DigqbdifIq-TJ8hYzCV6rPpS2Vh2Qqi7KtSRZB4fzIY9qtKwPfKEDwdWHziS24t2MgRR8AgIdE6dPsKxG1I81w6UnUiSg-kQYvbFP1bPxF3SC_3yIgmlFzheF_dG8upYxkOC/w640-h360/AAAABU4ljwWHNx06itIXIU8rL8vNcFBTa92Bcfp7XiMdt81sdhsIwE4FbS_d5eGwbuwTnoPvbQ0KM0egxurFDlmMrRc5wEqTJLmAQgsL.jpeg" width="640" /></a><span style="font-size: large;">As Americans turn every gun-wielding lowlife into a superhero, the French reflect our worst tendencies back at us - same as it ever was. Our Eddie Constantine is a sleepless failure who can only prove his worth by hounding his hero's widow and blowing up an entire area code's worth of cars. The fists land like bullets, and the bullets can't catch the cars, alive with meaning, almost like some of Michael Bay's automatons. The exhale will hurt with the bruises but it will feel good when the violence is finally done for. Hopefully it won't...I'd like to see a third installment. </span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">98.<span style="white-space: pre;"> </span>Descendent / Tantura<br /></span><span style="font-weight: normal;">by Margaret Brown / </span></span></span><span style="font-size: x-large;">Alon Schwarz</span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjh5UIHvrnpGg4OIRENCmivoX0KNs6frFNRnj9UWYpzaBPUJCK9MAVqyyVhHvlVHk16N4vpAUMMrdyyYJv8jJcb_p29auMqSSKjbqXn9v494mkEjbw2buDlqIc1dXHMNggsYIAZmDm7NhBh2dVRWtFBaJ5PbifTmxTIOv2UzZjHI6ItLln9XxeG3e/s1045/AAAAQSwz0m5NsltBXKWhhFBZXb0Nvy5_k3AMycbxSwfC9qjbbm2FTK3JOkz2tThOc8HbWdFy4d2NhO3mstGWa4HEpJJafaISvUyQRaQQmRPgoJEW6u1JJ7AZcoCgVUnqngx-7Tjd3pw0uc-UOF_sdZiZkh9U.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="551" data-original-width="1045" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjh5UIHvrnpGg4OIRENCmivoX0KNs6frFNRnj9UWYpzaBPUJCK9MAVqyyVhHvlVHk16N4vpAUMMrdyyYJv8jJcb_p29auMqSSKjbqXn9v494mkEjbw2buDlqIc1dXHMNggsYIAZmDm7NhBh2dVRWtFBaJ5PbifTmxTIOv2UzZjHI6ItLln9XxeG3e/w640-h338/AAAAQSwz0m5NsltBXKWhhFBZXb0Nvy5_k3AMycbxSwfC9qjbbm2FTK3JOkz2tThOc8HbWdFy4d2NhO3mstGWa4HEpJJafaISvUyQRaQQmRPgoJEW6u1JJ7AZcoCgVUnqngx-7Tjd3pw0uc-UOF_sdZiZkh9U.jpeg" width="640" /></a></p><p style="text-align: left;"><span><span style="font-size: large; font-weight: normal;">Brown's melancholy hymn for the pain of those who cannot stop discovering, and Schwarz requiem for the man who lost everything to find out something he already knew in his bones, people whose pain and peace of mind are wrapped up around the same divining rod. Looking for the truth of colonial hubris and the millions tortured and killed in the same name can only bring pain along with the catharsis. We must know what happened, even if there's increasingly little proof that things have truly changed. </span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span><span style="font-weight: normal;"><br /></span><span style="font-size: x-large;"><span style="font-weight: normal;">99.<span style="white-space: pre;"> </span>Expedition Content<br /></span><span style="font-weight: normal;">by </span><span style="font-weight: 400;">Veronika Kusumaryati & Ernst Karel</span></span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAHYcoRe6tgLlfD5yWMsK7vp82mg_SLbrAFw0tQPNVliJQNBAVSVWjs4iJwSdo_U1TQdxg5Z-Y6UO0FStlVTSWs3HpgX0bC4cO3gKEtzgfX8zB14gEosOAjUpwVS-CFhfO81mE49iARlAdI1qP7s_7Tq6jo2QHj0xNk5tflCCUQxDwV76ureIPbBn2/s1800/merlin_199786344_2a511e8a-97aa-4c47-a39b-2eedd8f1e0aa-mobileMasterAt3x.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1013" data-original-width="1800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAHYcoRe6tgLlfD5yWMsK7vp82mg_SLbrAFw0tQPNVliJQNBAVSVWjs4iJwSdo_U1TQdxg5Z-Y6UO0FStlVTSWs3HpgX0bC4cO3gKEtzgfX8zB14gEosOAjUpwVS-CFhfO81mE49iARlAdI1qP7s_7Tq6jo2QHj0xNk5tflCCUQxDwV76ureIPbBn2/w640-h360/merlin_199786344_2a511e8a-97aa-4c47-a39b-2eedd8f1e0aa-mobileMasterAt3x.jpeg" width="640" /></a><span style="font-size: large;">From the depths of Harvard's archives, a memorial and a séance in one truly blank canvas. The man lost to his whims and dreams, resurrected in the dark, inviting the mind to draw cave paintings of his absence, of his ambition. Music for the soul, and the gift of an image-free cinema for the mind. Unsupportable? As Daffy Duck told the agent, "I can only do it once." But once is enough. </span><span style="font-size: x-large;"><span style="font-weight: 400;"><br /></span><span style="font-weight: normal;"><br /></span></span></p><p style="text-align: left;"><span style="font-size: x-large;"><span style="font-weight: normal;">100.<span style="white-space: pre;"> </span>Prey for the Devil / Smile<br /></span><span style="font-weight: normal;">by Daniel Stamm / Parker Finn</span></span></p><p style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDPSZvGae912IzxRnOWUWppzjIw2ZTALGl-PVLDP71U7CCMaGxHKuDbM6r7TkvbhhCuNa5ozAGaVrzXbqpD3LTk0VedxvdNgxwG2ZQbNrx-01IzXnaHvwX0yRo4nXFY3CVNY44r65iHiLsnyOfL_dCAyQluujpcDKMxdgeoJl5Y6gkW8xFDL_CETqi/s1600/jacqueline-byers-and-colin-salmon-in-prey-for-the-devil-lionsgate-photo-credit-vlad-cioplea-1666860615.jpeg" style="font-size: xx-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDPSZvGae912IzxRnOWUWppzjIw2ZTALGl-PVLDP71U7CCMaGxHKuDbM6r7TkvbhhCuNa5ozAGaVrzXbqpD3LTk0VedxvdNgxwG2ZQbNrx-01IzXnaHvwX0yRo4nXFY3CVNY44r65iHiLsnyOfL_dCAyQluujpcDKMxdgeoJl5Y6gkW8xFDL_CETqi/w640-h426/jacqueline-byers-and-colin-salmon-in-prey-for-the-devil-lionsgate-photo-credit-vlad-cioplea-1666860615.jpeg" width="640" /></a></p><p style="text-align: left;"><span style="font-size: x-large;"></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;">The mid-budget horror movie, the one that makes it to theatres, is becoming as rare a breed as the big budget romantic comedy, and so should never be taken for granted. This year we got a few of each and their delights were plentiful. Stamm's follow-up to his wonderful found footage <i>Last Exorcism </i>sees him in bombastic voice but steady of hand. A movie that hints at madness but stays its course. Parker Finn's marvelously cruel <i>Smile </i>mines terror from the silliest things and is only too happy to admit he's doing it. I like movies that are honest with you about their aims, that don't have to pretend to be smarter than they are. Sometimes being scared is enough. Sometimes enjoying a tawdry idea done well is perfection.</span></div><p></p><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3><h3 style="text-align: left;"></h3></div>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com2tag:blogger.com,1999:blog-8048150012419794149.post-73478779031132602692023-01-02T12:47:00.010-05:002023-01-02T15:17:07.086-05:00The 2022 Monsieur Oscars<p><span style="font-family: times; font-size: x-large;">Favourite Fiction Feature</span></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmv1QsdOQXR0LipmrZFoR5vLgN7f7DyVOhGF9dwkUr1ZQTZX5dUFniIWSNypA96mBi6ZKaet7Hvvy-pZjzvmxczA4tmL036IZaKBPsgkeKUAhuHjmzKmpc4ZqINvFzrXESr21dwuCUDn3r3wMd80HdR_RvkQzHVSbD04gU5MaaG4jGcpYUSz9S0dGu/s2560/Brody-The-Fabelmans.webp" style="font-family: Helvetica; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmv1QsdOQXR0LipmrZFoR5vLgN7f7DyVOhGF9dwkUr1ZQTZX5dUFniIWSNypA96mBi6ZKaet7Hvvy-pZjzvmxczA4tmL036IZaKBPsgkeKUAhuHjmzKmpc4ZqINvFzrXESr21dwuCUDn3r3wMd80HdR_RvkQzHVSbD04gU5MaaG4jGcpYUSz9S0dGu/w640-h426/Brody-The-Fabelmans.webp" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">The Fablemans</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">Crimes of the Future</span></li><li><span style="font-size: large;">Hold Me Tight</span></li><li><span style="font-size: large;">Detective vs. Sleuths</span></li><li><span style="font-size: large;">Shin Ultraman</span></li><li><span style="font-size: large;">Living</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">Broker</span></li><li><span style="font-size: large;">Lingui, the Sacred Bonds</span></li><li><span style="font-size: large;">Ambulance</span></li><li><span style="font-size: large;">Nope</span></li><li><span style="font-size: large;">Both Sides of the Blade</span></li><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">Deception</span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">Deep Water</span></li><li><span style="font-size: large;">Kimi</span></li><li><span style="font-size: large;">One Second</span></li><li><span style="font-size: large;">Decision to Leave</span></li><li><span style="font-size: large;">Nobody’s Hero</span></li><li><span style="font-size: large;">X</span></li></ol><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-family: times; font-size: x-large;">Favourite Non-Fiction Film</span></p><p class="p2" style="-webkit-text-stroke-width: 0px; color: black; font: 400 medium Helvetica; letter-spacing: normal; margin: 0px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></p><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-GkAmpCyxRbO07CPMVLBKC1cU9gj0O0PHqu6WZX3fqmevCpHXU2a3cBP_a5p5SIXGvX1ZMzHz246MSVNp-reKdirJNgzqLLeYUF34mGKY_HJcRIgeTaWB22EYkNOn95y11vc65EU-n_XnKJ3gJv8XWk8SYZv9jjue-3hYo3l6zLruGL2XME_PvYg7/s1780/202214813_5_RWD_1780.webp" style="font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1001" data-original-width="1780" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-GkAmpCyxRbO07CPMVLBKC1cU9gj0O0PHqu6WZX3fqmevCpHXU2a3cBP_a5p5SIXGvX1ZMzHz246MSVNp-reKdirJNgzqLLeYUF34mGKY_HJcRIgeTaWB22EYkNOn95y11vc65EU-n_XnKJ3gJv8XWk8SYZv9jjue-3hYo3l6zLruGL2XME_PvYg7/w640-h360/202214813_5_RWD_1780.webp" width="640" /></a></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">This Much I Know To Be True</span></li><li><span style="font-size: large;">All That Breathes</span></li><li><span style="font-size: large;">Riotsville USA</span></li><li><span style="font-size: large;">All The Beauty and the Bloodshed</span></li><li><span style="font-size: large;">Jackass 4.5 / Jackass Forever</span></li><li><span style="font-size: large;">Gladbeck: The Hostage Crisis<span class="Apple-converted-space"> </span></span></li><li><span style="font-size: large;">The Last Movie Stars</span></li><li><span style="font-size: large;">Sirens</span></li><li><span style="font-size: large;">Nothing Compares</span></li><li><span style="font-size: large;">Mija</span></li><li><span style="font-size: large;">We All Scream</span></li><li><span style="font-size: large;">Louis Armstrong’s Blacks and Blues</span></li><li><span style="font-size: large;">Descendent<span class="Apple-converted-space"> </span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Meet Me in the Bathroom</span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Girl Talk</span></span></li></ol><p></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"></span></p><p class="p2" style="-webkit-text-stroke-width: 0px; color: black; font: 400 medium Helvetica; letter-spacing: normal; margin: 0px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></p><ol style="-webkit-text-stroke-width: 0px; color: black; font-family: Times; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></ol><p></p><p class="p2" style="-webkit-text-stroke-width: 0px; color: black; font: 400 medium Times; letter-spacing: normal; margin: 0px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span><span class="Apple-converted-space" style="font-family: times; font-size: x-large;">Favourite Experimental Work</span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCIJYaXykkiLCjQlabsPyQu25lKLOMg-qu7h37Gc2CkKaI7kXD1xuabGsysK36k1y2BL9S7ao-0NccPNvywQjc6-7YIt7NyqWHwXeKkOZdPXvrFX9RW0t3i6IvoOOEiCFpcMDdOBhC4zD9WNgc3kwrLQLtse_Ht3jPA9OsiT5O0n542H1MWfCZqON4/s1024/Skinamarink-trailer.webp" style="font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="584" data-original-width="1024" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCIJYaXykkiLCjQlabsPyQu25lKLOMg-qu7h37Gc2CkKaI7kXD1xuabGsysK36k1y2BL9S7ao-0NccPNvywQjc6-7YIt7NyqWHwXeKkOZdPXvrFX9RW0t3i6IvoOOEiCFpcMDdOBhC4zD9WNgc3kwrLQLtse_Ht3jPA9OsiT5O0n542H1MWfCZqON4/w640-h366/Skinamarink-trailer.webp" width="640" /></a></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol><li><span style="font-size: large;">Skinamarink</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">A Couple</span></li><li><span style="font-size: large;">Against Time</span></li><li><span style="font-size: large;">Coma</span></li><li><span style="font-size: large;">The Severing</span></li><li><span style="font-size: large;">Neptune Frost</span></li><li><span style="font-size: large;">The Tsugua Diaries</span></li><li><span style="font-size: large;">Untitled (With Zoey)</span></li><li><span style="font-size: large;">Kicking The Clouds</span></li><li><span style="font-size: large;">Listen to the Beat of our Images</span></li><li><span style="font-size: large;">Motorcyclist’s Happiness Won’t Fit into his Suit<span class="Apple-converted-space"> </span></span></li><li><span style="font-size: large;">Trust Exercises</span></li><li><span style="font-size: large;">Expedition Content</span></li><li><span style="font-size: large;">Lux Æterna</span></li></ol><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span><span class="Apple-converted-space" style="font-family: times; font-size: x-large;"><br /></span></span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span><span class="Apple-converted-space" style="font-family: times; font-size: x-large;">Favorite Performance By a Director</span></span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span><span class="Apple-converted-space" style="font-family: times; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxuwZ1E8ttd-ZI0bMiyztz82ovUqDIgLQrOrCxlOUVGs8PGL7gvY-rgufdX8Z857a3Z1t6VdytUip1bJWTFyi_WeYSf3oGjp69i7GbjhauAdJmSMfaTSJSjtxv9eg7IXLm-S3ciAF9rab4QOjE2nF8bT5tPV1diJfuUePVgDKWDZkyhfOOqPtnMBzm/s681/Marco-Bellocchio_ph.Anna-Camerlingo_DSC3678.webp" style="font-family: Helvetica; font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxuwZ1E8ttd-ZI0bMiyztz82ovUqDIgLQrOrCxlOUVGs8PGL7gvY-rgufdX8Z857a3Z1t6VdytUip1bJWTFyi_WeYSf3oGjp69i7GbjhauAdJmSMfaTSJSjtxv9eg7IXLm-S3ciAF9rab4QOjE2nF8bT5tPV1diJfuUePVgDKWDZkyhfOOqPtnMBzm/w640-h360/Marco-Bellocchio_ph.Anna-Camerlingo_DSC3678.webp" width="640" /></a></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Marco Bellocchio<span class="Apple-converted-space"> - <i>Exterior Night</i></span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Jerzy Skolimowski - EO</span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">David Cronenberg - Crimes of the Future</span></span></li><li><span style="font-size: large;">Olivier Assayas - Irma Vep</span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Steven Spielberg - The Fabelmans</span></span></li><li><span style="font-size: large;">Wai ka-Fai - Detective Vs Sleuths.</span></li><li><span style="font-size: large;">Joanna Hogg - The Eternal Daughter</span></li><li><span style="font-size: large;">Claire Denis - Both Sides of the Blade / The Stars at Noon</span></li><li><span style="font-size: large;">Oliver Harmanus - Living</span></li><li><span style="font-size: large;">Mark Pellington - The Severing</span></li><li><span style="font-size: large;">Lei Qiao - Hidden Fox</span></li><li><span style="font-size: large;">Rob Zombie - The Munsters </span></li><li><span style="font-size: large;">Lokesh Kanagaraj - Vikram</span></li><li><span style="font-size: large;">Lucile Hadžihalilović - Earwig</span></li><li><span style="font-size: large;">Fred Wiseman - A Couple</span></li><li><span style="font-size: large;">Mark Jenkin - Enys Men</span></li><li><span style="font-size: large;">Steven Soderbergh - Kimi</span></li><li><span style="font-size: large;">Adrian Lyne - Deep Water</span></li><li><span style="font-size: large;">Zhang Yimou - One Second / Snipers</span></li><li><span style="font-size: large;">Jordan Peele - Nope</span></li><li><span style="font-size: large;">Ti West - X / Pearl</span></li><li><span style="font-size: large;">S. S. Rajamouli - RRR</span></li><li><span style="font-size: large;">George Miller<span class="Apple-converted-space"> - Three Thousand Years of Longing</span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Mahamat-Saleh Haroun - Lingui, the Sacred Bonds </span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Park Chan-Wook - Decision to Leave </span></span></li></ol><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;">Favourite Original Screenplay</span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqUdBt4AEkpXCjpOvexgc7t55VuHIFMB6DkHcljJCYKzeZt1fW3PcTy18Nw1NCJHTeJBA_lN5NoNVLfqT_JEJnuy4Y77oZwLHBzgVUAkdYglEDO1oSnf6fUkkg6vt6OXeGw3P5UCRNHanWOQPIDq-HcGT3tgYwpkUaSpg-3m7Tlt2egmN6slCpw1m5/s1024/060222fi-Crimes-of-the-Future.jpeg" style="font-family: Helvetica; font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="558" data-original-width="1024" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqUdBt4AEkpXCjpOvexgc7t55VuHIFMB6DkHcljJCYKzeZt1fW3PcTy18Nw1NCJHTeJBA_lN5NoNVLfqT_JEJnuy4Y77oZwLHBzgVUAkdYglEDO1oSnf6fUkkg6vt6OXeGw3P5UCRNHanWOQPIDq-HcGT3tgYwpkUaSpg-3m7Tlt2egmN6slCpw1m5/w640-h348/060222fi-Crimes-of-the-Future.jpeg" width="640" /></a></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Crimes of the Future</span></li><li><span style="font-size: large;">X</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">The Fablemans</span></li><li><span style="font-size: large;">You Won’t Be Alone</span></li><li><span style="font-size: large;">Detective Vs. Sleuths</span></li><li><span style="font-size: large;">Vesper</span></li><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">Broker</span></li></ol><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;">Favourite Adapted Screenplay</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBLFOgCnKm8xburP9Kg4AD5bp16rwliOBwjB4RI-8O_CyO6oi9D2oC7N9aPXEbNmTtxkxF0FTx0tyorCDVOQzLd95a7oWVLMZrZLa4eOJt7yN_mkLmn84hDcfl2JGtTN8cGRy_ytJopbPoy9Nz8yPoENBQkIvm9CDt1QB7KZ65ah0rDJXGQbDRnw_/s1280/MV5BMmUwY2MyZTgtN2ZmMS00NjZiLTk4ZjctZjY4MWE4ZGJlMGJhXkEyXkFqcGdeQXVyODM3OTYyMTQ@._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBLFOgCnKm8xburP9Kg4AD5bp16rwliOBwjB4RI-8O_CyO6oi9D2oC7N9aPXEbNmTtxkxF0FTx0tyorCDVOQzLd95a7oWVLMZrZLa4eOJt7yN_mkLmn84hDcfl2JGtTN8cGRy_ytJopbPoy9Nz8yPoENBQkIvm9CDt1QB7KZ65ah0rDJXGQbDRnw_/w640-h360/MV5BMmUwY2MyZTgtN2ZmMS00NjZiLTk4ZjctZjY4MWE4ZGJlMGJhXkEyXkFqcGdeQXVyODM3OTYyMTQ@._V1_.jpg" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;">Living</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">Irma Vep</span></li><li><span style="font-size: large;">A Couple</span></li><li><span style="font-size: large;">Both Sides of the Blade</span></li><li><span style="font-size: large;">Ambulance</span></li><li><span style="font-size: large;">The Stars at Noon</span></li><li><span style="font-size: large;">Shin Ultraman</span></li></ol><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;">Favourite Performance by an Actress in a Lead Role</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT7fYLVst1dFhCONp-aazrlg07rgkNLCJ0iN60Z8Y8AyotMIa6dvOY212llmbkNLtMJfJl4NDgAgZEJYtglvwiXYhL6sj6PS9PdGpmkKCnQw7h6dpA51bb0Ys9O_CRgUMmgwYlxOXOygtPH2zBQd_gSJrH1LGp9M5BnJZdshQvoGafZCVNzPI09oRv/s1200/to-leslie-movie-review-2022.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT7fYLVst1dFhCONp-aazrlg07rgkNLCJ0iN60Z8Y8AyotMIa6dvOY212llmbkNLtMJfJl4NDgAgZEJYtglvwiXYhL6sj6PS9PdGpmkKCnQw7h6dpA51bb0Ys9O_CRgUMmgwYlxOXOygtPH2zBQd_gSJrH1LGp9M5BnJZdshQvoGafZCVNzPI09oRv/w640-h266/to-leslie-movie-review-2022.jpeg" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Andrea Riseborough - <i>Here Before / To Leslie</i></span></li><li><span style="font-size: large;">Thandiwe Newton - <i>God’s Country</i></span></li><li><span style="font-size: large;">Isabelle Fuhrman & Julia Stiles - <i>Orphan: First Kill<span class="Apple-converted-space"> </span></i></span></li><li><span style="font-size: large;">Havana Rose Liu - <i>No Exit</i></span></li><li><span style="font-size: large;">Mena Suvari - <i>House of Chains</i></span></li><li><span style="font-size: large;">Lea Seydoux - <i>The Story of My Wife / One Fine Morning</i></span></li><li><span style="font-size: large;">Ana De Armas - <i>Deep Water</i></span><span style="font-size: large;"><i><span> / </span><span>Blonde</span></i></span></li><li><span style="font-size: large;">Jessie Buckley & Claire Foy - <i>Women Talking</i></span></li><li><span style="font-size: large;">Michelle Yeoh - <i>Everything Everywhere All At Once</i></span></li><li><span style="font-size: large;"><span>Ryan Kiera Armstrong - <i>Firestarte</i></span><span><i>r</i></span></span></li><li><span style="font-size: large;">Ji-eun Lee - <i>Broker</i></span></li><li><span style="font-size: large;">Juliet Binoche - <i>Both Sides of the Blade</i></span></li><li><span style="font-size: large;">Amber Midthunder - <i>Prey</i></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Dale Dickey - <i>A Love Song</i></span></span></li><li><span style="font-size: large;">Radha Mitchell - <i>Devil's Workshop</i></span></li><li><span style="font-size: large;">Tang Wei - <i>Decision to Leave</i></span></li><li><span style="font-size: large;">Michelle Williams - <i>The Fabelmans</i></span></li><li><span style="font-size: large;">Aubrey Plaza - <i>Emily the Criminal</i></span></li><li><span style="font-size: large;">Vicky Krieps - <i>Corsage / Hold Me Tight</i></span></li><li><span style="font-size: large;">Odessa A’Zion - <i>Hellraiser</i></span></li></ol><p></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;">Favourite Performance by an Actor in a Lead Role</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Lfr-upJf60AlpWU6TOEoa2_HsG5gu3tslKjunlx45LHRQ0kVB9Cz1WBwhWCr3lyqdvc1y5S37VfofHux0z57QNnSzzS_HczbfvtOOPUqGFr15y9XuCHzT2l2ZzcrM8d36Hs1H6xTB6ZaqULIWcmUFyQ994BmTtBWKfCCM9wEdtRkE4ZGFWDD9Nk8/s3396/2T6FXTC37VBMJIUZB3MR7RVDDE.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1780" data-original-width="3396" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Lfr-upJf60AlpWU6TOEoa2_HsG5gu3tslKjunlx45LHRQ0kVB9Cz1WBwhWCr3lyqdvc1y5S37VfofHux0z57QNnSzzS_HczbfvtOOPUqGFr15y9XuCHzT2l2ZzcrM8d36Hs1H6xTB6ZaqULIWcmUFyQ994BmTtBWKfCCM9wEdtRkE4ZGFWDD9Nk8/w640-h336/2T6FXTC37VBMJIUZB3MR7RVDDE.webp" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Patton Oswalt - <i>I Love My Dad<span class="Apple-converted-space"> </span></i></span></li><li><span style="font-size: large;">Jonathan Majors - <i>Devotion</i></span></li><li><span style="font-size: large;">Alan Lau - <i>Detective Vs. Sleuths</i></span></li><li><span style="font-size: large;">John Boyega - <i>892</i> or <i>Breaking</i></span></li><li><span style="font-size: large;">Brendan Fraser - <i>The Whale</i></span></li><li><span style="font-size: large;">Daniel Kaluuya - <i>Nope</i></span></li><li><span style="font-size: large;">Gabriel LaBelle - <i>The Fablemans</i></span></li><li><span style="font-size: large;">Jake Gylenhaal & Yahya-Abdul Matteen II - <i>Ambulance</i></span></li><li><span style="font-size: large;">Scott Adkins - <i>Accident Man: Hitman's Holiday</i></span></li><li><span style="font-size: large;">Hugh Bonneville - <i>I Came By</i></span></li><li><span style="font-size: large;">Bill Nighy - <i>Living</i></span></li><li><span style="font-size: large;">Ben Affleck - <i>Deep Water</i></span></li><li><span style="font-size: large;">Caleb Landry-Jones - <i>Nitram</i></span></li><li><span style="font-size: large;">Vincent Lindon - <i>Both Sides of the Blade</i></span></li><li><span style="font-size: large;">Ram Charan & N.T. Rama Rao Jr. - <i>RRR</i></span></li><li><span style="font-size: large;">Colin Farrell - <i>Banshees of Inisherin</i></span></li><li><span style="font-size: large;">Tony Todd - <i>Traveling Light</i></span></li><li><span style="font-size: large;">Song Kang-ho & Dong-won Gang - <i>Broker</i></span></li><li><span style="font-size: large;">Adam Driver - <i>White Noise</i></span></li><li><span style="font-size: large;">Ke Huy Quan - <i>Everything Everywhere All At Once</i></span></li></ol><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;">Favourite Performance by an Actor in a Supporting Role</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGRJDb9BqucOjgugF5LkU45csitg8qUGtus7UgvkDi_UVDt7PziqSBSyr25TqV0a3yvcKwicQFLvyFVdXMOL5Z5qe-Lloj_OLwZtgPKigV4aPsGDRKg1Jds7xu4xLabJrQYDy3FYg07edoxDnN4xj3BwsxYfK_NCTVGHf_ApNA5JctEEYxrkyCUHaY/s1600/l-intro-1658356859.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGRJDb9BqucOjgugF5LkU45csitg8qUGtus7UgvkDi_UVDt7PziqSBSyr25TqV0a3yvcKwicQFLvyFVdXMOL5Z5qe-Lloj_OLwZtgPKigV4aPsGDRKg1Jds7xu4xLabJrQYDy3FYg07edoxDnN4xj3BwsxYfK_NCTVGHf_ApNA5JctEEYxrkyCUHaY/w640-h360/l-intro-1658356859.jpeg" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Michael Wincott - Nope</span></li><li><span style="font-size: large;">Wes Studi - <i>A Love Song</i></span></li><li><span style="font-size: large;">Richard Brake - <i>Off Season / Barbarian / The Munsters / Vesper</i></span></li><li><span style="font-size: large;">Jeffrey Donavan - <i>First Love</i></span></li><li><span style="font-size: large;">Danny Huston - <i>Traveling Light</i></span></li><li><span style="font-size: large;">Dennis Haysbert - <i>No Exit</i></span></li><li><span style="font-size: large;">Michael K. Williams - <i>892</i> or <i>Breaking</i></span></li><li><span style="font-size: large;">Seth Rogen - </span><span style="font-size: large;"><i>The Fablemans</i></span></li><li><span style="font-size: large;">Ty Simpkin - <i>The Whale</i></span></li><li><span style="font-size: large;">Morgan Freeman - <i>Paradise Highway</i></span></li><li><span style="font-size: large;">Eddie Marsan - <i>Vesper</i></span></li><li><span style="font-size: large;">Don Cheadle - <i>White Noise</i></span></li><li><span style="font-size: large;">Anthony Lapaglia - <i>Nitram</i></span></li><li><span style="font-size: large;">Gregoire Colin - <i>Both Sides of the Blade</i></span></li><li><span style="font-size: large;">Lil Rel Howery - <i>I Love My Dad<span class="Apple-converted-space"> / Deep Water</span></i></span></li><li><span style="font-size: large;">James Hong - <i>Everything Everywhere All At Once</i></span></li><li><span style="font-size: large;">Michael Greyeyes & Kurtwood Smith - <i>Firestarter</i></span></li><li><span style="font-size: large;">Ronnie Gene Blevins - <i>What Josiah Saw / Emancipation</i></span></li><li><span style="font-size: large;">Adrien Brody - <i>Blonde</i></span></li><li><span style="font-size: large;">Ray Stevenson<i> - Accident Man: Hitman's Holiday</i></span></li></ol><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: times; font-size: x-large;">Favourite Performance by an Actress in a Supporting Role</span></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgDbHkGLwtSmfInqqO8H9PS_ZesrnPUvt-p6GfF3vszdtHTyBDLvuF6MJeLGmJJBmjNYA7vBseBgP4ZZn3QWXiqLKq94bub23KkfISygkPMciEcUSd2IbxmCu_yjjEVIliZZVaoJloaS9sg9AMNN8lHRR2Fgtn1z8U1ZcYhnZvMkFMMr1B97mwjq5A/s1280/maxresdefault.jpeg" style="font-family: Helvetica; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgDbHkGLwtSmfInqqO8H9PS_ZesrnPUvt-p6GfF3vszdtHTyBDLvuF6MJeLGmJJBmjNYA7vBseBgP4ZZn3QWXiqLKq94bub23KkfISygkPMciEcUSd2IbxmCu_yjjEVIliZZVaoJloaS9sg9AMNN8lHRR2Fgtn1z8U1ZcYhnZvMkFMMr1B97mwjq5A/w640-h360/maxresdefault.jpeg" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Judy Davis - <i>Nitram</i></span></li><li><span style="font-size: large;">Kim Tae-ri - <i>Alienoid</i></span></li><li><span style="font-size: large;">Dale Dickey - <i>No Exit</i></span></li><li><span style="font-size: large;">Hala Finley - <i>Paradise Highway</i></span></li><li><span style="font-size: large;">Kelly McDonald - <i>I Came By</i></span></li><li><span style="font-size: large;">Andrea Riseborough - <i>Matilda: The Musical</i></span></li><li><span style="font-size: large;">Aisling Franciosi - <i>God's Creatures</i></span></li><li><span style="font-size: large;">Hayley Squires - <i>Essex Serpent / True Things</i></span></li><li><span style="font-size: large;">Stephanie Hsu - <i>Everything Everywhere All At Once</i></span></li><li><span style="font-size: large;">Noomi Rapace - <i>You Won’t Be Alone</i></span></li><li><span style="font-size: large;">Ramola Garai - <i>Earwig</i></span></li><li><span style="font-size: large;">Kelli Garner - <i>What Josiah Saw</i></span></li><li><span style="font-size: large;">Bulle Ogier & Lola Creton - <i>Both Sides of the Blade</i></span></li><li><span style="font-size: large;">Niamh Algar - <i>The Wonder</i></span></li><li><span style="font-size: large;">Sadie Sink - <i>The Whale</i></span></li><li><span style="font-size: large;">Kristen Stewart - <i>Crimes of the Future</i></span></li><li><span style="font-size: large;">Lupita Nyong'o - <i>Black Panther: Wakanda Forever</i></span></li><li><span style="font-size: large;">Kate Winslet - <i>Avatar: The Way of Water</i></span></li><li><span style="font-size: large;">Molly Gordon - <i>There There</i></span></li><li><span style="font-size: large;">Lashana Lynch - <i>The Woman King / Matilda the Musical </i></span></li></ol><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: x-large;">Favourite Performance by an Ensemble Cast</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRYJSgiFc3tRtiT96HMfYTyB6v4UTHh5cr3YHUyq1vJfU2KohSPfYpHEiq0ia9zONsps6asZe0S6qBiYgoGwRk_uieWtd5BS_WL1ZpzNIL1MWtOIeRe9jTFHhdnalhr_BntOZvGNQ195LCCUNxToBefMwS8Ho5HNr2tiqu2GLY_4wqudT_x5jGw4gQ/s550/jackass-4-5-inline2.jpeg" style="font-family: Helvetica; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="309" data-original-width="550" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRYJSgiFc3tRtiT96HMfYTyB6v4UTHh5cr3YHUyq1vJfU2KohSPfYpHEiq0ia9zONsps6asZe0S6qBiYgoGwRk_uieWtd5BS_WL1ZpzNIL1MWtOIeRe9jTFHhdnalhr_BntOZvGNQ195LCCUNxToBefMwS8Ho5HNr2tiqu2GLY_4wqudT_x5jGw4gQ/w640-h360/jackass-4-5-inline2.jpeg" width="640" /></a></div><div><ol style="text-align: left;"><li><span style="font-size: large;">Jackass Forever / Jackass 4.5</span></li><li><span style="font-size: large;">The Severing</span></li><li><span style="font-size: large;">Shin Ultraman</span></li><li><span style="font-size: large;">The Fabelmans</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Crimes of the Future</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">Broker</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">Both Sides of the Blade</span></li><li><span style="font-size: large;">Matilda: The Musical</span></li><li><span style="font-size: large;">Thirteen Lives</span></li><li><span style="font-size: large;">Apollo 10 1/2: A Space Age Adventure</span></li><li><span style="font-size: large;">The Quiet Girl</span></li><li><span style="font-size: large;">Nobody’s Hero</span></li></ol></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span><span style="font-family: Times; font-size: x-large;">Achievement in Cinematography</span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gew7l_Lhe4Nip1arK9GKw18UKDHvKtolI3iW-lOoQY_SqmmfQRzebhEQYgWvQpJ5kvBmOqieVl8VcxHQfP8jjg8vgx-4Exm1bj2FZCwJWrgNFhEFCdKUG7iQu8YgSdX0bSnDbHCIJui4666oTF7dzhmCmk3x7WyIYy6Lvwhwf-m_vnjE20F_1Kk_/s600/LIVING-_-Teaser-Trailer-2022-0-53-screenshot-1-600x351.webp" style="font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="351" data-original-width="600" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gew7l_Lhe4Nip1arK9GKw18UKDHvKtolI3iW-lOoQY_SqmmfQRzebhEQYgWvQpJ5kvBmOqieVl8VcxHQfP8jjg8vgx-4Exm1bj2FZCwJWrgNFhEFCdKUG7iQu8YgSdX0bSnDbHCIJui4666oTF7dzhmCmk3x7WyIYy6Lvwhwf-m_vnjE20F_1Kk_/w640-h374/LIVING-_-Teaser-Trailer-2022-0-53-screenshot-1-600x351.webp" width="640" /></a></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Living</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">Deep Water</span></li><li><span style="font-size: large;">Kimi</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">The Fablemans</span></li><li><span style="font-size: large;">Hidden Fox</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">Devotion</span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">Blonde</span></li><li><span style="font-size: large;">Nope</span></li><li><span style="font-size: large;">Decision to Leave</span></li><li><span style="font-size: large;">First Love</span></li><li><span style="font-size: large;">Ambulance</span></li><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">Detective Vs. Sleuths<span class="Apple-converted-space"> </span></span></li></ol><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: Times; font-size: x-large;">Achievement in Editing</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNrCnWv7O_kVWE86z-26j0ymcVQuMW1LuoDoTF-Tr-CrKmRHn019xxKsTBgvT1x3pbmt7Oe6A6M4eOpGl2nO9XE4z6cZBKNub1SkYJhcpsx3jTG81mQrRkJu29naRMVIlLEhMuY91VBjXMSp0y7LfUUlQhAoIBfGiQg7xJmiJK2xGlfK6voD8M9Vre/s1510/eternal.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="739" data-original-width="1510" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNrCnWv7O_kVWE86z-26j0ymcVQuMW1LuoDoTF-Tr-CrKmRHn019xxKsTBgvT1x3pbmt7Oe6A6M4eOpGl2nO9XE4z6cZBKNub1SkYJhcpsx3jTG81mQrRkJu29naRMVIlLEhMuY91VBjXMSp0y7LfUUlQhAoIBfGiQg7xJmiJK2xGlfK6voD8M9Vre/w640-h314/eternal.png" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">The Fablemans</span></li><li><span style="font-size: large;">Deep Water</span></li><li><span style="font-size: large;">Kimi</span></li><li><span style="font-size: large;"><span>Decision to Le</span><span>ave</span></span></li><li><span style="font-size: large;"><span>Living</span></span></li><li><span style="font-size: large;">The Stars at Noon</span></li><li><span style="font-size: large;">Nope</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">X</span></li><li><span style="font-size: large;">Both Sides of the Blade</span></li><li><span style="font-size: large;">Detective Vs. Sleuths<span class="Apple-converted-space"> </span></span></li><li><span style="font-size: large;">Top Gun: Maverick</span></li><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;">First Love</span></li><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">Ambulance</span></li><li><span style="font-size: large;">RRR</span></li></ol><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: Times; font-size: x-large;">Achievement in Costume Design</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjib8QnEeiRCK37WD3p-IRoGKoykrUSiwQfhPk9V4iv7lgkGrEwrC-6T9XMIF3bcUEFM5Whg6G_evyVJbWMwQfnOErjt5D7fC5EtuAj3sv-cuQx26SmAAlWCOXGDwVkZMUxe-DuY_wAZyxDrFS14eqIDXubCZw4fN4sWRq8EkkD7QFlJuUV0xs1uaCf/s1248/1653044833494_1248x0695_0x0x0x0_1653044852117.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="695" data-original-width="1248" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjib8QnEeiRCK37WD3p-IRoGKoykrUSiwQfhPk9V4iv7lgkGrEwrC-6T9XMIF3bcUEFM5Whg6G_evyVJbWMwQfnOErjt5D7fC5EtuAj3sv-cuQx26SmAAlWCOXGDwVkZMUxe-DuY_wAZyxDrFS14eqIDXubCZw4fN4sWRq8EkkD7QFlJuUV0xs1uaCf/w640-h356/1653044833494_1248x0695_0x0x0x0_1653044852117.jpeg" width="640" /></a></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Corsage</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">The Fablemans</span></li><li><span style="font-size: large;">Blonde</span></li><li><span style="font-size: large;">Living</span></li><li><span style="font-size: large;">Neptune Frost</span></li><li><span style="font-size: large;">The Pirates: The Last Royal Treasure </span></li><li><span style="font-size: large;">Irma Vep</span></li><li><span style="font-size: large;">Alienoid</span></li><li><span style="font-size: large;">Hansan: Dragon Rising</span></li><li><span style="font-size: large;">Jackass Forever / Jackass 4.5</span></li><li><span style="font-size: large;">Dead for a Dollar</span></li><li><span style="font-size: large;">Vesper</span></li></ol><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: Times; font-size: x-large;">Achievement in Production Design</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwlA3TUreLeRglbDXQpEvkON9JgCcrm3ao3p3N5-z2QrRu5QtO1QGtQrpoyjKgUOHo-a0xT23UgStXhcetFSpqz5afUslmtZsxW-GBY-SISbmkBOX-LtFa4YtKBCVSwjg7aFCEwxenAcLZEMqYb9fn7Zb2oSs05i4KXzNxrLNzrJgjyhK7hAyC5DLn/s1000/Earwig.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwlA3TUreLeRglbDXQpEvkON9JgCcrm3ao3p3N5-z2QrRu5QtO1QGtQrpoyjKgUOHo-a0xT23UgStXhcetFSpqz5afUslmtZsxW-GBY-SISbmkBOX-LtFa4YtKBCVSwjg7aFCEwxenAcLZEMqYb9fn7Zb2oSs05i4KXzNxrLNzrJgjyhK7hAyC5DLn/w640-h360/Earwig.webp" width="640" /></a></div><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;">Living</span></li><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">Neptune Frost</span></li><li><span style="font-size: large;"><span style="text-indent: 0px;">The Fablemans</span></span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">Snipers</span></li><li><span style="font-size: large;">Dead for a Dollar</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">Blonde</span></li><li><span style="font-size: large;">Vesper</span></li><li><span style="font-size: large;">Pearl / X</span></li><li><span style="font-size: large;">Dark Glasses</span></li><li><span style="font-size: large;">Flux Gourmet</span></li><li><span style="font-size: large;">Living</span></li><li><span style="font-size: large;">Thirteen Lives</span></li><li><span style="font-size: large;">Beast</span></li><li><span style="font-size: large;">Nope</span></li><li><span style="font-size: large;">Deep Water</span></li><li><span style="font-size: large;">Detective Vs. Sleuths</span></li><li><span style="font-size: large;">Crimes of the Future</span></li><li><span style="font-size: large;">Barbarian</span></li></ol><p></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Times; font-size: x-large; text-indent: 0px;">Achievement in Art Direction</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQhVzU2ZEPVoAyXo-0xg8MJMy0RILGuBEzW7FDb6Nq6x_hKzOD-BUt-_GqXvhyZ-S3DwPH0Vb0x3Ya_t9AuANybkwg1SEJ_iNIWqCOBnfTPFEuhFfuBG09tZBZhore6BvScEAaSybsCVnUa1_y2M9vlOvfO_e0X59PRFWIqDZHHkUfntdYxzdjuOCC/s768/three-thousand-years-of-longing-queen-of-sheba-scaled.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><img border="0" data-original-height="320" data-original-width="768" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQhVzU2ZEPVoAyXo-0xg8MJMy0RILGuBEzW7FDb6Nq6x_hKzOD-BUt-_GqXvhyZ-S3DwPH0Vb0x3Ya_t9AuANybkwg1SEJ_iNIWqCOBnfTPFEuhFfuBG09tZBZhore6BvScEAaSybsCVnUa1_y2M9vlOvfO_e0X59PRFWIqDZHHkUfntdYxzdjuOCC/w640-h266/three-thousand-years-of-longing-queen-of-sheba-scaled.jpeg" width="640" /></a></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">The Severing<span class="Apple-converted-space"> </span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space">Living</span></span></li><li><span style="font-size: large;"><span class="Apple-converted-space"><span style="text-indent: 0px;">The Eternal Daughter</span></span></span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;"><span style="text-indent: 0px;">The Fablemans</span></span></li><li><span style="font-size: large;">Vesper</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Blonde</span></li><li><span style="font-size: large;">Offseason</span></li><li><span style="font-size: large;">Hatching</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">Flux Gourmet</span></li><li><span style="font-size: large;">The Story of My Wife</span></li><li><span style="font-size: large;">Deception</span></li><li><span style="font-size: large;">Nope</span></li><li><span style="font-size: large;">Deep Water</span></li><li><span style="font-size: large;">Detective Vs. Sleuths</span></li><li><span style="font-size: large;">Hold Me Tight</span></li><li><span style="font-size: large;">Crimes of the Future</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">Hidden Fox</span></li><li><span style="font-size: large;">Pearl</span></li></ol><p></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Times; font-size: x-large; text-indent: 0px;">Achievement in Visual Effects</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMBJiMRVGDHXHdqyfKSBRWNeOErR_LBL9tAH5Tn0yWvTati0gi5gWqWyQ356ptx7IG-QTAsbRINpqpcnR1fVkqYYGRec_VKGlhwerMEj2DNjRCPO707yjxfkwsHUSl1yhwC1Kvsi83MPrzme_UN7zWXsCQUSp3wha8V3RrdZnGyPqnRHVLyDkIvWFR/s500/MV5BYjFhODI5NzMtMGVkMC00NmViLWFkOWUtOWUzYjJmZTZiZWM4XkEyXkFqcGdeQWFybm8@._V1_QL75_UX500_CR0,0,500,281_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center; text-indent: 0px;"><img border="0" data-original-height="281" data-original-width="500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMBJiMRVGDHXHdqyfKSBRWNeOErR_LBL9tAH5Tn0yWvTati0gi5gWqWyQ356ptx7IG-QTAsbRINpqpcnR1fVkqYYGRec_VKGlhwerMEj2DNjRCPO707yjxfkwsHUSl1yhwC1Kvsi83MPrzme_UN7zWXsCQUSp3wha8V3RrdZnGyPqnRHVLyDkIvWFR/w640-h360/MV5BYjFhODI5NzMtMGVkMC00NmViLWFkOWUtOWUzYjJmZTZiZWM4XkEyXkFqcGdeQWFybm8@._V1_QL75_UX500_CR0,0,500,281_.jpg" width="640" /></a></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Skinamarink</span></li><li><span style="font-size: large;">Moonfall</span></li><li><span style="font-size: large;">Three Thousand Years of Longing</span></li><li><span style="font-size: large;">The Lost Bullet 2</span></li><li><span style="font-size: large;">Hansan: Dragon Rising</span></li><li><span style="font-size: large;">Vesper</span></li><li><span style="font-size: large;">Beast</span></li><li><span style="font-size: large;">Orphan: First Kill</span></li><li><span style="font-size: large;">Fall</span></li><li><span style="font-size: large;">Top Gun: Maverick</span></li><li><span style="font-size: large;">Alienoid</span></li><li><span style="font-size: large;">Nope</span></li><li><span style="font-size: large;">Devotion</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">The Pirates: The Last Royal Treasure </span></li></ol><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: large;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: Times; font-size: x-large;">Favourite Original Score</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht19D5Hk0pXeGCPJNsIHWN3zAx_j5dTyO-iUOsNxt7v1KV4ADHkDBmYgEbfs-iirCMHzUmx3_9lhRW8q0EEMLULUoqTGCYqrmDamUt_Eq-1yiqtN63fEBwWsG87I-LvUsSM6np2IpQH_Syv-ngJzay-gufL1PA68611yqZVr60jn7rMyK9Hn8U_zs7/s740/thumb_720A168B-B4DE-44C6-8AC8-8FA270D13D36.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="740" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht19D5Hk0pXeGCPJNsIHWN3zAx_j5dTyO-iUOsNxt7v1KV4ADHkDBmYgEbfs-iirCMHzUmx3_9lhRW8q0EEMLULUoqTGCYqrmDamUt_Eq-1yiqtN63fEBwWsG87I-LvUsSM6np2IpQH_Syv-ngJzay-gufL1PA68611yqZVr60jn7rMyK9Hn8U_zs7/w640-h328/thumb_720A168B-B4DE-44C6-8AC8-8FA270D13D36.jpeg" width="640" /></a></div><p></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><ol style="text-align: left;"><li><span style="font-size: large;">Kimi</span></li><li><span style="font-size: large;">Crimes of the Future</span></li><li><span style="font-size: large;">Firestarter<span class="Apple-converted-space"> </span></span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">EO</span></li><li><span style="font-size: large;">Both Sides of the Blade / Stars at Noon</span></li><li><span style="font-size: large;">Earwig</span></li><li><span style="font-size: large;">The Eternal Daughter</span></li><li><span style="font-size: large;">Blonde</span></li><li><span style="font-size: large;">Enys Men</span></li><li><span style="font-size: large;">Vesper</span></li><li><span style="font-size: large;">Vikram</span></li><li><span style="font-size: large;">The Munsters</span></li><li><span style="font-size: large;">Barbarian</span></li><li><span style="font-size: large;">Dead for a Dollar</span></li></ol><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: xx-large;">Achievement in Stunt Work</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTfZ3nYZY_MbrIav1f02d-BRhIvVxLTLll445U5v8xb9EL6tROjdaI9rT7mfu9VAN7JjET1Eqreqe6z8RlN35ZNhuubvHXT4cTCppd_SJkjPInjz-JfNhyhfS5YOzBxhTXybLSvhKshhhq2tTnHwo-kHTHEH1vkIjXvq1H3ZpVdzCoZ-MvU14mzPAb/s1024/Vikram-1-1024x490.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="1024" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTfZ3nYZY_MbrIav1f02d-BRhIvVxLTLll445U5v8xb9EL6tROjdaI9rT7mfu9VAN7JjET1Eqreqe6z8RlN35ZNhuubvHXT4cTCppd_SJkjPInjz-JfNhyhfS5YOzBxhTXybLSvhKshhhq2tTnHwo-kHTHEH1vkIjXvq1H3ZpVdzCoZ-MvU14mzPAb/w640-h306/Vikram-1-1024x490.jpeg" width="640" /></a></div><div><br /></div><div><ol><li><span style="font-size: large;">Vikram </span></li><li><span style="font-size: large;">Hidden Fox</span></li><li><span style="font-size: large;">Detective Vs Sleuths</span></li><li><span style="font-size: large;">The Pirates: The Last Royal Treasure </span></li><li><span style="font-size: large;">The Lost Bullet 2</span></li><li><span style="font-size: large;">Ambulance</span></li><li><span style="font-size: large;">Jackass 4.5 / Jackass Forever</span></li><li><span style="font-size: large;">RRR</span></li><li><span style="font-size: large;">Top Gun: Maverick</span></li><li><span style="font-size: large;">Devotion</span></li><li><span style="font-size: large;">Alienoid</span></li><li><span style="font-size: large;">Lou</span></li><li><span style="font-size: large;">The Woman King</span></li><li><span style="font-size: large;">Thirteen Lives</span></li><li><span style="font-size: large;">Beast</span></li></ol></div><p></p>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-48529859082702214682022-07-25T18:16:00.006-04:002022-07-26T19:11:49.706-04:00Holy Spirit On High: Nope<p><span style="font-size: medium;"><i>In the following piece critics Scout Tafoya and Tucker Johnson take a look at Jordan Peele's Nope.</i></span></p><p><span style="font-size: medium;">Scout Tafoya: When you live in a colonizing state, and you look like the people who founded it, everything you say carries with it a kind of privilege, even if you criticize the state. Straight white Americans have a responsibility with which almost none of them are prepared to fully grapple; every word you put out into the world is because of generations of trauma visited on everyone who isn’t like you. It’s easy for me to say I like many of the artifacts of colonialism - like, say, rock and roll music, the clothes I wear, or more to the point, westerns - without either feeling the need to or understanding why there is a need to examine how these things would up so easily accessible in my own life. Whether or not every single white consumer of media should be literate in the ways that power structures and one-way violence paved the way for much of what we consume every day (mostly by reflex at this point; most viewing is a passive experience today, thanks to corporate superstructures making so much of it that it’s almost impossible to imagine not seeing a colonialist narrative just sitting around your house bored, going to a bar, or getting a haircut) is a question I don’t think anyone thinks I should be answering (it's no, though. Everyone should be curious, everyone should research the history of how everything wound up in your house, no one should float through life unawares until we all can), but suffice it to say more than enough people disagree with me that when a movie like Jordan Peele’s third feature <i>Nope</i> hits theaters, there is a certain kind of engagement it demands and I don’t think enough people are prepared to or want to meet it head on. When you and I saw this movie, you said you’d overheard two people leaving the theatre and scowling. “Well that was his worst one!” </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnHXf_6LgAqlzp_VY2iE0gxYQaphdSAdl-3dl_aGK8XFkQdRSo0Ezj8-Fu5FkgITp48rJcTti8QmrIbzHqznHOk1ELY5SQuYPcIWkVGfv30D6sLee0g-7FJdJdD-HeXEhe1QgxDHjwznbU3Rxh8AJbf2fYV3kvyshERivMgHwK-SZp7-4O7_K9TuYI/s1038/3940037-nopehed.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="470" data-original-width="1038" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnHXf_6LgAqlzp_VY2iE0gxYQaphdSAdl-3dl_aGK8XFkQdRSo0Ezj8-Fu5FkgITp48rJcTti8QmrIbzHqznHOk1ELY5SQuYPcIWkVGfv30D6sLee0g-7FJdJdD-HeXEhe1QgxDHjwznbU3Rxh8AJbf2fYV3kvyshERivMgHwK-SZp7-4O7_K9TuYI/w640-h290/3940037-nopehed.jpeg" width="640" /></span></a></div><p><span style="font-size: medium;">I’ve read reviews dedicated to picking apart the plot holes, which to me seems unfair and hostile unless you're doing that to every real movie, and I’ve read responses that complain in good faith about the thematic coherence of the piece. It’s again, perhaps not the place of a white viewer to ask why people are so skeptical of a black western, but then maybe it is the job of every viewer to examine bias in order to really place a movie like <i>Nope</i> in its historical continuity. All around the set Peele gives us clues what he’s up to, from the posters of Sidney Poitier westerns like <i>Buck and the Preacher</i> to the clip of Eadweard Muybridge’s black cowboy, something like the first photographic subject to move across three brilliant, exciting frames, setting up the film’s anti-capitalist through line. Keke Palmer’s Emerald Haywood introduces the idea of the rider as a man presented to the world in a landmark feat of photographic technology, the first time man was brought to life on a screen, to to speak, but he was made anonymous in service of the technology itself. Much as most of the history of the west is not talked about in body counts but rather in products afforded by slavery and genocide. “Molasses to rum”, as the song goes. </span></p><p><span style="font-size: medium;">If you don’t know that one, it’s from <i>1776</i>, a musical written by Harlem-born white composer Sherman Edwards. Theatre scholar Anne Potter suggests that <i>1776</i> is a more vicious attack on the founding fathers than something like Lin-Manuel Miranda’s <i>Hamilton</i> because of a number like “Molasses to Rum” in which slave owning senator John Rutledge conducts an imaginary slave auction. In his original draft, rather than having a New England delegate demand that Rutledge stop the distasteful display, he actually gets up and puts a bid in. Either way it’s damning, because for all their high flown liberal ideas, slavery wasn’t struck down in the constitution. Everyone profited from it. Sherman Edwards had lived through Hiroshima, the turning back of Jews at Ellis Island fleeing the Holocaust, the end of Jim Crow, and, as the show was getting ready to hit broadway, the Nixon administration, he’d seen white America’s evolved attitudes. Maybe a musical with an all white cast of characters in a room deciding the fate of the world wasn’t what the world needed but it was at least an honest accounting of what happens. I don’t remember anything about <i>1776</i> except “Molasses to Rum.” </span></p><p><span style="font-size: medium;">The message of hypocrisy, of white men in rooms making the world, unfortunately it doesn’t ever become obsolete, because it’s still happening. There’s a straight line from that song to where we sit right now, in the hottest weather the planet’s ever recorded, unable to leave our houses for more than a few minutes at a time while police budgets skyrocket and the unhoused die on our streets. A tonic then, to see a movie that accepts the truth of the world (a room full of fidgety, obtuse white people making the rules starts the film in three ways - by spooking a horse named Lucky, a chimp named Gordy, and by keeping the Haywood family in thrall to poorly paying jobs), and then sets off in search of something new. It isn’t content, the way a work like <i>Hamilton</i> <i>is</i>, or Ari Aster’s <i>Midsommar </i>to pick a more recent generic offering, to show you what you’ve seen before with new faces. I think now of Ishmael Reed’s Toni Morison-funded rebuttal of <i>Hamilton</i>, <i>The Haunting of Lin-Manuel Miranda</i>, which took both the musical’s author and Charles Dickens and went looking for contemporary language to describe a world completely at odds with its own history. Miranda sought to bring history to a new generation by making the faces of slavery more relatable, to Disney them into palatability. Reed sought to bring centuries of anger into a modern vernacular using a monocultural touchstone as its center. Peele has done the same thing with <i>Nope</i>; taking on a failing Hollywood establishment using its own language (the blockbuster, and its subversive antagonist: the quick cash-in) and made something new out of it. </span></p><p><span style="font-size: medium;">So maybe the start of the arguments on a movie like Nope is: is it enough to invert old ideas? Because that seems to be all any directors seems interested in doing (Aster takes <i>The Wicker Man </i>and turns it into a Rorschach blot of modern anxieties, weighted down with an “important” length of three hours to ensure it doesn’t just feel like leftovers) and frequently this isn’t done with the same gusto and talent as someone like Peele. <i>Nope’s</i> genre heritage can be traced back to <i>Jaws</i>, even if its roots go back to Muybridge, Bass Reeves, Herb Jeffries, Spencer Williams, and Sidney Poitier. After all when the camera was invented and reinvented, the American west still looked like it would later in John Ford movies. Black cowboys were in abundance in the old west, even if movies about black cowboys weren’t and still aren’t. Bass Reeves, the black sheriff famous for reading scripture to runaway fugitives and converting most of them in the process, was lately a character in Jeymes Samuel’s similarly revisionist <i>The Harder They Fall</i>, a film literally about the color missing from most Westerns (it’s one of the most visually splendid films from the last few years - a rebuttal to Tarantino's slavery-fixated <i>Django Unchained</i>). Like <i>Nope</i>, and like another new western <i>The Good Lord Bird</i> (based on a book by James McBride and directed by Albert Hughes, Darnell Martin, and Kevin Hooks among others) <i>The Harder They Fall</i> aims, if not to replace traditional western imagery, then to complicate it, to turn it inside out, to hotwire it in the name of making heroes out of black cowboys. To make new images out of the dust of old ones (literally in one of <i>Nope’s</i> stunning final tableaux). Before we get into the particular imagistic victories of <i>Nope</i>, that’s the question I want to ask you: is it enough for a film to just give us new images? While we were making <a href="https://www.patreon.com/posts/67682128" target="_blank">The End of History</a> you politely tolerated me screaming about the need for new images for weeks and weeks and while I think we’re basically on the same page about it, but, I do want to know: what is important for a new work of art to be and to say? New ideas? New cliches? New versions of old cliches? New sights? New sounds? Why did you walk out of Nope as high on it as I did?</span></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZcYjGDEq0Fsp4aKg_R9mjmFsIyw88ikQFOcINoLbAtNVaWiYvArutiH-xocenZHsnOzzFzPnq_leyh3InN8R_Hy8_FdvYsr4VbtGTePNIwzEcbBU5P1poB42OxjFO3GKDNR2rdqvVJQIr5g-1aH96lVat5xfwkdFDQP3HPgpqDW5AeIvLAEBfSW8e/s1600/l-intro-1658356859.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZcYjGDEq0Fsp4aKg_R9mjmFsIyw88ikQFOcINoLbAtNVaWiYvArutiH-xocenZHsnOzzFzPnq_leyh3InN8R_Hy8_FdvYsr4VbtGTePNIwzEcbBU5P1poB42OxjFO3GKDNR2rdqvVJQIr5g-1aH96lVat5xfwkdFDQP3HPgpqDW5AeIvLAEBfSW8e/w640-h360/l-intro-1658356859.jpeg" width="640" /></span></a></p><p><span style="font-size: medium;">Tucker Johnson: I’m really sorry for how I’m going to start. There’s an Aziz Ansari joke (I KNOW) titled "Are White People Psyched All the Time?" In which he tells a story of being interviewed and is asked the question “are you psyched about all this <i>Slumdog Millionaire</i> stuff? Aziz essentially says “yes I may be Indian but believe it or not I had nothing to do with the movie. Wait are white people psyched all the time?! <i>Back to the Future</i>? That’s us! <i>Godfather</i>? That’s us!" The list goes on. Jordan Peele isn’t the first black filmmaker (though the way people talk about him, on some days you could be forgiven for thinking that's how people see him) but I think he appeared in a lightning-in-a-bottle moment in time where movies almost entirely populated by actors of color were (to the surprise of no one who’d been paying attention) getting everyone off the couch and into the theater. These weren't just niche genre films (<i>Set It Off, Barbershop, Blood In Blood Out</i>) or polite dramas (<i>Saving Face, The Joy Luck Club, The Wood, Waiting to Exhale</i>), these were blockbusters with the fullness of studio PR machines behind them (<i>Get Out, Crazy Rich Asians, Black Panther, Coco</i>). Yes each one of Peele’s films is racially motivated in an allegorical sense and critics and audiences alike love to pat themselves on the back while they publicly recognize that they understand what the films are about. I don’t even want to think about how many dinner parties and barrooms were filled exclusively with white people talking about race in America after <i>Get Out</i> took over the public consciousness for a little while. I also don’t want to condemn that idea though. Getting people talking and thinking about ideas they may not have before is one of art’s most powerful effects.</span></p><p><span style="font-size: medium;">All of this to get around to answering your initial question. No, it isn’t enough to have good images. Movies are stories first and foremost and I think without a good story a movie is doomed to fail. Just as an exercise let’s remove race from <i>Nope’s</i> premise and it becomes "A family that owns a struggling horse stunt and wrangling business that’s been working for Hollywood for decades suddenly sees an opportunity to quell some of their financial troubles when the idea of capturing an alien on camera becomes a possibility." If instead of a trailer for <i>Nope</i> they just read that sentence to you would you want to see it? I can’t answer for you but I would certainly be interested. I like movies with aliens. I like movies about Hollywood and moviemaking. I love pretty much any movie that features horses prominently. In a lot of ways <i>Nope</i> is tailor made for me based on those story beats alone. And I think ultimately that’s where Jordan Peele is on some level a genius. Even though each of his films has a lot to say about being black in America he doesn’t start there. Honestly, because he doesn’t have to. He <i>is</i> black and he <i>is</i> in America. Those details are going to be in his work even if he purposefully worked against their inclusion. He starts with a question I really don’t think too many filmmakers ask themselves or maybe they aren’t allowed to ask themselves anymore: Is this a good story? Does the story stay interesting from scene to scene? Are the characters interesting and believable people? Will general audiences care what happens to them? I firmly believe this is the beginning of Peele’s process. I think that’s why <i>Nope</i> is being viewed by so many critics through Spielberg-tinted glasses. Whether or not a Spielberg film is about more than what’s on the page is irrelevant. Spielberg’s good movies are good because you can answer yes to all the questions I asked above about them. So are Peele's. </span></p><p><span style="font-size: medium;">In a class at Emerson that I don’t remember we did an exercise where the professor asked the class the following: in a movie what’s more important, the visuals or the audio? Weird question for sure but the answer morphs the longer you think about it. The knee jerk response would of course be visuals right? Film is, after all, a visual medium. But let me complicate the question – what would you rather watch: a movie with pristine visuals but audio so garbled you can’t make out a single word any character says (and there are no subtitles) or a movie with visuals that are fuzzy but every word spoken is clear? Even then you may still say visuals but I think saying so is assuming the film is directed with enough care that what’s on the screen and the actor’s blocking is enough to convey the film’s meaning and premise. Let’s go a step further. Think about found footage horror. Movies with visuals that are purposefully meant to look muddy or pixelated. At least in the Hollywood produced entries in this genre, you don’t struggle to hear what characters are saying unless a scene or sequence requires it. I’m probably beating a dead horse (maybe one of the ones Jean Jacket, our extra-terrestrial, absorbs in <i>Nope</i>) but I want my answer to your question to be firm. Visuals aren’t enough. Neither is audio. Film is a medium of so many essential parts functioning together in harmony. It’s why most movies aren’t satisfying. Even if one or a few of those parts stop working the whole project falls apart. It’s why even with Sam Raimi’s eye behind the camera (or as much as he was allowed to be) the new <i>Doctor Strange</i> was a mess of gobbledygook. Too much of the action on screen was contingent on knowing hours upon hours of lore presented in other Marvel films and tv shows. I’m not even passing judgement on the movie. That’s just bad storytelling. </span></p><p><span style="font-size: medium;">Every story should be able to stand on its own legs without any cliff notes or a works cited page. I think for that to happen movies just need to good dammit. Yes of course there are enormously popular and successful movies and tv series that aren’t actually very good. But I think the works that really do stand the test of time are able to do so because the stories work like fables. They’re exciting, or terrifying or hysterical to anyone who hears them regardless of social class, race or religion. When you boil all that BS away what you have left are human beings and we all want to be entertained. Human’s don’t pass down our history verbally anymore. We do so visually with film and tv and the ones you’re going to have on a shelf in your house, the ones you’re going to watch with friends and loved ones over and over again are the ones that resonate with you on a human level. Jordan Peele’s true skill is his ability to tell you a story about being human. He forces you to engage and empathize with a family that’s having trouble putting food on the table. That’s struggling to keep their loving father’s life’s work afloat. He establishes these ideas early on and we’re hooked. So when the story begins to show us how much their situation has to do with being black in America we (white people, people who may not know what it’s like to run a failing business, people who ride and love horses, people who don’t deal with condescending rich people every day, people who haven’t lost a parent, people who may or may not be interested in the future of filmmaking) are easily able to follow the bouncing ball. We see ourselves in people that might not necessarily look like us and suddenly we understand each other.</span></p><p><span style="font-size: medium;">ST: I think you’re right that the tension between the dinner party liberals and your typical “release new, no matter who” moviegoer may be why Peele has succeeded as much as he has. Peele’s fans get it (black audiences who likely see in Kaluuya’s frustration with the establishment as it appears in both <i>Get Out</i> and <i>Nope</i> the same reactions they’ve had to ten thousand micro aggressions from whites of every stripe), Peele’s “fans” want to get it (people who, and I mean we have to be willing to admit we fall into this category a little to move forward, want to be able to tell people they loved and understood his work - though frankly as he moves away from the more cleanly allegorical into the more abstruse mythologizing he’s been up to the last two films, the herd might thin), and people who want to be able to say they don’t think this week’s new release and talking point is all it's cracked up to be. And then there are just people who want to think about and talk about movies. Peele’s popularity has only ever made sense, even if it was a little funny to see a cast member from <i>Children’s Hospital</i> become an Oscar winning sensation. He’s giving <i>everybody</i> what they want or what they think they want, and he’s just cagey enough about it that all of us will fill in the blanks about his intentions. Smart <i>and</i> savvy. </span></p><p><span style="font-size: medium;">I see (if I obviously have trouble with) what you mean about stories, which I think is why I’m so frequently out of step with modern audiences and a lot of other critics. I usually don’t care what’s happening or why. I don’t listen to music for the lyrics and I don’t watch movies for the screenplay. Having said that, it is worth noting that good filmmakers, confident filmmakers, can make me care. I’m not completely stone faced in front of comedies staring at the visuals or anything. I like laughing! I like being scared! I like jumping up and down in my seat. I mean you and I are like little kids when we see movies that move us (<i>Matrix Resurrections, West Side Story, Ambulance</i>, and now <i>Nope</i>, to name some recent examples). I want to be moved. I love being transformed by a movie, why else would I pay 45 dollars for the privilege. When you spend theatre prices and get betrayed by a movie primarily aiming to outsmart you (like Alex Garland’s unfortunate <i>Men</i>) you’re likely to be mad. I left my house for this? Found and paid for parking, bought a 20 dollar concession in the lobby, put up with a whole theatre not wearing masks? For this confounded horseshit? </span></p><p><span style="font-size: medium;">So yes I like to like movies, but I’m also, as I’m sure any casual observer will have noticed, cursed with standards. Not high standards, by any means, just peculiar ones. I want a movie to have imperative images, and I want to react to it. On its face that doesn’t sound hard, but so few movies (released in theaters, I should say) seem interested in provoking those reactions. If I like <i>Nope</i> it's because its rewarding to obsess over but also and importantly it’s because I was scared, I laughed, I was entertained, I punched the air, I jumped up and down in my seat. But it wasn’t until I saw Peele deliberately talking to me, the fed-up genre fan, in the climax that I knew I was watching a new favorite. Our villain is elevated horror. There may be metaphors aplenty, there may be economic hardship and traumas to overcome, but this is a movie about spectacle, about what happens next, about what’s on screen. When I saw that Peele was specifically attacking “elevated horror” of the sort made by Aster, Garland, and a lot of the A24 bench, by having his monster not be an idea but rather simply a big, empty THING in the sky, a literal elevated horror, that’s when I knew I had my answer. A good film, a great film maybe, and made by someone who is aware of an audience’s needs. If indeed what you say is true that a film needs to be a compellingly told story when stripped to bare essentials, Peele has done that as far as I'm concerned. </span></p><p><span style="font-size: medium;">But of course there’s always more to it than that. The pleasures abound. The Jesus Lizard t-shirt, the diegetic Corey Hart remix, the images of Kaluuya, clad in brilliant orange emerging from nowhere to stand in deliberate tableaux evoking and striding past the images we see of the American west (represented by a beautiful shot of Keith David looking like Herb Jeffries in <i>Harlem Rides the Range</i> - also deliberate; it isn’t symmetrical, though it should be, thus we’re alerted to the fact that something is off in this calculous of the cowboy - sitting on a horse with a Stetson in the opening), the frequent anime cribs, and so much more. There are close-ups of Kaluuya here that tell me that Peele has been watching a lot of Khalik Allah, whose own ethnographic work occasionally borders on horror. I also loved that, while yes, it’s clear that he’s making something of a <i>Jaws</i> homage (complete with Quint figure in Michael Wincott, one of the best and most distinct actors on the planet, playing an ornery cinematographer named Antlers; a reference no doubt to Peele’s own <i>Get Out</i>), I like that he seems to be playing as much with the notion of <i>Jaws</i> as a kind of mirror held up to the less auspicious corners of pop culture. Antlers, after all, also evokes <i>The White Buffalo</i>, J. Lee Thompson’s lightly psychedelic Jaws cash-in starring Charles Bronson and Will Sampson. And what is Steven Yuen's wild west rodeo if not a cheap cash-in next to the hand-cranked Imax spectacular the Haywoods cook up on the other side of the canyon? The stark California landscape evokes the stomping ground of <i>The Car</i>, in which a Sataned-up hot rod with no driver stalks its prey on lonely back roads. And what is Jean Jacket but a car with no driver? Every conceivable audience got their own Jaws back in the late 70s…except for, you could argue, audiences looking for a movie with black heroes <i>not</i> speaking the words of white screenwriters. Peele likely noticed that no such film existed. Now it does. </span></p><p><span style="font-size: medium;">The idea of a Quint character is a poignant one even now because any man willing to die in pursuit of a trophy has left one long, empty life behind them. And even people who’ve lived full lives can still relate to a Quint character; everyone has once been obsessed by something that got away. Nope is about people who realize they’re on a fast track to oblivion with no help coming, and as Kaluuya says, “I can’t fire me.” People are becoming obsolete, just like animals and old machines. Lucky proves his worth as much as Kaluuya’s wrangler and Wincott’s old hand-cranked camera when the chips are down. Everyone here proves their worth as they would on a John Ford cavalry picture, another connection this has to the old west beyond the equestrian obvious. Nope is a fun film to imagine having been made in other eras because its ideas. Sequences, and characters are so rich, even if the film speaks a 21st century vernacular. Ward Bond or maybe George Macready as Antlers, or later young Mario Van Peebles or Bokeem Woodbine or even Jeffries himself as OJ. It slots itself into American picture history so neatly while providing credible competition to the most exciting of the films of yesterday without ever being purely satisfied with gesturing towards them. Sure the finale is right out of <i>Moby Dick</i> or <i>Jaws</i>, but the build up is one thrilling and mysterious set piece after another. And, thankfully, plenty for the eye. How about you? What really stood out to you about <i>Nope</i>? </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnxdF7o56sPRvL_qoE72pPAjZlhXNNPbAS3F7SaVk-SIQLWzNb1M5b3ll9afIf8rFJ1nbgZalB-JDQBZPEEGwTP0pCNPJvCtIow6EoFYQAVE90p65sYUp2MoreHzGB93IkTZL6h_dTXUrxeVW4jqjk37pCPkEiqmFs1Mt7TleESZrUD8UP9_o5ye5P/s1864/All-Eyes-Are-on-The-Sky-in-The-Gripping-Official-Trailer-for-Jordan-Peeles-Nope.jpeg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1000" data-original-width="1864" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnxdF7o56sPRvL_qoE72pPAjZlhXNNPbAS3F7SaVk-SIQLWzNb1M5b3ll9afIf8rFJ1nbgZalB-JDQBZPEEGwTP0pCNPJvCtIow6EoFYQAVE90p65sYUp2MoreHzGB93IkTZL6h_dTXUrxeVW4jqjk37pCPkEiqmFs1Mt7TleESZrUD8UP9_o5ye5P/w640-h344/All-Eyes-Are-on-The-Sky-in-The-Gripping-Official-Trailer-for-Jordan-Peeles-Nope.jpeg" width="640" /></span></a></div><p><span style="font-size: medium;">TJ: I certainly don’t want to walk back everything I said before about the importance of story but your focus on images is honestly where I start as well. If a film’s palette doesn’t agree with me, and I don’t have a set criteria for what that agreement looks like, I find it really hard to engage with. That visual experience begins the moment the movie starts and a lot of the time I have gut reaction before I meet a single character or learn anything about where the story might take me.</span></p><p><span style="font-size: medium;">I think it’s because a film that takes time and care to make sure its visual language is thoughtful makes me trust the filmmaker (and entire crew). Once I know they are willing to put the technical work in I’m more willing to go for whatever ride they want to take me on narratively.</span></p><p><span style="font-size: medium;">What specifically stood out to me is how Peele builds a mystique out of familiar imagery by tweaking things just a tad to fit them into his own sensibility. I think <i>Nope’s</i> teaser trailer is a perfect illustration of what I mean. You have Keke Palmer delivering her monologue about Eadweard Muybridge’s <i>Horse in Motion</i>, Kaluuya asking “what’s a bad miracle” and “they got a word for that?” and other than Palmer shouting “Run!” that’s all there is for dialogue. All the hype and tension is built on beautiful, sometimes off-kilter images. Gorgeous night and day shots of Kaluuya riding on or near horses. The fields full of inflatable tube people. The horse in the glass case at Yeun’s western show. The TMZ reporter on a motorcycle with the mirror helmet. Change any single detail about these images and they may not have the same mysterious quality to them. The first teaser for <i>The Force Awakens</i> had a similar feel. The trailer left you with almost no knowledge of what the film was going to be about. The difference here, and the genius of Peele and whoever else had a hand in cutting the Nope teaser, is that nearly all of them actually play heavily into the film. We’re getting these gorgeous, strange images with no context and we’re still excited at the prospect of what’s to come because what we’re seeing is so arresting.</span></p><p><span style="font-size: medium;">Watching the teaser back having now actually seen the film is a whole new experience. Seeing the TMZ reporter’s helmet immediately makes me think of the early scene where they turn a light around right in front of Lucky and it scares the horse. I love that Peele uses the mirror as this symbol of antagonism both by the crew in the opening and by the TMZ reporter.</span></p><p><span style="font-size: medium;">Yeun pulling the curtain off the glass horse paddock is another incredible image. It’s so strange without context but seeing in now and knowing the case was designed so that the audience could best see the horse doesn’t cheapen the visual at all. Peele could have used any kind of enclosure for the horse but the one he went with is the most attention grabbing. But that case also factors in heavily to the plot. It protects Lucky during that great scene where Kaluuya almost gets swallowed by Jean Jacket.</span></p><p><span style="font-size: medium;">There’s a brief shot of the woman that Gordy maimed looking up into the sky, the veil that covers her wounded face moving just enough so that we can see it and be alarmed. Without context we wonder what is happening to this woman. Is the alien doing something to her? Knowing what actually happened to her only adds weight to her inclusion in the trailer. Yeun's broken showbiz lifer keeps that woman close and in so doing hinders his own ability to deal with the trauma from his youth. There’s even a shot of the bloody fist bump in the trailer which without context might be an alien’s hand rather than a chimpanzee’s.</span></p><p><span style="font-size: medium;">Even the most marketed image of the movie, the string of colored flags dangling from the dark maw in the sky makes me weak in the knees. The flags help add scale to the image by connecting something familiar to something otherworldly. We see how big whatever that thing in the sky is and we’re terrified. And we haven’t even seen the movie yet.</span></p><p><span style="font-size: medium;">I just love that Peele kind of gives us all the answers if we just know where to look. But of course without seeing the movie we have no idea where to begin searching for understanding of what we’re seeing and I think that’s brilliant. It makes me want to rush to the theater and figure out what all of these beautiful images mean. It makes me want to see it again right now.</span></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0cgbjZTbbsygUvyFzWb_EGPVhut4UDc3j1MIujW24WXL9FnV_7GnvBZBu4Wgo8TaUc4r0BAu2Xxekdtyr1UIygRSTtAkYIiTnHBw1x0A-GA97adgV7-VvfnrT14kK9Bj-egG2NpTj7FhdTsoNFVj_5RkOHK-Hb0Yu3aM-KCbZHUSPrg_bdmslQYRI/s700/steven-yeun-horse-glass-cage-nope-01-700x400-1-700x400.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="400" data-original-width="700" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0cgbjZTbbsygUvyFzWb_EGPVhut4UDc3j1MIujW24WXL9FnV_7GnvBZBu4Wgo8TaUc4r0BAu2Xxekdtyr1UIygRSTtAkYIiTnHBw1x0A-GA97adgV7-VvfnrT14kK9Bj-egG2NpTj7FhdTsoNFVj_5RkOHK-Hb0Yu3aM-KCbZHUSPrg_bdmslQYRI/w640-h366/steven-yeun-horse-glass-cage-nope-01-700x400-1-700x400.jpeg" width="640" /></span></a></p><p><span style="font-size: medium;">ST: The teaser is excellent and kind of puts paid to the idea of the early cinema talk in the movie itself. Pretend you only have any given three seconds of an audience’s time, are you using it well? Are you guiding them to the next image? Are you taking your audience seriously? I mean, true nerd that I am, I couldn’t help but be moved by the recreation of a Muybridge three-second Zoopraxograph at the climax, but Peele knows that seconds count. Hence Holst looking at images right out of Jean Painlevé on his Steenbeck, unmoved by a young filmmaker until he sees a way into their story. History will always repeat but it won’t always be interesting. Holst wants to make sure he’s going to see something more than literally what’s right in front of him; the history of images, of one big animal eating another. </span></p><p><span style="font-size: medium;">It’s funny you mention the trauma bonding, because I like that the film treats Yuen’s journey as a cautionary tale rather than as the central metaphor. I think a lesser film would have made Yuen’s character the hero, thereby making the conquering of trauma the most important journey in the movie. Yuen does marvelous things (his monologue about SNL is an immediate hall-of-famer piece of writing and acting) with a part written for Jesse Plemons, who had to duck out to make another western, and by putting someone so charismatic in the part and by giving his origin story so much centrality up front Peele is throwing us off the scent of the endgame while laying the groundwork for the film’s most important idea: nature will not act just because you call “action.” Life will not follow a script. Yuen’s character thought he had the magic touch, that because he was the lone survivor of a deadly mishap, he can be the one to tame some other unknowable force. Funny to think we got a sixth interminable Jurassic Park movie this year that has to have Jeff Goldblum say all that out loud every ten minutes because the producers trust their audience like they would a dog to park their car. Peele trusts us, though maybe he shouldn’t, we’re getting dumber and more flamboyantly persnickety all the time. </span></p><p><span style="font-size: medium;">People are already complaining that Kaluuya’s mumbling affect in this is un-charismatic, especially when compared to his work in <i>Get Out</i> (which is…I mean, how do you type that/say that out loud and not feel like one of the white characters in <i>Get Out</i>?), but he’s doing a specific character type (leave your house sometime, you’ll meet him) and he’s doing it with perfectly calibrated humor and coiled body language. Even more so than his psychopathic henchmen in the superior <i>Widows</i>, OJ Haywood is one of the great portraits of a kind of wry, modern sarcasm. There’s obviously meant to be a little deconstructed John Wayne (we are in a Western,</span><span style="font-size: large;"> </span><span style="font-size: large;">after all</span><span style="font-size: large;">), but there has to be a little of Roy Scheider’s hungover Chief Brody from </span><i style="font-size: large;">Jaws</i><span style="font-size: large;"> in the offing as well. He’s magnetic throughout, but I think you and I both loved the bit where he’s trapped in a truck, aware that he’s being watched from above. It’s a kind of mirror of the scene in </span><i style="font-size: large;">The Car</i><span style="font-size: large;"> where Jennifer Salt is yelling at the demon mobile because she knows it won’t attack her and the scene in </span><i style="font-size: large;">Close Encounters of the Third Kind</i><span style="font-size: large;"> where Richard Dreyfuss is trapped in his truck during the first alien visitation (or later when Mel Gibson has an alien in a closet in M. Night Shyamalan's </span><i style="font-size: large;">Signs</i><span style="font-size: large;">, with which </span><i style="font-size: large;">Nope</i><span style="font-size: large;"> shares a few key ideas and chromosomes). Except, just as Salt and Dreyfuss represent modernity as it was being explored in the 1970s, Kaluuya’s wryness reaches back and touches early western pragmatism (“That’ll be the day,”) and links it to contemporary vernacular (“Nope…nah nah nah.”). Everybody looks up and sees god and says "Nope," but can't help but want to meet him anyway. </span></p><p><span style="font-size: medium;">Though I also like that though the movie only says so silently (in repeated visual flashbacks), OJ’s quest to break Jean Jacket is not just one thing. It’s a way to make sense of his father’s passing, sure, but more than that it’s proving his worth to himself and to the memory of his father. He’s going to prove that though the universe is taking everything from him, his farm, his job, his family, his home, he won’t let it go without the kind of fight he knows how to put up. But I’ll say this, too, none of this would matter if the film weren’t exciting to watch minute to minute and I was rapt the entire time. Take the climax of <i>Midsommar</i> as a counterpoint. I just don’t see how it’s satisfying or exciting to watch, in silence, as Florence Pugh’s character is given the choice to let her boyfriend live or die, then we watch slowly and painstakingly as they put him in a barn, fill the barn with hay, burn the barn down, and then watch her react to it. That film presumes you’re still paying attention and care after 180 long minutes. <i>Nope</i>, without being cute or cloying about it, continues to earn your attention. And like you, I can’t wait to go back and give it more of mine. </span></p>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-14898960873548299632022-01-18T20:38:00.011-05:002022-01-18T21:04:02.375-05:00My Favourite Films of 2021<div><span style="color: white; font-family: inherit; font-size: large;">1. West Side Story</span></div><div><span style="color: white; font-size: large;">by Steven Spielberg</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiTFjmY0iWdW2YKELkovDs6E-UlpMty08cHkJ0wBXMPZR2ybHYHkkzIlC1woc6GCgEomtciHtTdeixLYUBWbHWCzlga1LoLaVTq6fF1b6u4IWcXt6XRC3iawOCk8Zn86Kg2K2Gc5yOz2dz135d1EAeo7gc348WiN7kexjbn1H_Zz_F_UtjtAYH3jwe3=s4096" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="1716" data-original-width="4096" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEiTFjmY0iWdW2YKELkovDs6E-UlpMty08cHkJ0wBXMPZR2ybHYHkkzIlC1woc6GCgEomtciHtTdeixLYUBWbHWCzlga1LoLaVTq6fF1b6u4IWcXt6XRC3iawOCk8Zn86Kg2K2Gc5yOz2dz135d1EAeo7gc348WiN7kexjbn1H_Zz_F_UtjtAYH3jwe3=w640-h268" width="640" /></span></a></div><div><span style="color: white;"><span><span style="font-size: medium;">As <a href="https://frame.land/framelands-favourite-cinematic-moments-of-2021/" target="_blank">good</a> as movies get. The kind of pure-hearted <a href="https://frame.land/i-want-to-be-in-america/" target="_blank">spectacle</a> that cameras get built to capture. Every second of it carries sixty years of planning, of care, of hope. If you weren't whistling the Sondheim and Bernstein tunes, you'd be humming the steadicam and snapping along with the edit. Steven Spielberg fulfilling a destiny I don't think any of us knew was his to chase. </span><br /></span><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">2. The Matrix: Resurrections</span><span class="Apple-converted-space" style="font-family: inherit;"> </span></span></div><div><span style="color: white; font-size: large;">by Lana Wachowski</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgjie5o7CuGtcK3NIBlUnbkR7kCybK7XT0X_BKzbM6WHj3KsMsukbhvV8aiFIPk_HnWxWrJCfDY55aC-YXXUSXQn52_0-JnG6AkcoIPOA7pxqjtkjuMD7psy1a7AP7evJsGWhTtWzQ6CUyA_GmWbOL4OlllOtqWd1DsWF5u3N164Hvnx0HicJoyhwvl=s1400" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="799" data-original-width="1400" height="366" src="https://blogger.googleusercontent.com/img/a/AVvXsEgjie5o7CuGtcK3NIBlUnbkR7kCybK7XT0X_BKzbM6WHj3KsMsukbhvV8aiFIPk_HnWxWrJCfDY55aC-YXXUSXQn52_0-JnG6AkcoIPOA7pxqjtkjuMD7psy1a7AP7evJsGWhTtWzQ6CUyA_GmWbOL4OlllOtqWd1DsWF5u3N164Hvnx0HicJoyhwvl=w640-h366" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Staring into the eyes of God looking for answers, taking a step back, realizing you're <a href="https://letterboxd.com/honorszombie/film/the-matrix-resurrections/" target="_blank">looking in a mirror</a>. </span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">3. Benediction</span></span></div><div><span style="color: white; font-size: large;">by Terence Davies</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgSARcH7eWgQHMIe4tOvVmx4QInvzXOFgWW3QKdA8N3WTAm87vo0yKQW2LOJ45kp4e4y0_ddsfc1bqEQKPaVpIu_VFxueohutWk23ks-7exzJFJ6sqfw9n5MavVCYjAf3lFJSGuOMQu9tOsJr_OARK4vSmYo0dVMnokrsMbacsnMmJ6DGlmPTCO7V3r=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="562" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgSARcH7eWgQHMIe4tOvVmx4QInvzXOFgWW3QKdA8N3WTAm87vo0yKQW2LOJ45kp4e4y0_ddsfc1bqEQKPaVpIu_VFxueohutWk23ks-7exzJFJ6sqfw9n5MavVCYjAf3lFJSGuOMQu9tOsJr_OARK4vSmYo0dVMnokrsMbacsnMmJ6DGlmPTCO7V3r=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span><span style="font-size: medium;">Davies has endured and evolved as a visual storyteller to fit the times without losing anything except perhaps the need for his most pained memories. Now the world can be filtered through what we know about Davies, the things that bring him joy, the torments he's had to suffer. Here at last is something of a veiled self-portrait after a decade of seeing the world through women on the edge of madness, and he's found a lightness of touch and a biting wit that was hitherto relegated to the parenthetical. The story of </span></span><span style="font-size: medium;">Siegfried Sassoon is rendered as a liquid, poetic installation, something like Peter Greenaway struck with a ruler by a nun, maybe the sharpest of Davies' works since his Liverpool diary <i>Of Time and the City</i>, perhaps because in Sassoon and his lovers Davies has found vessels that can speak in a voice he recognizes. The cutting remarks and Algonquin sarcasm buoy the anguished cry of lost time and cracked hearts. </span></span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">4. The Card Counter</span></span></div><div><span style="color: white; font-size: large;">by Paul Schrader</span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg8YaWtpaV9E0OXocr20RF7roZsD6xP01me2VpL4RY-KL-TiJl2v6neaPRh-Ol8w8QyIqrU4EcQZXKFxU02Vu35LuK82e2xhOkEUzehkXZmwIv5n5uayswaUMlduUGdZRxQACwS8PLGbVm3huYdX8wOd0rsq0I3RXUTS57AyrsI_WIe5bh37iNllVtk=s1600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="965" data-original-width="1600" height="386" src="https://blogger.googleusercontent.com/img/a/AVvXsEg8YaWtpaV9E0OXocr20RF7roZsD6xP01me2VpL4RY-KL-TiJl2v6neaPRh-Ol8w8QyIqrU4EcQZXKFxU02Vu35LuK82e2xhOkEUzehkXZmwIv5n5uayswaUMlduUGdZRxQACwS8PLGbVm3huYdX8wOd0rsq0I3RXUTS57AyrsI_WIe5bh37iNllVtk=w640-h386" width="640" /></a><span><span style="font-size: x-large;"><br /></span><span style="font-family: inherit; font-size: medium;"><a href="https://letterboxd.com/honorszombie/film/the-card-counter/" target="_blank">Letters</a> never sent to grieving mothers, to Judas and to Roman torturers, to god himself. </span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">5. Petite Maman</span></span></div><div><span style="color: white; font-size: large;">by Celine Sciamma</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj-8QSCp96kz-sTBQHMJ-uzIpkal3cmAp_IkJ8VhnZ8sStLKhW4iY1PLbdj08YLAMKv30CZA06NaAyr16TX-NHConGC9DxsYlcA13hqKrNTicH41XdKVuxXVsmAfe72ZCncXJbpuwdwBuoxXwzoTHkkUm87jhX6S0GxmUDtbMWeHRqr7yCUbmWN_BO-=s1600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="897" data-original-width="1600" height="358" src="https://blogger.googleusercontent.com/img/a/AVvXsEj-8QSCp96kz-sTBQHMJ-uzIpkal3cmAp_IkJ8VhnZ8sStLKhW4iY1PLbdj08YLAMKv30CZA06NaAyr16TX-NHConGC9DxsYlcA13hqKrNTicH41XdKVuxXVsmAfe72ZCncXJbpuwdwBuoxXwzoTHkkUm87jhX6S0GxmUDtbMWeHRqr7yCUbmWN_BO-=w640-h358" width="640" /></span></a></div><div><span style="color: white;"><span><span style="font-size: medium;">Trying to describe the effect of a movie like this necessarily diminishes it, like plucking a <a href="https://www.rogerebert.com/festivals/kviff-2021-z%C3%A1topek-paris-13th-district-petite-maman" target="_blank">flower to describe</a> its beauty, but suffice to say, the tiniest gestures carry the weight of dying stars. This petite movie has tremendous heft.</span><br /></span><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">6. Bad Luck Banging or Loony Porn</span></span></div><div><span style="color: white; font-size: large;">by Radu Jude </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhwKhVE189bTWe7zUS5QZNuxlDqULIVzwstGx6m3sDRvp1BCctupeK1-j6fJDudTJywpY-5dOKXkCblNWWxva3AVDG9ww2Dt8e0uBS_wDxSJc78l6rySnoF-ApQFvNcwag5DNXM_pOJLbCaM0W7VDD5zI_pOAiGgttVIwk4MucuomACYZrGMjpn8g4C=s1245" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="700" data-original-width="1245" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhwKhVE189bTWe7zUS5QZNuxlDqULIVzwstGx6m3sDRvp1BCctupeK1-j6fJDudTJywpY-5dOKXkCblNWWxva3AVDG9ww2Dt8e0uBS_wDxSJc78l6rySnoF-ApQFvNcwag5DNXM_pOJLbCaM0W7VDD5zI_pOAiGgttVIwk4MucuomACYZrGMjpn8g4C=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">In which <a href="https://www.rogerebert.com/festivals/kviff-2021-the-worst-person-in-the-world-and-a-conversation-with-rade-jude" target="_blank">antique forms crash</a> into microwaved political hangups. The film truest to life this year, for better and worse. </span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">7. Labyrinth of Cinema</span></span></div><div><span style="color: white; font-size: large;">by Nobuhiko Obayashi </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhPMwRgNjXW8ZF-q6lea2mE4SJqhXbZ8I0UYQFfshTios3ZHQryGD_SG6d3IOqfbKvPcnfLUIXpqIIsSzfzKsVuxruIAWJhk0d_QiILYlZvpYaMEoG3E_Em4vrTzouihUzJbVdAXaFDKETEuoRzg46M6tCyWngepGc-_ZXNkBYs0BLuK-UI5qK5Hbd4=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEhPMwRgNjXW8ZF-q6lea2mE4SJqhXbZ8I0UYQFfshTios3ZHQryGD_SG6d3IOqfbKvPcnfLUIXpqIIsSzfzKsVuxruIAWJhk0d_QiILYlZvpYaMEoG3E_Em4vrTzouihUzJbVdAXaFDKETEuoRzg46M6tCyWngepGc-_ZXNkBYs0BLuK-UI5qK5Hbd4=w640-h266" width="640" /></span></a></div><div><span><span style="color: white; font-size: medium;">A trip inside the home of one of cinema's most passionate and open chemists. Here his movie posters, there his yellowing history books with bent pages and footnotes, here the signed LPs from his favourite singers, and there his hard-drives and software with ten thousand edit points. Obayashi was always generous, of spirit, with technique, to his characters, to his audience, and this is truly the kind of gift you could never hope to repay, his whole philosophy of life, his rendering of the history that led to this movie house, a purgatory or a paradise. Cinema is time machine and resort in his hands, it always has been. For every nightmare image or violent outburst there is such love and warmth generated by the hands of this much missed man. </span></span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">8. Faya Dayi</span></span></div><div><span style="color: white; font-size: large;">by Jessica Beshir</span></div><div><span style="color: white;"><div class="separator" style="clear: both; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6kUI6vh2KZuPGWRBnsbQXZRHrxBfHt1JwTEvyc0higWIzEnPaQ0F0jHxfKs-uS9Lg4OyuQfpP7Bd6JZIBTmG6Zs4HgbhqgT1ehh_TLSrO3HKWkBlLboM59kvG6wljpAFYvhbf1_SF1srtlfKCrhG3L--7rgmo75C85pqF5dsAUjC3ruCtaC4ClULb=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6kUI6vh2KZuPGWRBnsbQXZRHrxBfHt1JwTEvyc0higWIzEnPaQ0F0jHxfKs-uS9Lg4OyuQfpP7Bd6JZIBTmG6Zs4HgbhqgT1ehh_TLSrO3HKWkBlLboM59kvG6wljpAFYvhbf1_SF1srtlfKCrhG3L--7rgmo75C85pqF5dsAUjC3ruCtaC4ClULb=w640-h266" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;">Beshir makes the strongest feature debut this year (though she has been busy the last decade), with her study of labor, narcosis, injustice, and hopelessness, mingling like smoke in dingy dens and forgotten streets. Her silky form and heart-stopping monochrome images captures the khat trade in melting tin types, a document that will never lose its potency because the world will never lose the need to search for oblivion. The drugs numb the pain, harvesting the drugs brings the pain, the world sends nothing but judgment.</span></div></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">9. The Souvenir: Part 2</span></span></div><div><span style="color: white; font-size: large;">by Joanna Hogg</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhBvIZ3bj5CvQfSWfEubCyzeQvYJyfhsOdi3-BBW94lZNMeA--ah3ldvvTt9g0APhmjfYMW5aVIWw5zpmNTghQiTQyBJFB9y5c_6T9_tH8wwV0aHr-PFHyFWbRNlNTMjmO9lR16LBiSTfHs3_FlVubj7kEW4Du6yUqmrkqFVJPYSEtxelv1XvWgMUgY=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhBvIZ3bj5CvQfSWfEubCyzeQvYJyfhsOdi3-BBW94lZNMeA--ah3ldvvTt9g0APhmjfYMW5aVIWw5zpmNTghQiTQyBJFB9y5c_6T9_tH8wwV0aHr-PFHyFWbRNlNTMjmO9lR16LBiSTfHs3_FlVubj7kEW4Du6yUqmrkqFVJPYSEtxelv1XvWgMUgY=w640-h426" width="640" /></span></a></div><div><span style="color: white;"><span><span style="font-size: medium;">Hogg digs deeper than ever, finding the places in her youth where she realized that she couldn't compromise if she was to survive but she needed certainty to know not to. Her unsteady heroine is assailed by opinions and sideways glances that would drown her, because her memory of failure already has one hand on her, pulling her down. Hogg is ready now to see all that she was, what she was hiding, who she had to pretend to be, and even to find crooked beauty in the hurried flings and nights of loneliness. The dutch colors, the Alan Clarke starkness, the post-punk soundtrack, it's a New Order album as pictures reflcted in broken glass. </span><br /></span><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">10. Unclenching the Fists</span></span></div><div><span style="color: white; font-size: large;">by Kira Kovalenko</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiccoyoJPIDRUPaWu8vqRzGJtetIBB4WClT38ppYWc130Op8k5fEmYsG-F0X1UaqxFc1SdRIM-f7PnIh098u7fpwvOHFTu4ovjLq5O33DUYIwqADnVAPf7A919NEAWZVvvgfBAntsFZgvgzf7i10H0gkial3GPWazRpmv9cZkMlucmzfuJV3Hwc7_qq=s1600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiccoyoJPIDRUPaWu8vqRzGJtetIBB4WClT38ppYWc130Op8k5fEmYsG-F0X1UaqxFc1SdRIM-f7PnIh098u7fpwvOHFTu4ovjLq5O33DUYIwqADnVAPf7A919NEAWZVvvgfBAntsFZgvgzf7i10H0gkial3GPWazRpmv9cZkMlucmzfuJV3Hwc7_qq=w640-h360" width="640" /></span></a></div><div><span><span style="color: white; font-size: medium;">Heartrending admissions of enfeeblement from a family who share scars more keenly <a href="https://frame.land/framelands-favourite-underseen-and-unloved-films-of-2021/" target="_blank">than blood</a>. </span></span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">11. Ste. Anne</span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">by </span>Rhayne Vermette</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjIR3uA7dqjbTWDYkDluk5o4oOI9cgmCTFg_IIj63YrgY2zxVqof0kPbaSzoxnYHcShGgmTh7XF4x2CZ8Ga4kdm5eWxXOq37bJDjSG729iBdt1m5ic2i-XslMdlaR6dyBuIpX4jU9Qujf08VbTos2OMz3wnV2GYDd1OZUS8w0wNE91nhg8dQs_FmhRX=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="960" data-original-width="1920" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjIR3uA7dqjbTWDYkDluk5o4oOI9cgmCTFg_IIj63YrgY2zxVqof0kPbaSzoxnYHcShGgmTh7XF4x2CZ8Ga4kdm5eWxXOq37bJDjSG729iBdt1m5ic2i-XslMdlaR6dyBuIpX4jU9Qujf08VbTos2OMz3wnV2GYDd1OZUS8w0wNE91nhg8dQs_FmhRX=w640-h320" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">What it looks like when a woman is <i>finally </i>for the love of fucking christ, allowed to speak in a filmic language unfamiliar to colonizers, unfamiliar to sexist authority. <i>Ste. Anne</i> is a movie I have been waiting for most of my life, a non-narrative display of loss, a powerfully non-linear examination of a life lived outside American morality. A somber study of independence's collateral damage. A fierce-some study of possibility in a magnificently <i>off</i> pallet. I'm always excited to see something called Avant-Garde and find nothing but clarity. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">12. Hit the Road</span></span></div><div><span style="color: white; font-size: large;">by Panah Panahi</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhjUfJAb2QOB-7SidnRHMXV5mXqdJESju-TnSTkwl_75dqoWvP_5qlKVW4zeHZXGA4JxRhu4igIRbjxM2qx-3rdLlLPPkkIyhppGsETk98U-t5_ylEHquhH2ZHWPHeXWOaRLjM_yGuMGb1b3BCE2_GvlhxAEsVGe3cWkDNnnv63OwJsgVWSlItXnffI=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhjUfJAb2QOB-7SidnRHMXV5mXqdJESju-TnSTkwl_75dqoWvP_5qlKVW4zeHZXGA4JxRhu4igIRbjxM2qx-3rdLlLPPkkIyhppGsETk98U-t5_ylEHquhH2ZHWPHeXWOaRLjM_yGuMGb1b3BCE2_GvlhxAEsVGe3cWkDNnnv63OwJsgVWSlItXnffI=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">A <a href="https://www.rogerebert.com/festivals/nyff-2021-hit-the-road-unclenching-the-fists-the-girl-and-the-spider" target="_blank">gift</a> from a son to his father.</span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">13. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)</span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">by </span>C.W. Winter & Anders Edström</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZySo2SifYSXxm6vnxnNOSEqsIq_mPeoP1umsPWnh3YGNEBpv28lfzRZjUQglkH6i520dos8jb8cNcL7tySR1tXk2Z-R6QLK8QUzByigv63uH7v9iDz7ohXTJtZ63uxg6gDszL0r_7qC9gBgV2fIA9hXUxZERwOb6FXwWjtoPxQQpgudmlIsqTvimz=s1600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiZySo2SifYSXxm6vnxnNOSEqsIq_mPeoP1umsPWnh3YGNEBpv28lfzRZjUQglkH6i520dos8jb8cNcL7tySR1tXk2Z-R6QLK8QUzByigv63uH7v9iDz7ohXTJtZ63uxg6gDszL0r_7qC9gBgV2fIA9hXUxZERwOb6FXwWjtoPxQQpgudmlIsqTvimz=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Almost a full day of labor, loss, and time. The pure heaviness of time's passing, the exhausting realization that it won't stop. For a season, a small gathering of the world's lost sit at one corner of its massive uncaring expanse and exists. They go to work, they do their part, they mourn, they eat, they gather and drink and take stock of each other. Cinema, at heart, was always so geared and guided, it just lost its way. Be lost and be found at once here. An experiment, sure, but human, recognizable, us. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">14. The French Dispatch</span></span></div><div><span style="color: white; font-size: large;">by Wes Anderson</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhs9PboeBpcfSgxjMyDJA-HqRRWbon8C8ITntdsf0Nm1P29n4qnzwDTPYlaEkGyvonQwa7aPIwlBddqGdxfsNgBTqBiivAU1ZsmpINI1mZAKn7vKPvVr62M_DQOvt3dY-Fa5Yqm_fv1JQtS7yuGg-n215U-FnG4xMIFerrEiRVZ7sK1StFlj517Rmrd=s3012" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="2203" data-original-width="3012" height="468" src="https://blogger.googleusercontent.com/img/a/AVvXsEhs9PboeBpcfSgxjMyDJA-HqRRWbon8C8ITntdsf0Nm1P29n4qnzwDTPYlaEkGyvonQwa7aPIwlBddqGdxfsNgBTqBiivAU1ZsmpINI1mZAKn7vKPvVr62M_DQOvt3dY-Fa5Yqm_fv1JQtS7yuGg-n215U-FnG4xMIFerrEiRVZ7sK1StFlj517Rmrd=w640-h468" width="640" /></span></a></div><div><span style="color: white;"><span><span style="font-size: medium;">"It's all Simone." On obsession's happy children, the product of caring benefactors. No art without money, but no money without moneymen who <i>see</i>. See that the world is better with the absurd and irregular, that the work of the artist is the point of life. Not money, not any of the rest of it. What is the world without the word, the smear of oil paint, the sculpted figure, the nature of beauty brought right to our senses like a doctor's ministrations. The moneyed have brought us to a dismal moment but there has to be hope as long as we have art so neurotically produced, so meticulous, and yet so oddly shaped; something only this mind could have dreamt. "He brought the world to Kansas." And vice versa, so to speak. </span><br /></span><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">15. Licorice Pizza</span></span></div><div><span style="color: white; font-size: large;">by Paul Thomas Anderson</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi2R7HycHzt5FS3hDhh4_CO8HY9mEI2_n3BjzN9ElPnWPcOzDvCiUNDI3NYUvNBLvmjETTSLwmISPxehz3RK3KDpMVOVx3UQgJlKZxKlP6P5YaU51i2kvduiTN4K2N_AISuVhQW6ZMz7sWKNjvhxtPrFOF4w2XAPeEZMMzZDSOCmJxQ_un3yp3g782h=s1200" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="674" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEi2R7HycHzt5FS3hDhh4_CO8HY9mEI2_n3BjzN9ElPnWPcOzDvCiUNDI3NYUvNBLvmjETTSLwmISPxehz3RK3KDpMVOVx3UQgJlKZxKlP6P5YaU51i2kvduiTN4K2N_AISuVhQW6ZMz7sWKNjvhxtPrFOF4w2XAPeEZMMzZDSOCmJxQ_un3yp3g782h=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Just as we lost Peter Bogdanovich, here a film with his rich direction and gleefully problematic human beings <a href="https://letterboxd.com/honorszombie/film/licorice-pizza/" target="_blank">front and center</a>. Nostalgic for a valley that wasn't, and for a time before thirty years of American character development. </span><br /></span><div><span style="color: white;"><br /></span></div><div><span style="color: white; font-size: large;"><span><br /></span><span style="font-family: inherit;">16. No Sudden Move</span></span></div><div><span style="color: white; font-size: large;">by Steven Soderbergh</span></div><div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiwfXZigSggsNIw66anuRnVpcD7_ltN9HOPRKgiiLEog8auVYu3Omshp6k5mHSRC2NgL3Nmu9hKe6fknmFUXD0WKJA7YVZNPr0zJnfiFT-5MQoJevq3-2uoG0MvSTp-9tCUGLFyeiGWDk5P_PDipgRgRUvCWBXRkDr-Sm1tNTyDprEg47TtMcWpUVIv=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="1571" data-original-width="2560" height="392" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwfXZigSggsNIw66anuRnVpcD7_ltN9HOPRKgiiLEog8auVYu3Omshp6k5mHSRC2NgL3Nmu9hKe6fknmFUXD0WKJA7YVZNPr0zJnfiFT-5MQoJevq3-2uoG0MvSTp-9tCUGLFyeiGWDk5P_PDipgRgRUvCWBXRkDr-Sm1tNTyDprEg47TtMcWpUVIv=w640-h392" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Soderbergh's crime films are the window to his soul, more so even than the confessional sci-fi with all that fear and doubt. Here is where he wishes he'd been born, allowed to practice his trade. As a studio hand circa-1970 creating the world in grimy bars and cold, trash-strewn alleys. The world turns its nose up at his heroes and his camera stretches wide to hug all of them, 'scope nausea stranding them with their dreams out of reach and happiness around some corner they'll never touch. The greatest cast he's assembled squabbling like siblings as the future squeezes everyone to dust. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">17. Old</span></span></div><div><span style="color: white; font-size: large;">by M. Night Shyamalan</span></div></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_4j-cVZN3cxBk2cChz0lQohu4zOE7MNSjuRYCMa4zqBwUVPjrHR1lhIVwTkwvwHZIkd42YbhjLUO2Q_kpX6HcspOyLE1rZFJLs1J5JSiJEAss0BCU4sKcII1Y_ckFf6ldrK7GQIFAijrbGuoockm4Sp6rFFYAg3jdn94jp7Loykk_-C6ZBXmMImVW=s3983" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="2249" data-original-width="3983" height="362" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_4j-cVZN3cxBk2cChz0lQohu4zOE7MNSjuRYCMa4zqBwUVPjrHR1lhIVwTkwvwHZIkd42YbhjLUO2Q_kpX6HcspOyLE1rZFJLs1J5JSiJEAss0BCU4sKcII1Y_ckFf6ldrK7GQIFAijrbGuoockm4Sp6rFFYAg3jdn94jp7Loykk_-C6ZBXmMImVW=w640-h362" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Shyamalan's cubist period probably started with his work on <i>Servant</i> but he's really painted his sharpest canvas yet with this. Every angle is like a knife through butter, every cut bisecting the insignificant life of his doomed heroes like separating chopped, bleeding roast at a carving station. His vision has never felt more frighteningly anti-social, so malevolent, and so diamond perfect. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">18. This is Not A Burial, It’s A Resurrection</span><span class="Apple-converted-space" style="font-family: inherit;"> </span></span></div><div><span style="color: white; font-size: large;">by Lemohang Jeremiah Mosese</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjzajnSpbhlEZ4-bO4iTAZBROwEvhBfilT-nEMEAJDmU7X0crUNTO5KPSMdS0XInCypQLtJIoKZJIcnwH12dmUtgintNc3r4zfssQ8CsCm1gaLlsBlpazRG6f5ykjgQkBTtGPVD7aLKM_ijRJyqkul5KAl8OvbQ3PyKh9G-h1AUJdyPjr-wpnlODMVY=s1100" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="619" data-original-width="1100" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjzajnSpbhlEZ4-bO4iTAZBROwEvhBfilT-nEMEAJDmU7X0crUNTO5KPSMdS0XInCypQLtJIoKZJIcnwH12dmUtgintNc3r4zfssQ8CsCm1gaLlsBlpazRG6f5ykjgQkBTtGPVD7aLKM_ijRJyqkul5KAl8OvbQ3PyKh9G-h1AUJdyPjr-wpnlODMVY=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">A truly new kind of cinema, the director's eye seeing his people, his beloved culture, ignored by cameras until he found them, as if cinema had just been invented. That's how unique his vision of humanity is, his view of folklore and still moving, breathing life like a vision from a better dimension. </span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="color: white; font-size: large;">19. Annette</span></div><div><span style="color: white; font-size: large;">by Leos Carax</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhLdGZPvH2_hrBH0XvUs9AbAt8EAv_NnP3CuObwYR0OGDD2vtK0I9ooCnNxGulYQjHep-WngYTKBzzvvYFWhSOb3H1LvS6RUIOS7RFasX0_vjvFcPID6lrHpltsHJ9C94yKyXnre_XgNUFO2RU6bHlB7lW0hzCzl1NwzectPKR3WbKsfmyfqpZC3x8w=s711" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="415" data-original-width="711" height="374" src="https://blogger.googleusercontent.com/img/a/AVvXsEhLdGZPvH2_hrBH0XvUs9AbAt8EAv_NnP3CuObwYR0OGDD2vtK0I9ooCnNxGulYQjHep-WngYTKBzzvvYFWhSOb3H1LvS6RUIOS7RFasX0_vjvFcPID6lrHpltsHJ9C94yKyXnre_XgNUFO2RU6bHlB7lW0hzCzl1NwzectPKR3WbKsfmyfqpZC3x8w=w640-h374" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Sparks <a href="https://www.patreon.com/posts/54012560" target="_blank">sing the body</a> mahogany, Leos Carax belts out a sequel to <i>Pola X.</i></span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">20. C’mon C’mon</span></span></div><div><span style="color: white; font-size: large;">by Mike Mills </span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6LwMUEmrNXHmYkPoEOuDvDZWSeWHlFCHVtMFBSdeaSkzOWVNY33baZvBvJPwTqUi1E8Dtv5gXmqL2zJDKLErd7dqrtcj_Jn5pdwaKgrFTQ7foNlTvvnyPVF-xeOEe5eaQqbKvA9OWgHdcm86-zrlLlwModWmFucVwijd-HCsAoCSpriU8kAl1YTCX=s1194" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1194" height="386" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6LwMUEmrNXHmYkPoEOuDvDZWSeWHlFCHVtMFBSdeaSkzOWVNY33baZvBvJPwTqUi1E8Dtv5gXmqL2zJDKLErd7dqrtcj_Jn5pdwaKgrFTQ7foNlTvvnyPVF-xeOEe5eaQqbKvA9OWgHdcm86-zrlLlwModWmFucVwijd-HCsAoCSpriU8kAl1YTCX=w640-h386" width="640" /></a><span><br /><span style="font-family: inherit; font-size: medium;">Mills keeps writing his manual on how to be a human being and each time he finds some new grace-note, some new shattering instruction learned from being there for others as best as he can be. The monochrome brings out his anthropologist's curiosity and his graphic designer's specificity. The world as a catalog of possible emotional reactions to the unstoppable. People as forces of nature. Nature as the keeper of people. Can we endeavor to be worthy of being held so by the world we inhabit? </span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">21. Benedetta</span></span></div><div><span style="color: white; font-size: large;">by Paul Verhoven</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhw0IaSKrPhv9jsRt4QqwSj_YAMSg8ZRewnTMTuUATqIm4Mgwugv-_WD8fMU9-J0a1cW1PLjb1mmhGu5i4x1If7OMfYMMe-jiZshmc5H_SNgHEjtifRU5fcMVX6P4AU4pdvkh_2SZ8UC3j5srzu4qE1wUDitBxZSrqLTs0My43WFPPyubq-xnxCWWrG=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEhw0IaSKrPhv9jsRt4QqwSj_YAMSg8ZRewnTMTuUATqIm4Mgwugv-_WD8fMU9-J0a1cW1PLjb1mmhGu5i4x1If7OMfYMMe-jiZshmc5H_SNgHEjtifRU5fcMVX6P4AU4pdvkh_2SZ8UC3j5srzu4qE1wUDitBxZSrqLTs0My43WFPPyubq-xnxCWWrG=w640-h266" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Our sainted pervert master returns for (at least [fingers crossed]) one more bacchanal clad in thorny crown and little else. Draped in rubbery late cinema digital easiness but still stopping to take time and smell the shit, <i>Benedetta</i>'s parade of sin is easily the most self-assured good time at the movies this year. Asking a question as old as god himself: if we're made in his image, why can't we fuck him, and why can't we fuck each other however we please? The answer is a bloody slideshow of depraved offenses and smiling trespassers. </span></div><div><span style="color: white; font-size: medium;"><br /></span></div><div><span style="font-size: large;"><span><span style="color: white; font-family: inherit;"><br /></span></span></span></div><div><span style="color: white; font-size: large;"><span><span style="font-family: inherit;">22. </span></span><span style="font-family: inherit;">Parallel Mothers</span></span></div><div><span style="color: white;"><span style="font-size: large;">by Pedro </span><span style="font-size: large;">Almodóvar</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj2kQGaOXztpai0x-t3v6ejX3h_efEE0HgkomFP8KrkM4-cxF-xkcYjhntKD2ZWaXjlunwywrEUIeiDKjVRjUiS5iBN_xBf_jiaFYxEdF4jkt4yAP2osMEX9MB4Qsj0nQEFKHIY72jHPMTKvRRISuGeaoBTIR0T6Z8Gbgu7HilflnLT03QwzeBW_Sp3=s1500" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="862" data-original-width="1500" height="368" src="https://blogger.googleusercontent.com/img/a/AVvXsEj2kQGaOXztpai0x-t3v6ejX3h_efEE0HgkomFP8KrkM4-cxF-xkcYjhntKD2ZWaXjlunwywrEUIeiDKjVRjUiS5iBN_xBf_jiaFYxEdF4jkt4yAP2osMEX9MB4Qsj0nQEFKHIY72jHPMTKvRRISuGeaoBTIR0T6Z8Gbgu7HilflnLT03QwzeBW_Sp3=w640-h368" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Almodóvar finally remakes <i>Magnificent Obsession </i>for a time obsessed with easy answers that bypass science and head straight for mysticism. His question is whether love can transcend betrayal, logically and rationally proven. Should we leave human fate up to numbers? Isn't it more fun to see if they can intermingle like lost, horny people must do? His images, as always, curative. So perfectly shaped, so imaginatively colored and designed. And into them strides a ferocious Penélope Cruz, always at her best for </span><span style="font-size: large;">Almodóvar. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">23. 24. Mad God / </span><span style="font-family: inherit;">The Spine of Night</span></span></div><div><span style="color: white;"><span style="font-size: large;">by Phil Tippett / </span><span style="font-size: large;">Philip Gelatt & Morgan Galen King</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhWpPLNJRcGSGgdm67KVihFWp4SF-clyqVCC3xvS-H3Y9cH4SbJQDzULfPNNO_lyL-5MrPScqDazrRlB1-_ajTNMCF_0ZpU02J9gxDTMJUrwXxjhsGsrvX8FEdYT1XfKZTVzXbPAllOLU7Ah-YiB_rq40lxhKUS0qZ2s1SafiUm6rM93YqzAFARAwYu=s1344" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="704" data-original-width="1344" height="336" src="https://blogger.googleusercontent.com/img/a/AVvXsEhWpPLNJRcGSGgdm67KVihFWp4SF-clyqVCC3xvS-H3Y9cH4SbJQDzULfPNNO_lyL-5MrPScqDazrRlB1-_ajTNMCF_0ZpU02J9gxDTMJUrwXxjhsGsrvX8FEdYT1XfKZTVzXbPAllOLU7Ah-YiB_rq40lxhKUS0qZ2s1SafiUm6rM93YqzAFARAwYu=w640-h336" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Two of the most inspired movies of the year were deliberate midnight movie throwbacks, one a nightmare in clay courtesy of the Frank Zappa of science fiction special effects <a href="https://www.patreon.com/posts/55171911" target="_blank">Phil Tippet</a>. The other was an unyieldingly gorgeous hand drawn marvel, a Frank Frazetta and Ralph Bakshi cover song that blew my mind out of my skull with every cut. Across a grim hyperborean hellscape directors Philip Gelatt and Morgan Galen King paint a fresco of bloody psychedelic discovery, a song in severed heads and "bodies ripped apart like fresh bread" to use an MST3Kism. Displaying more creativity in any given six seconds than most movies muster in 120 minutes, these two films gave me hope that you can fill your new work with love for the old without sacrificing a personality. I was enraptured by their visions of forsaken places and doomed creatures and heartened by the same show of creativity from new voices and decades old veterans at once. </span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">25. Il Buco</span></span></div><div><span style="color: white; font-size: large;">by Michelangelo Frammartino </span></div></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9D-pCiyW5jffZt8YNpvqshBN1vnx2bagJj7MM5fsnaMO5Q63NUIGtQkxrH3J3NjozqVICKIUvKUE_tnXFXu1THlwW2rnZ-E0qegSEL4V_no4GBicXUo8JgmhfPWZyBSGXspBCAg_L3o-QKR6PSvcCKC7R92vHJL4j4xpDySKYt62OoDvelGTd7DVP=s3000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1800" data-original-width="3000" height="384" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9D-pCiyW5jffZt8YNpvqshBN1vnx2bagJj7MM5fsnaMO5Q63NUIGtQkxrH3J3NjozqVICKIUvKUE_tnXFXu1THlwW2rnZ-E0qegSEL4V_no4GBicXUo8JgmhfPWZyBSGXspBCAg_L3o-QKR6PSvcCKC7R92vHJL4j4xpDySKYt62OoDvelGTd7DVP=w640-h384" width="640" /></span></a></div><div><span style="font-family: inherit;"><span style="color: white; font-size: medium;">The further down scientists go into the earth, the further stuck in the past the people above seem to get. Frammartino's journals of lives ending as nature plods on with bluntness and occasional moments of beauty (usually hidden from cameras) take especial interest in quiet, amiable vulgarity, of the ways in which it can feel as though the natural order of the world is playing a prank on we lonely preoccupied human beings. This will be tough to top for him, because he's perfectly bifurcated his interests. To lose yourself in a hole of discovery, or to die alone above?</span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">26. France</span></span></div><div><span style="color: white; font-size: large;">by Bruno Dumont</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjUKDNR7gP4HGGbaQovv7vqRGpN9yxfLfSmwoBZL-3glHhoqWlNMkAixxTmBmsWmkb33ij4q-dFjHBxPWVtqE4OfeetKjaCpm27kHGOLMWum0XS_xxOCZm7gy6rl-Ecy4V6SwJBeQ2YVUSF2OfL0hb11eygwosAkkhA81t8w_ABtu5V7VFUmaavoAzc=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjUKDNR7gP4HGGbaQovv7vqRGpN9yxfLfSmwoBZL-3glHhoqWlNMkAixxTmBmsWmkb33ij4q-dFjHBxPWVtqE4OfeetKjaCpm27kHGOLMWum0XS_xxOCZm7gy6rl-Ecy4V6SwJBeQ2YVUSF2OfL0hb11eygwosAkkhA81t8w_ABtu5V7VFUmaavoAzc=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">The worlds of each of Dumont's movies is pressed into the shape and size of a viewmaster slide and his most thorny character just switches between them as her life becomes less and less something in which she wants to participate. The poor, spat up by her people, the foreign, destroyed by her people, the wanton, ignored by her people, they all get their moment alone with France's hollow woman. She's the Statue of Liberty sent to check on everyone whom she didn't protect. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">27. Procession</span><span class="Apple-converted-space" style="font-family: inherit;"> </span></span></div><div><span style="color: white; font-size: large;">by Robert Greene</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgCqW-F-SmycdPZWGqu4skxbvTe_cRCX1H7z_JuFRXge2g-yazOz3two-IIuYvDANh83-dDIprEZe86ZVilri4GW3jn-QJ30fBwOt-zq9GlOJM2smH756_gFup4DTpLLBOylsxyhVGotdfpHA7ARSzZy-ZqVYC_AcwH4thjqD3Rywh57HdmfA5GlQa2=s1500" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="842" data-original-width="1500" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgCqW-F-SmycdPZWGqu4skxbvTe_cRCX1H7z_JuFRXge2g-yazOz3two-IIuYvDANh83-dDIprEZe86ZVilri4GW3jn-QJ30fBwOt-zq9GlOJM2smH756_gFup4DTpLLBOylsxyhVGotdfpHA7ARSzZy-ZqVYC_AcwH4thjqD3Rywh57HdmfA5GlQa2=w640-h360" width="640" /></span></a></div><div><div><span style="font-family: inherit;"><span style="color: white; font-size: medium;">Film entering the real world through fantasy, only Robert would have done this but fans of Joshua Oppenheimer should get their bibs on too, this is for them. Painful doesn't begin to describe the experience of sitting through these living museums of trauma and therapy, but it is, after every insult, joyous to see men of every background finding common language to describe what they've lived through. They build sets together. That bonds them. They create this world together. </span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">28. Wrath of Man</span></span></div><div><span style="color: white; font-size: large;">by Guy Ritchie</span></div></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEheBurMJIVdQo8fs9rrxKIRbXDAG6XKfHVlgJeWv8ob4nEl2m3lAmXh43fcktbJa9EkoK7qYy0UZjdkp1DeHCuOZfloPKkmYzpN639iG0oP3aso2TFAe6KW2VzEBhVR3kZkA_7VY5bWFGZLJ6rRz277SVs53nEyohryxPZ9z601Pk2sqP4C1kle_GtK=s1300" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="765" data-original-width="1300" height="376" src="https://blogger.googleusercontent.com/img/a/AVvXsEheBurMJIVdQo8fs9rrxKIRbXDAG6XKfHVlgJeWv8ob4nEl2m3lAmXh43fcktbJa9EkoK7qYy0UZjdkp1DeHCuOZfloPKkmYzpN639iG0oP3aso2TFAe6KW2VzEBhVR3kZkA_7VY5bWFGZLJ6rRz277SVs53nEyohryxPZ9z601Pk2sqP4C1kle_GtK=w640-h376" width="640" /></span></a></div><div><span style="color: white; font-size: medium;"><a href="https://letterboxd.com/honorszombie/film/wrath-of-man/" target="_blank">The bell tolls</a> for every stripe of coward, soldier, crook, and conniver. Every mother's son gets his turn in front of the barrel of a gun. </span></div><div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">29. The Power of the Dog</span><span class="Apple-converted-space" style="font-family: inherit;"> </span></span></div><div><span style="color: white; font-size: large;">by Jane Campion</span></div></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhIesaTzNOOnQLoK2trLySBVch86e6p-kMk86D5UyXZTiHD9kNgFdVz33p3R9tvf0QkPG0PZQzMrDNBy5cPtl3IZB8_YoBge63LA7cYrrtEzf2i5CnFHboCXvaBiFefuFolzz3wOTT60xdYVOuvCzVfBapLlKu8NwXabJB1FFyddHFITH3wDTfkvL9b=s2448" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1377" data-original-width="2448" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhIesaTzNOOnQLoK2trLySBVch86e6p-kMk86D5UyXZTiHD9kNgFdVz33p3R9tvf0QkPG0PZQzMrDNBy5cPtl3IZB8_YoBge63LA7cYrrtEzf2i5CnFHboCXvaBiFefuFolzz3wOTT60xdYVOuvCzVfBapLlKu8NwXabJB1FFyddHFITH3wDTfkvL9b=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">A fifth-hand masculine west is dried like leather and bound in a braid. What is still left to be uncovered? Forgotten passions and unforgiven sins. Women too shy to touch ivory, men too proud to ask forgiveness. Jane Campion's west is a place of sorrow, of land trying to bury you now that you've tamed it. The nightmare begins once you've conquered every beast. What now, Bronco Henry? What now? The world won't have you back once you defect. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span><span style="font-family: inherit;">30. </span></span><span>A Crime on The Bayou</span></span></div><div><span style="color: white; font-size: large;">by Nancy Buirski</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirTGjrTz-wSEnU3GxRJ7fsahklRxsJQ0r3_G393jD4GXzWxwovpVji_x9lnvoUSdS59tSwKJE-d9iOaXS84AiVW_zmZqFDS9Fz4mMpTVa-_VXQ6QE1gud2M0zOESzVZYOK6qcR1b9kk4X7yTe5qCtQlocMmUFRqZmCwZcjzn2z80UQl-XHq6zkFIu5=s1920" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEirTGjrTz-wSEnU3GxRJ7fsahklRxsJQ0r3_G393jD4GXzWxwovpVji_x9lnvoUSdS59tSwKJE-d9iOaXS84AiVW_zmZqFDS9Fz4mMpTVa-_VXQ6QE1gud2M0zOESzVZYOK6qcR1b9kk4X7yTe5qCtQlocMmUFRqZmCwZcjzn2z80UQl-XHq6zkFIu5=w640-h360" width="640" /></span></a></div></div><div><span style="font-size: large;"><span style="font-family: inherit;"><span style="color: white; font-size: large;">Buirski is one of the greatest non-fiction artists in this awful country, one of the few who treats her work with the care of our best fiction artists. So yes she tells the story, but she also makes it into cinema. Here we are told a tale as old as the nation itself, of a gesture misrepresented to make a man feel like an insect. She tells of the aftermath of a hate crime, a wrongful arrest, and an unlikely friendship without giving into the temptations of cliche, even though again, both form and setting would demand it. </span></span></span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="color: white; font-size: large;">31. Sabaya </span></div><div><span style="color: white; font-size: large;"><span>by </span><span>Hogir Hirori</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiA_hHlVISKi42lLz7noa0z_Yqj0K36CQw8pFqKTnkMXMK7JjWYTkUnhVH9MnkzVGAFXYC-JJWxAbLmZT66pfMUq4A7Rsg-MegIAl0caBFjpQ9mf_1XvyhldcbNJaEemOiJqy7FMolI_i5brtgCWXfES8-YQhp_Tzrr8p83Pouxnx7DaS22gGw2fVmn=s1024" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="536" data-original-width="1024" height="336" src="https://blogger.googleusercontent.com/img/a/AVvXsEiA_hHlVISKi42lLz7noa0z_Yqj0K36CQw8pFqKTnkMXMK7JjWYTkUnhVH9MnkzVGAFXYC-JJWxAbLmZT66pfMUq4A7Rsg-MegIAl0caBFjpQ9mf_1XvyhldcbNJaEemOiJqy7FMolI_i5brtgCWXfES8-YQhp_Tzrr8p83Pouxnx7DaS22gGw2fVmn=w640-h336" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">The unspeakable business of reclaiming the stolen people, the hostages taken in the name of reclamation on behalf of dead gods. There is no thank you waiting for the men who risk everything to save people they've never met. There's no certain future for the women coming back from hell. And there is no plan to help this ecosystem of lost men and women. Impossibly sad and terribly gripping. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">32. Zeros and Ones</span></span></div><div><span style="color: white; font-size: large;">by Abel Ferrara</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhuSzh4v5RVzVS6ts0y5bekoXGPelvmna_lFIdr-ZujJ7WWx5zFzm_zYdTk2XNf8BlYs2QdBaYIJkloIM8SwNGVwGBxRpq7t-NBBgcqOEGmt6nOcAhZrnlYcaydqjUJodlpKjvwA6wmUgbKinkz6vy3QWt7EcfwGWD8_4aHj1zgXrWu5tJbXhipNS_u=s1800" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1121" data-original-width="1800" height="399" src="https://blogger.googleusercontent.com/img/a/AVvXsEhuSzh4v5RVzVS6ts0y5bekoXGPelvmna_lFIdr-ZujJ7WWx5zFzm_zYdTk2XNf8BlYs2QdBaYIJkloIM8SwNGVwGBxRpq7t-NBBgcqOEGmt6nOcAhZrnlYcaydqjUJodlpKjvwA6wmUgbKinkz6vy3QWt7EcfwGWD8_4aHj1zgXrWu5tJbXhipNS_u=w640-h399" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">"And now we've made the film. And I just watched it. And you just watched it." Ferrara and Hawke, two mercenaries out here trying to keep the furnaces lit, attacking the idea of the self in the 21st century with their joint ferociousness. Ferrara destroying images by capturing them, Hawke killing men by playing them. There's no way back from this. Dark hallways and screaming Marxists, who will believe us when we tell them every chance we had to pull the reins. <i>The </i>fatalist work of the year. "Not only am I gonna die, everyone I know is gonna die...This is part of the movie, by the way, and now it's over." So is 2021.</span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">33. The Village Detective: A Song Cycle</span></span></div><div><span style="color: white; font-size: large;">by Bill Morrison </span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiE_VnsS-KkhCFZIHFCodZj4EST_SQWCpWwU02R3jICZxshafnf32Tb44LtCAjqFGraYymV_Y8Wc-iVKicTQcnMepJeVOnp8LUyPehWY5b8grj8-gfjUZD2dAztuqAWHYy8duYKXK_56UZB5P5c3BWFLIGTGtxHX8LXxuGXxRnIovytIzEhEeGuFSgv=s1000" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiE_VnsS-KkhCFZIHFCodZj4EST_SQWCpWwU02R3jICZxshafnf32Tb44LtCAjqFGraYymV_Y8Wc-iVKicTQcnMepJeVOnp8LUyPehWY5b8grj8-gfjUZD2dAztuqAWHYy8duYKXK_56UZB5P5c3BWFLIGTGtxHX8LXxuGXxRnIovytIzEhEeGuFSgv=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Bill Morrison, the nitrate savior, the DJ of prehistory, finds a character worthy of his jocular remixes. This dip into the cool waters of Soviet folly reveals the shape of Mihail Žarov, a man who smiles as broadly as you can imagine Bill smiling when given cans of old film. History is never done with us.</span><br /><span style="font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">34. 35. Babi Yar. Context / </span>State Funeral</span></div><div><span style="color: white; font-size: large;">by Sergei Losnitza</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiB9Ax3eKL27eRGMcqoZP0ZE8yAgPC2DFhJ81PP_0kvU0pz_gqgA4_FTBqd0zydGKuDCh8tOKZsRJ6Qa7n4NNiO2xyI2q9PmulezcZ3NCsHSokgM64i_-y3JDB4JtkoJoeLM6NelgnMeFykxP5VDa1ARjybTq2cIEvwiUw9MXsxzxAOtiU10j595QQV=s1189" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="903" data-original-width="1189" height="486" src="https://blogger.googleusercontent.com/img/a/AVvXsEiB9Ax3eKL27eRGMcqoZP0ZE8yAgPC2DFhJ81PP_0kvU0pz_gqgA4_FTBqd0zydGKuDCh8tOKZsRJ6Qa7n4NNiO2xyI2q9PmulezcZ3NCsHSokgM64i_-y3JDB4JtkoJoeLM6NelgnMeFykxP5VDa1ARjybTq2cIEvwiUw9MXsxzxAOtiU10j595QQV=w640-h486" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Losnitza's <i>deeply</i> untidy histories hit twice, at the start and end of a war. History didn't make heroes. It just filled graves. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">36. The World To Come</span></span></div><div><span style="color: white;"><span style="font-size: large;">by Mona Fastvold<br /></span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgPYvV3GUMILKnTpZjNMiP41BSNJxFrXKmuiTB3bVBu9eQHLTu65YeY5KPna_BM64VvKcMwTVBhzP8_s414WhwdPiDmSLug_wAUvq5hem8i4ToteK0E2VvXvoHISsdZB6z9z7XoJfCEsf_QAbh_sHbFl7523-vG2IdgfSztvRn_60rkm-0Xk4TRE1BP=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgPYvV3GUMILKnTpZjNMiP41BSNJxFrXKmuiTB3bVBu9eQHLTu65YeY5KPna_BM64VvKcMwTVBhzP8_s414WhwdPiDmSLug_wAUvq5hem8i4ToteK0E2VvXvoHISsdZB6z9z7XoJfCEsf_QAbh_sHbFl7523-vG2IdgfSztvRn_60rkm-0Xk4TRE1BP=w640-h360" width="640" /></a></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: medium;">To read someone <a href="https://www.patreon.com/posts/47098117" target="_blank">poetry</a> is to give them the world, and to love them like they love you is to put poetry inside their heart.</span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">37. Oxygen</span></span></div><div><span style="color: white; font-size: large;">by Alexandre Aja</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjZt3ryWyZRz4eMMZURWvist-Kv9zxZ7ofCKAqdqtLq4AXrQ_exFZ3P3LNFhK2ZaUQ_jlgYyUOIeUmcSnfNDBrOXkBPGp45awKUD8D40nYWVO79OBT8wUVPNILgfWaC3I_gooaQnkQWnD0DDN2W1UY2khQM1kA-8HQJu4MUiLsu9xYzPevnA7Xi3kNR=s1646" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1100" data-original-width="1646" height="428" src="https://blogger.googleusercontent.com/img/a/AVvXsEjZt3ryWyZRz4eMMZURWvist-Kv9zxZ7ofCKAqdqtLq4AXrQ_exFZ3P3LNFhK2ZaUQ_jlgYyUOIeUmcSnfNDBrOXkBPGp45awKUD8D40nYWVO79OBT8wUVPNILgfWaC3I_gooaQnkQWnD0DDN2W1UY2khQM1kA-8HQJu4MUiLsu9xYzPevnA7Xi3kNR=w640-h428" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">A woman's journey to remember herself, her every mistake, is the only thing that may save the race to the future, the human race entirely. And that's true, in so much as a human race without flaws, without affairs and lies and treachery is no human race at all. Aja's sequel to <i>Crawl</i> has a woman also trapped by claustrophobic circumstances and her refusal to meet the past half-way, a marvel of directorial ingenuity and mid-budget charm. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">38. The Novice</span></span></div><div><span style="color: white; font-size: large;">by Lauren Haddaway </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgnzUoCqrwQn7_dZWMKugO7XZ-BqLE4_N-8eNY12Rjkc_K0iXh93hR9WlusPXYEHXmzar0eZGLdMj9sHIVbPa1-blsk2Gg9MCTKVQweozmJfH4xf1fSGfse6fK78Gk0NsO9s_9J66zQLtxxI0NsSk6k5j1qUEDXi1vUcxGtYxk8QW12BSTUinQ0H5CZ=s3840" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="1608" data-original-width="3840" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnzUoCqrwQn7_dZWMKugO7XZ-BqLE4_N-8eNY12Rjkc_K0iXh93hR9WlusPXYEHXmzar0eZGLdMj9sHIVbPa1-blsk2Gg9MCTKVQweozmJfH4xf1fSGfse6fK78Gk0NsO9s_9J66zQLtxxI0NsSk6k5j1qUEDXi1vUcxGtYxk8QW12BSTUinQ0H5CZ=w640-h268" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Isabelle Furhman is the neo-lib angel of death, the woman born to privilege who wants the world to roll over when she calls it. She's trapped by the limits of her body and doesn't see that she can't make <i>even herself</i> do as she wishes, what hope does she have commanding other bodies and minds. Lauren makes an insanely assured first-timer. Together they make bitter magic. A movie like an itch you scratch til it bleeds. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">39. The Last Thing Mary Saw</span><br /><span style="font-family: inherit;">by </span>Edoardo Vitaletti </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9YQ9NLrD6-QhgrGNkpg0vUksZpHyLjt4PMoUV-pxDV0AAaKuoQ85SjlBj32ozwbhYanrM_1D8BEyYT-NN_iNEM84ithvbqRIG3PPdfhpX-H-22kwai62_jnJlZUulWVJ3774CwPrX_wjcFhm-yAgII8QfB86Asy3ABHTup9B3v5GSPFdOtwgrd5f_=s5120" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="2880" data-original-width="5120" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9YQ9NLrD6-QhgrGNkpg0vUksZpHyLjt4PMoUV-pxDV0AAaKuoQ85SjlBj32ozwbhYanrM_1D8BEyYT-NN_iNEM84ithvbqRIG3PPdfhpX-H-22kwai62_jnJlZUulWVJ3774CwPrX_wjcFhm-yAgII8QfB86Asy3ABHTup9B3v5GSPFdOtwgrd5f_=w640-h360" width="640" /></span></a></div><div><span style="font-family: inherit;"><span style="color: white; font-size: medium;">The other great <a href="https://www.patreon.com/posts/54762306" target="_blank">movie</a> about a dogged Isabelle Fuhrman trying to make fortune in a setting that rejects her. </span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">40. Blind Body</span></span></div><div><span style="color: white; font-size: large;">by Allison Chhorn</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgmTCiVHww8W_lCCX3G8y4ckCwDPo5eBbrImaqbTPHp5HvkdlTx0gQUODB8pYlrg5o1duZR_yq7OmenXvcQFtYZua5box2Emah1q4mIvrinzqWn-9u9rTO8hfOnKG4t_bF3n6j7oCA9VAIhP9x4OC-vLobE8qpbO7XeatrE3wDTXyF2yVamEsy-N15o=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white; font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgmTCiVHww8W_lCCX3G8y4ckCwDPo5eBbrImaqbTPHp5HvkdlTx0gQUODB8pYlrg5o1duZR_yq7OmenXvcQFtYZua5box2Emah1q4mIvrinzqWn-9u9rTO8hfOnKG4t_bF3n6j7oCA9VAIhP9x4OC-vLobE8qpbO7XeatrE3wDTXyF2yVamEsy-N15o=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Can a <a href="https://frame.land/framelands-favourite-shorts-of-2021/" target="_blank">camera</a> see what people cannot? it is always riveting to see an artist try to unearth new ways of seeing and not. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span><span style="color: white; font-family: inherit;"><br /></span></span></span></div><div><span style="color: white; font-size: large;"><span><span style="font-family: inherit;">41. </span></span><span style="font-family: inherit;">El Planeta</span></span></div><div><span style="color: white; font-size: large;">by Amalia Ulman</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSDzYUH67uIeKHJ4iLWfYtD5LRBNN3-T2kDe3ALfygtgLh2JJO7y-vhbf_u7XXNzm5U6A_7okV_7hbveM0y-l3E8bUXijskZi7gYdNz4yHjtIveoRz6BpQ4kFScIinCMtQXW2yOvEjUtsKp1SfNit_8VPVorQ_qoBP5s8E8HezyJc-_kV9IZrMugpC=s1600" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSDzYUH67uIeKHJ4iLWfYtD5LRBNN3-T2kDe3ALfygtgLh2JJO7y-vhbf_u7XXNzm5U6A_7okV_7hbveM0y-l3E8bUXijskZi7gYdNz4yHjtIveoRz6BpQ4kFScIinCMtQXW2yOvEjUtsKp1SfNit_8VPVorQ_qoBP5s8E8HezyJc-_kV9IZrMugpC=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Our Anna Karina (thank god we have one and she found her way to us) navigates the gig economy and COVID-19. Ulman is a beautiful creation (the performer and director make us a meak facsimile of the real thing) seeing every opportunity for the briar patch it is. Can anyone survive now without hideous compromise? Her mother wants to and will until the police stop her. A beautiful bolt from the fringes. </span><br /><span style="font-size: x-large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">42. Exterminate All The Brutes</span></span></div><div><span style="color: white; font-size: large;">by Raoul Peck</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiwcK3ke6VFExir7_cgWxdgu_GaKZJ0Rvs176_XW8v1Xnai9dwjHdRFeFhUv86YkIVQc1HvdNTxIZ0VWKISzSdzSE0GHaIlVFkzeJ3ylh1mM50HURlQR-4PKsegOtDyawoiH-sKdtSOyh4I6pjFc1qsQNY9MnkLJcPNoioidVdhZCWfIUacvGnLcQiG=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="562" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwcK3ke6VFExir7_cgWxdgu_GaKZJ0Rvs176_XW8v1Xnai9dwjHdRFeFhUv86YkIVQc1HvdNTxIZ0VWKISzSdzSE0GHaIlVFkzeJ3ylh1mM50HURlQR-4PKsegOtDyawoiH-sKdtSOyh4I6pjFc1qsQNY9MnkLJcPNoioidVdhZCWfIUacvGnLcQiG=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Peck looks back at a life cheated by racism to find the foundation of the myths that keep people from <a href="https://www.patreon.com/posts/49704828" target="_blank">thriving</a>. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-family: inherit; font-size: large;">43. Cry Macho</span></div><div><span style="color: white; font-size: large;">by Clint Eastwood</span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhMnUHr87p9B8G2c1ekGO8nOpnlvxZ-CgHF1iyRzDCDdI8gR_uzMJMKWxuBZrMZZmr3oudoh5MD2UtVU_s0QNfkHg7y6D3R0LJjy_0KWvBJ-UEwhuvTwucIOR0ahTx70pnbhETWBHMAPKQtvC88_bMbgAy2IO3SArN3h8Hti5PquhDjlGGO1TLiP8kG=s600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="400" data-original-width="600" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhMnUHr87p9B8G2c1ekGO8nOpnlvxZ-CgHF1iyRzDCDdI8gR_uzMJMKWxuBZrMZZmr3oudoh5MD2UtVU_s0QNfkHg7y6D3R0LJjy_0KWvBJ-UEwhuvTwucIOR0ahTx70pnbhETWBHMAPKQtvC88_bMbgAy2IO3SArN3h8Hti5PquhDjlGGO1TLiP8kG=w640-h426" width="640" /></a><span><br /><span style="font-family: inherit; font-size: medium;">At 91 Clint Eastwood gives us one last dusty daydream of chivalry and bruised honor. Regally photographed and expertly underplayed, Eastwood sends himself into eternity with a loving last glance. </span></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">44. In The Earth</span></span></div><div><span style="color: white; font-size: large;">by Ben Wheatley</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhgdcHaZ1Hp-ciqgloecNpc3NaTC7uUIcbNb3oVUzeEc5uZVx72Ys0fYenYCYtddBGed3d7IGC-T0E4p045aBoy_L5ClceIRT9PCoa3QoNy1wyq05_9Grsa7JTM7IV5XobQtSTn7dSJH3twxPi9q5XSqLPjQ39TlXyqomKDqO1BMJeXtvUxXsL-gM_6=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhgdcHaZ1Hp-ciqgloecNpc3NaTC7uUIcbNb3oVUzeEc5uZVx72Ys0fYenYCYtddBGed3d7IGC-T0E4p045aBoy_L5ClceIRT9PCoa3QoNy1wyq05_9Grsa7JTM7IV5XobQtSTn7dSJH3twxPi9q5XSqLPjQ39TlXyqomKDqO1BMJeXtvUxXsL-gM_6=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">A welcome return to the wild for Britain's beat poet of <a href="https://read.kinoscope.org/2021/02/09/i-can-feel-it-coming-in-the-air-tonight-ben-wheatleys-in-the-earth/" target="_blank">violent revision</a>.</span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">45. Come Here</span></span></div><div><span style="color: white; font-size: large;">by Anocha Suwichakornpong</span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjTxB0sw9hT1M_lRRPNQ8k7pqmRx2GytbBZSVQ1ucTalW6TdsPO2iVVvrrD_HJY_yTwJL1faotK6aWBuYXTsw4TWO5cjUifQYdH7MD3Fv9HJhDqb4vCcy8b-sbZhPTDEKqz7I9zwny7ak1DJXEbiMUyiGTv87-7JUnPQIU3Ie4I_VQWgZykkZzjXzSK=s1440" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="810" data-original-width="1440" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjTxB0sw9hT1M_lRRPNQ8k7pqmRx2GytbBZSVQ1ucTalW6TdsPO2iVVvrrD_HJY_yTwJL1faotK6aWBuYXTsw4TWO5cjUifQYdH7MD3Fv9HJhDqb4vCcy8b-sbZhPTDEKqz7I9zwny7ak1DJXEbiMUyiGTv87-7JUnPQIU3Ie4I_VQWgZykkZzjXzSK=w640-h360" width="640" /></a><br /><span style="font-family: inherit;"><span style="font-size: medium;">A daydream of Rivette and Lav Diaz, <a href="https://www.rogerebert.com/festivals/kviff-2021-award-winners-highlights-and-a-video-diary" target="_blank">perfect surfaces</a> protecting lost souls.</span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="color: white; font-size: large;">46. The Last Duel</span></div><div><span style="color: white; font-size: large;">by Ridley Scott </span></div></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_lSD9ciiqDCnHcStPaBBqnvNLoAK1W7ajzhqJhQDBPfNBaI7iDVDTJKaDfFdGQ2BmSFi-8zsDUtmdzjzPcOO9MuG8YeGi5wt5m8AdzjDuM27JMsy3e_BF-BV_v4X6OnfoM3SN5y0EkpFX5BJ06JDDsPvMgAuIYsAJoeW7VZArWhKggIS_aVfEBC3P=s2400" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1350" data-original-width="2400" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEj_lSD9ciiqDCnHcStPaBBqnvNLoAK1W7ajzhqJhQDBPfNBaI7iDVDTJKaDfFdGQ2BmSFi-8zsDUtmdzjzPcOO9MuG8YeGi5wt5m8AdzjDuM27JMsy3e_BF-BV_v4X6OnfoM3SN5y0EkpFX5BJ06JDDsPvMgAuIYsAJoeW7VZArWhKggIS_aVfEBC3P=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Ridley Scott is always going to shock you when it looks like he's down. His lesser film this year took millions and shaped the zeitgeist, his better film is slowly winning hearts and minds. <i>The Last Duel</i> is obviously the better film, the look back at his years of medieval epics and recognizing that a hero to some is a villain to others waiting for the other shoe to drop. This bloody, uncompromisingly nasty look into yesterday is the kind of thing I expect from a director who's filmed every sight twice and needs to complicate what he's done before. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">47. The North Water</span></span></div><div><span style="color: white; font-size: large;">by Andrew Haigh</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjLbsybNgPJR4J5ljL_pBBDYIzACzyIL2_HEvdc040oKT2wM-X_H-TQDmxya6xIQc4cf5H_jCQ8lT-IEhuCSk0-ttr1FUJRfTrrhB0LqhbEQ2vis4z7xgCVH-d51C8aXtcS5wRWLoLu7kEvPKJf7J__soy6N6oe5APCyDqjTMEmlISSOiak4stZ-Gx4=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEjLbsybNgPJR4J5ljL_pBBDYIzACzyIL2_HEvdc040oKT2wM-X_H-TQDmxya6xIQc4cf5H_jCQ8lT-IEhuCSk0-ttr1FUJRfTrrhB0LqhbEQ2vis4z7xgCVH-d51C8aXtcS5wRWLoLu7kEvPKJf7J__soy6N6oe5APCyDqjTMEmlISSOiak4stZ-Gx4=w640-h266" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">"Can you eat a bear?" Haigh creates another sumptuous bummer, this one the farthest back in time he's yet looked. Men traipse to eternity looking for dignity and find only blood-stained ice, a dirty mirror. Jack O'Connell does his best work since <i>Starred Up</i>, and fights barbarism with his every bone until he sees that there is no fighting it. You simply use of it what is necessary to not end up in the stomach of a monster, human or not. Somedays the bear will eat you, and some days you'll eat the bear. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">48. 49. The Deep House / </span>Kandisha</span></div><div><span style="color: white; font-size: large;">by Julien Maury & Alexandre Bustillo</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh56ldyPpCZmDALhyxw8UlzaKLA4t-xiCr0Imv-aQx6gpK91-AVsfewnh4eVXyuHdWqGtdL3c44SDwFtj8iaYQg10DEAYOg7PPfDYHwGBl8Zg9TzJHY4SBIqwj6Tls9So2GmUVSORNBdsk-FZL5pohzsg29GoEZwSECoMh83XrOB434w5X4k_WAnsp6=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="495" data-original-width="1000" height="316" src="https://blogger.googleusercontent.com/img/a/AVvXsEh56ldyPpCZmDALhyxw8UlzaKLA4t-xiCr0Imv-aQx6gpK91-AVsfewnh4eVXyuHdWqGtdL3c44SDwFtj8iaYQg10DEAYOg7PPfDYHwGBl8Zg9TzJHY4SBIqwj6Tls9So2GmUVSORNBdsk-FZL5pohzsg29GoEZwSECoMh83XrOB434w5X4k_WAnsp6=w640-h316" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">The reigning champs of 90 minute horror movies got in two delightfully frightening works this year. The first was a study of <a href="https://www.patreon.com/posts/53132026" target="_blank">teen girls</a> adrift in a broken city. The other was the most ingeniously simple little inversion of horror tropes I'm frankly stunned no one's done this before. Their submerged haunted house movie scared me to death with its extra deliberate ghosts and compacted claustrophobia. It's always good to remember how fun it is to be scared of simple things. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">50. Cityscape</span></span></div><div><span style="color: white; font-size: large;">by Michael Snow</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgAja8oismCa497G44gs1NJcgLv4JFLTfHHWxI2mb7V4SyBj1ym3nNxdqHJdRdBSDX7os_kNycoU0MvOA7fdUUDXsYcNcklfcswisaZ9cSKryWxhUoOr6YUnuciWxuwaTxhuzl3RqFfc9FoqFBHpoDo13wLQ-jfcvbuWyQgeLQG9llyxT05k-JxyEv7=s800" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="450" data-original-width="800" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgAja8oismCa497G44gs1NJcgLv4JFLTfHHWxI2mb7V4SyBj1ym3nNxdqHJdRdBSDX7os_kNycoU0MvOA7fdUUDXsYcNcklfcswisaZ9cSKryWxhUoOr6YUnuciWxuwaTxhuzl3RqFfc9FoqFBHpoDo13wLQ-jfcvbuWyQgeLQG9llyxT05k-JxyEv7=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">The king of the structuralists pulls his eye out of storage, dusts it off, and gives it one last spin on the mechanical arm of displacement. You can forget, I feel, what the image is for, if people like Snow don't remind you what it <i>is </i>from time to time. I laughed, I nodded, I tapped my feet. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">51. All Light, Everywhere</span></span></div><div><span style="color: white; font-size: large;">by Theo James </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjdImaaOIRBxvACswd0awYlkFLMcvH_7b7uTk7tZFxRIG9_wM3z-KL68d7m--X6Z3HF9rJceClY1Vl7rWpvY56bGJQ5jMSYjtAqq6etbZ9sQ4n_6UGAf0qEy6mHs4yAeX2s82JVdnQI1jm434_aGd2PZSK0dyjlTmSjYDO_22Xj73P-kchpkv5VBYSo=s299" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="168" data-original-width="299" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjdImaaOIRBxvACswd0awYlkFLMcvH_7b7uTk7tZFxRIG9_wM3z-KL68d7m--X6Z3HF9rJceClY1Vl7rWpvY56bGJQ5jMSYjtAqq6etbZ9sQ4n_6UGAf0qEy6mHs4yAeX2s82JVdnQI1jm434_aGd2PZSK0dyjlTmSjYDO_22Xj73P-kchpkv5VBYSo=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">One of those beautiful works about the nature of sight. Who sees you at all times? Who sees them seeing you? Can you stare back? Dare you do so, for fear what you might divine beyond the lens making itself familiar with you? James does away with the obliqueness of <i>Rat Film</i> and doubles down hard on Fuck the Police, realizing there's more at stake than just Baltimore. This whole wretched country will lose itself in the search for safety. A work with one hand on the door of an emergency exit and another gesturing at the whole horrid kingdom before you. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">52. The Harder They Fall</span></span></div><div><span style="color: white; font-size: large;">by Jeymes Samuel</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgGsjO9rX5Co-goG00SMdJmP4QLyVft5NXetmbV3NoeJMGQIC2WmS8jMmplbMH23OT4nc9LIELMHau65wwBJwHjdkOMiL90suzyFCT1IH0eq3OfaqixiYgB5mKufP7jgUPKv2XdCQTcLqEmgBuqUNTCVxqbEBFm7cLynj40jH615XBdM_XAw4YL0YnA=s5000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="2845" data-original-width="5000" height="364" src="https://blogger.googleusercontent.com/img/a/AVvXsEgGsjO9rX5Co-goG00SMdJmP4QLyVft5NXetmbV3NoeJMGQIC2WmS8jMmplbMH23OT4nc9LIELMHau65wwBJwHjdkOMiL90suzyFCT1IH0eq3OfaqixiYgB5mKufP7jgUPKv2XdCQTcLqEmgBuqUNTCVxqbEBFm7cLynj40jH615XBdM_XAw4YL0YnA=w640-h364" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">"I'm making a classic," Samuel told his cast. Time makes a classic but I'd be willing to call time on this. This beautiful, agile riposte to Tarantino's westerns of privilege is a great hang and a better hanging. Death to the old representation, down with stories of men in chains, no more black characters learning dignity from kindly whites. The future is yours. </span></div><div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">53. 29 Needles</span></span></div><div><span style="color: white; font-size: large;">by Philip Scott Goergens</span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi3ICuhnsuEKvD31RgliImHEuMK_SqGm1WTMebxmaQVWFUDO6ta1dLsn8zYVtU8pHh5DUwRVQ3nyksdeHgZb5JvxqEk3E_04wTJbG3Mw3jVRGL1_mh3SQXiTMwNRFd16tmPlXhg5ifVete1-t1AUQg_eZmEgi8CquYz5ROpddAfJsGtmpAzhzn1Hh7z=s1280" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEi3ICuhnsuEKvD31RgliImHEuMK_SqGm1WTMebxmaQVWFUDO6ta1dLsn8zYVtU8pHh5DUwRVQ3nyksdeHgZb5JvxqEk3E_04wTJbG3Mw3jVRGL1_mh3SQXiTMwNRFd16tmPlXhg5ifVete1-t1AUQg_eZmEgi8CquYz5ROpddAfJsGtmpAzhzn1Hh7z=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">As <a href="https://www.patreon.com/posts/53836327" target="_blank">painful</a> as pictures get. Rest in peace Brooke Berry</span><br /><br /></span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="color: white;"><span style="font-size: large;">54. </span><span style="font-size: large;"><span style="font-family: inherit;">Wife of a Spy</span></span></span></div><div><span style="color: white; font-size: large;">by Kiyoshi Kurosawa</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi4iCmzzkqREDDzMTwZgN8AZZMQv31-6PrrQORZR7d4nN60tPBULKETFhwZysNybUcNTRFNP0KLx3s1hQ_ZOZFb_yWRygMTqQhkBstTvX4jnRnrmUQI_aa5TgHOC0-b1l26vp_OC-apVyh6u0QPzW3v7HsiU21fshUCKCKUjb1c8cSGvT8sT4QAwj6M=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEi4iCmzzkqREDDzMTwZgN8AZZMQv31-6PrrQORZR7d4nN60tPBULKETFhwZysNybUcNTRFNP0KLx3s1hQ_ZOZFb_yWRygMTqQhkBstTvX4jnRnrmUQI_aa5TgHOC0-b1l26vp_OC-apVyh6u0QPzW3v7HsiU21fshUCKCKUjb1c8cSGvT8sT4QAwj6M=w640-h266" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Kurosawa's wartime melodrama splits the difference between the future and the past like nothing since perhaps <i>Avatar</i> or <i>The Hobbit</i>. Frame-rates cutting up action like a stump grinder and men and women trading comfort for the icy comfort of being one step ahead of modernity, and their fellow countrymen. No one is in shadow in this little noir, but no one can be trusted. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span><span style="font-family: inherit;">55. </span></span><span>Drive My Car</span></span></div><div><span style="color: white; font-size: large;">by Ryusuke Hamaguchi</span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg-yIp4lHk65L8NyCT5KHqSFXXkOj7MlqMieTcNMogC-Fyn-yGZ5UjjzGqr33sDdyqyXMm-NxoC2o1oSwCXQmIU3xee7KKhALrJocJzMSHu9L-8eVRB2jucd4YuQDRrBBaydLzbyPGdSOX6ApYreUpygyM-cgZEc05YzCZgGHLYYetJ90yWn8VY5wSs=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1620" data-original-width="2560" height="406" src="https://blogger.googleusercontent.com/img/a/AVvXsEg-yIp4lHk65L8NyCT5KHqSFXXkOj7MlqMieTcNMogC-Fyn-yGZ5UjjzGqr33sDdyqyXMm-NxoC2o1oSwCXQmIU3xee7KKhALrJocJzMSHu9L-8eVRB2jucd4YuQDRrBBaydLzbyPGdSOX6ApYreUpygyM-cgZEc05YzCZgGHLYYetJ90yWn8VY5wSs=w640-h406" width="640" /></a><span><br /><span style="font-size: medium;">Hamaguchi's silent man overseeing a kingdom of self-loathing and uncertainty from out the window of a red Saab. The camera must stay on until every last sin has been confessed. Riveting trips to who knows where pinned to your cortex with the raw power of vulnerability. Everyone knows everything, but nobody knows what to do. A series of tense interactions stretched to three hours of old fashioned theatrical drama. </span></span><span style="font-size: medium;">Chekhov is the muse but O'Neil and Hong Sang-soo sets the stage for a broken family's secrets informing every taken drink.</span></span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">56. The Night House</span></span></div><div><span style="color: white; font-size: large;">by David Bruckner</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiA5mL92-Y0PFDxWnkcRLgkCd0uu1c6ehduyqjDOMEznAE_PRyp9QAR8LaREyTkDgZ6hz7jdpsD0HLxCmKUrfXN1Y7eU1nl83gDtLVmdGIQU4MAFcTmOZMXz8yZ7oHBZxOGQh0kPDaGxGcLR5U25ZIpsnybEIvknT0ZqGSXWERAbqIoA3YkTI2-CBfb=s1400" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="796" data-original-width="1400" height="364" src="https://blogger.googleusercontent.com/img/a/AVvXsEiA5mL92-Y0PFDxWnkcRLgkCd0uu1c6ehduyqjDOMEznAE_PRyp9QAR8LaREyTkDgZ6hz7jdpsD0HLxCmKUrfXN1Y7eU1nl83gDtLVmdGIQU4MAFcTmOZMXz8yZ7oHBZxOGQh0kPDaGxGcLR5U25ZIpsnybEIvknT0ZqGSXWERAbqIoA3YkTI2-CBfb=w640-h364" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">In this dreary age of loglines that stop and end with "it's about grief," I like a movie that looks like it's headed for the nearest shore only to lose it in fog and rough seas. Rebecca Hall and her thousand pound screen presence anchor this nifty little haunted house yarn to the floor while symbols and red herrings pile up all around her. Bruckner's formal patience impress mightily, he gets better with every picture. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">57. The United States Vs. Billie Holiday</span></span></div><div><span style="color: white; font-size: large;">by Lee Daniels</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIAdDW0hzyI6_nJVJtJdNgMS7lTWyLReKFqhp8JPcS3uvFSdKIAABrJFKxeuDDxKV68pzyIg4sUXdZ68isdU-CPx4553JsDhdE6vbSyR-3IZaTQsJHc2S_E2pyMEgEDqxDM0t4d1bMJhdKLXoFssd18f-FcZMBF0wy-ZYOVdyQ4FXfNvNQQoswPk__=s3736" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="2101" data-original-width="3736" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIAdDW0hzyI6_nJVJtJdNgMS7lTWyLReKFqhp8JPcS3uvFSdKIAABrJFKxeuDDxKV68pzyIg4sUXdZ68isdU-CPx4553JsDhdE6vbSyR-3IZaTQsJHc2S_E2pyMEgEDqxDM0t4d1bMJhdKLXoFssd18f-FcZMBF0wy-ZYOVdyQ4FXfNvNQQoswPk__=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Lee Daniels is one of the only American directors who knows what it's like to be poor, who understands characters who came from nothing</span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">58. Jungle Cruise</span></span></div><div><span style="color: white; font-size: large;">by Jaume Collett-Serra</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiluP0AJIAVYn1ZqOnGxrtKLqHidntV0kHkRWi3Q-yFpTdSGUWsJwBhCniUfryKOSo_eJ79Yv-JPpZB68H1sLoXQSv6JI5mnkxPbUZ8SwkkYAz16a3ZF9SqkqppgqA2uVWTdUiqDOsUhm3SCSCsAvTIcxFSioxOkc2I9jsm8W0GVnqmtLYV0BlvKV5y=s1200" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="465" data-original-width="1200" height="248" src="https://blogger.googleusercontent.com/img/a/AVvXsEiluP0AJIAVYn1ZqOnGxrtKLqHidntV0kHkRWi3Q-yFpTdSGUWsJwBhCniUfryKOSo_eJ79Yv-JPpZB68H1sLoXQSv6JI5mnkxPbUZ8SwkkYAz16a3ZF9SqkqppgqA2uVWTdUiqDOsUhm3SCSCsAvTIcxFSioxOkc2I9jsm8W0GVnqmtLYV0BlvKV5y=w640-h248" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">The great vulgar object of this year's otherwise disturbing and lifeless crop of would-be blockbusters. We won't remember basically of the big budget images or sequences from American movies in years to come but I'll remember Jaume Collett-Serra embracing his inner Gore Verbinski, unleashing a high camp Jesse Plemons as the Kaiser's lapdog on a river of CGI. It's a risky game, doing things their way; I couldn't even find a decent still from this online because the paint smears when shooting moody digital 'scope in a closet for Disney. But I've followd JCS this far and he has yet to let me down so I even forgive him making a movie with true evil on all sides. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">59. A Weave of Light</span></span></div><div><span style="color: white; font-size: large;">by Bram Ruiter</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgY0h_Mq2G80rL2TCo2EqbqiGCnlGsxZbIcTQ0Pm0Op7y6AL3vvcKqywL0o36ZVGY0N3fa1k3l_07ruH-RJrSn9MhfLr9Fxba9xDeLSN5WTa5PfmioGXxiIGBsiOSXrsaakcuYztl3KgmbM0t4gKNbtfS35TnmJD_61_oy7l_s2sFiQggmuQqe1uZ99=s1440" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1080" data-original-width="1440" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEgY0h_Mq2G80rL2TCo2EqbqiGCnlGsxZbIcTQ0Pm0Op7y6AL3vvcKqywL0o36ZVGY0N3fa1k3l_07ruH-RJrSn9MhfLr9Fxba9xDeLSN5WTa5PfmioGXxiIGBsiOSXrsaakcuYztl3KgmbM0t4gKNbtfS35TnmJD_61_oy7l_s2sFiQggmuQqe1uZ99=w640-h480" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Bram rediscovering the simplicity of the image, of two objects in a frame, a hand on a wall, a fire burning on a stove, depth built into physical properties and processes. A hypnotic visit where the price of kodachrome buys you a few beautiful seconds back in time, when we saw the world through film grain, when even the sky looked like man had created it. </span><br /><span style="font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></span></div><div><span style="color: white;"><span style="font-size: large;"><span style="font-family: inherit;">60. </span></span><span style="font-size: large;">Marx Can Wait</span></span></div><div><span style="color: white; font-size: large;">by Marco Bellocchio</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjnMEki34s1lEaQpZ9cx2QCOBJoOuVnat3Zq2ofLLiexanqCnD76HfsHAiWe1Rw4UgpsYtSyw_mMBAF7EuJywUoDlyNCDvMd_JD_Gu5cTpwLPC-uDuzjWW-U6NavkDZHlOyUpd7BZPkn93NvgqLAzxPsLvgDEIo_1odLFhWP-kJQzZ1D5iOUIcB-7if=s1000" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="702" data-original-width="1000" height="450" src="https://blogger.googleusercontent.com/img/a/AVvXsEjnMEki34s1lEaQpZ9cx2QCOBJoOuVnat3Zq2ofLLiexanqCnD76HfsHAiWe1Rw4UgpsYtSyw_mMBAF7EuJywUoDlyNCDvMd_JD_Gu5cTpwLPC-uDuzjWW-U6NavkDZHlOyUpd7BZPkn93NvgqLAzxPsLvgDEIo_1odLFhWP-kJQzZ1D5iOUIcB-7if=w640-h450" width="640" /></span></a></div><span style="color: white; font-size: medium;"><span>A brother in </span><a href="https://www.rogerebert.com/festivals/nyff-2021-songs-for-drella-marx-can-wait-il-buco-belle" target="_blank">mourning</a><span> not just for the twin he lost, but for the men and women who died to make Italy a more empathetic place, a paradise it never became. Her </span><span>intellectuals</span><span> and artists know that that eden is as far away as ever. </span></span></div><div><span style="color: white; font-size: x-large;"><br /></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">61. Mariner of the Mountains</span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">by </span>Karim Aïnouz</span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSiXgivU8EmmHOmbkW87uxkBQK06Sdsz41uwha9WbIEkNG5N6vl3bpUYOuvSPZhP80Ixy8P_41juBrwqV2qi1mZr5BlssBbqQ14z4CTEJ3qQDujJnZf7R0XePnpkQxFZoE3pJ1JqUn9fCuXJf6JatXBw4aELeSyx2hPP1s4IklLDgFlRqAMpKh7Tfg=s1545" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1024" data-original-width="1545" height="424" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSiXgivU8EmmHOmbkW87uxkBQK06Sdsz41uwha9WbIEkNG5N6vl3bpUYOuvSPZhP80Ixy8P_41juBrwqV2qi1mZr5BlssBbqQ14z4CTEJ3qQDujJnZf7R0XePnpkQxFZoE3pJ1JqUn9fCuXJf6JatXBw4aELeSyx2hPP1s4IklLDgFlRqAMpKh7Tfg=w640-h424" width="640" /></a><span><br /><span style="font-size: medium;">A woozy travelogue from festival staple Aïnouz yields the richness of life that escapes most European eyes. As much an investigation into the existence of past lives as it is a visit to a place responsible for his own birth and the death of his father. Edited like a redacted government report but always open to the truth of life, you'll get homesick for a place you've never been and people you've never met. You'll never want him to return. </span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">62. Eight for Silver</span></span></div><div><span style="color: white; font-size: large;">by Sean Ellis</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhi1VjNushKikturbdXfQTnHJ8-6sYwyi0tMK3_oXszdJEVtF0fzmGm34t1bjUTVqXWwMGcqWu68BXPWqnXoCya3mrEdfEKrvvFsfojw4suTuFvehSGMySS1qPmfCS-KliuC8OtinxD2FOTje9-cUHN0V1WlsmLU85gWboEfDgkpyzkOiGZFjhSzMUS=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="562" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhi1VjNushKikturbdXfQTnHJ8-6sYwyi0tMK3_oXszdJEVtF0fzmGm34t1bjUTVqXWwMGcqWu68BXPWqnXoCya3mrEdfEKrvvFsfojw4suTuFvehSGMySS1qPmfCS-KliuC8OtinxD2FOTje9-cUHN0V1WlsmLU85gWboEfDgkpyzkOiGZFjhSzMUS=w640-h360" width="640" /></span></a></div><div><div><span style="font-family: inherit;"><span style="color: white; font-size: medium;">Somehow this gorgeous little monster got away from distributors, despite its painterly touch and savage implications. A werewolf's blood passes between the ne'er-do-well children of the elites of superstitious village. Not even a professional monster hunter can exorcise the blood of this place, hell-bent on exterminating the unfortunate. What I wouldn't give to see this teeth-marked Rembrandt copy again right now. </span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">63. Pig </span></span></div><div><span style="color: white; font-size: large;">by Michael Sarnoski</span></div><div><span style="color: white; font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhRNxHVgltS-dlfzEBz7x7gU63RTTv0LGbJP6yhA7p5x8AOyzUNuO-pjChD7yFWp4GFrR21nSfb0o_-r0Y8coYt2LVsr5Ghg5lk2BtGy2cKbF1RRXRliB-Tixh0vGh9S-CfsaNh783LXbc25Q_5i08IMJzxCX58ncR1xBXvxpn5lC5EVAV7aFzQgzpL=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1706" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhRNxHVgltS-dlfzEBz7x7gU63RTTv0LGbJP6yhA7p5x8AOyzUNuO-pjChD7yFWp4GFrR21nSfb0o_-r0Y8coYt2LVsr5Ghg5lk2BtGy2cKbF1RRXRliB-Tixh0vGh9S-CfsaNh783LXbc25Q_5i08IMJzxCX58ncR1xBXvxpn5lC5EVAV7aFzQgzpL=w640-h426" width="640" /></a><br /></span></div></div><div><span style="color: white;"><span style="font-size: medium;">My prince, my patron saint, my everything <a href="https://www.rogerebert.com/features/the-whole-parade-on-the-incomparable-career-of-nicolas-cage">Nic Cage</a> is back in everyone's good graces after a decade at sea. He's being given parts worthy of his talent and eating them like feast after famine. Here he's a man who's waited his whole life for a friend like his pet pig, and will do anything, debase himself, grovel to cowards, to see her again. He's grieving everything he was, everything he's lost, and first-timer Michael Sarnoski gives him the perfect canvas to paint this picture.</span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">64. Shiva Baby</span></span></div><div><span style="color: white; font-size: large;">by Emma Seligman </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj90KbzYbr652wRMGNLK4Wxk9viz_wS6v7-C4x5Q4Xgh5VKI9d8b0_rvEOeP8lSiL6DqfKAUvD-zyRzswWMntRRQ6IHa2gHiCm5syx_9YlTZHaZgqD_j8bG8kEmQGYgTN9FeJtbHniOvXMRTxS7KYmG5v4bRPLqO-NMf1zPcRqotuzD0fTaJlcLVfDN=s2048" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="858" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEj90KbzYbr652wRMGNLK4Wxk9viz_wS6v7-C4x5Q4Xgh5VKI9d8b0_rvEOeP8lSiL6DqfKAUvD-zyRzswWMntRRQ6IHa2gHiCm5syx_9YlTZHaZgqD_j8bG8kEmQGYgTN9FeJtbHniOvXMRTxS7KYmG5v4bRPLqO-NMf1zPcRqotuzD0fTaJlcLVfDN=w640-h268" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">I don't know that I laughed harder than at this film's collection of horrid interludes imagined, we presume by the nebbish burning like a dying star at the center of the drama. The prom night recollection in particular broke my funny bone. All around the laughter is a perfectly rehearsed choir of embarrassment, hemmed in by tradition, with an old woman needing to be escorted to the car waiting to save you when you knock over bibles, like she too were in on the joke. What a marvelously uncomfortable debut. My heart will always go out to the religious misfit, especially when surrounded by orthodox judaism, the first real language of cinema in my opinion. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">65. In Place of Monuments</span></span></div><div><span style="color: white; font-size: large;">by Naima Ramos-Chapman </span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhlnRbDCF-7DtdtGNgIgWH0-IMM1S7xcVw0ZlMxAjcYyiFrhNRAgTiggpQSnZiUgnMsWa1D8nIrCPgiSCELqfhBe1I03F9PxWiaHKMw285SXgpTm-RW_Uq-DJB-H0j6-FBwVCaAtB3LEu7PFJE1B5x0KND2-Mhumvxs7Yhs1XWYxH2ROMI6F8vVvm6J=s1920" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhlnRbDCF-7DtdtGNgIgWH0-IMM1S7xcVw0ZlMxAjcYyiFrhNRAgTiggpQSnZiUgnMsWa1D8nIrCPgiSCELqfhBe1I03F9PxWiaHKMw285SXgpTm-RW_Uq-DJB-H0j6-FBwVCaAtB3LEu7PFJE1B5x0KND2-Mhumvxs7Yhs1XWYxH2ROMI6F8vVvm6J=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Naima's inches from big things, I know it, she knows it, everyone who knows her knows it. This interlude, a productive response to destructive outside influence, is one hint. Gifted a memory of trauma, she produces a work of reflection and beautiful body language. Her ability to create in the face of harm is what she'll always have on the violent world out to stop her, to stop any young woman too sure of themselves.</span><br /><span style="font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">66. We’re All Going To The World’s Fare</span></span></div><div><span style="color: white; font-size: large;">by Jane Schoenbrun</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgnL5CJsIud_4J1qL2YchlTc40PjUMATESzNPbU6O0rqjb-bu6BqwbtlUREl_gXlYE0C2xFIaaFfzEJEBw8jMHuunXS7TV_TOdD_iC50x0AHmcjpNaOjd72mk5Ou1OrBas3mHwTiIvsqlgaLSipBKAqh70N0EZekoa-ZAoReQvKHNS1WvIFug7r2tE_=s810" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="540" data-original-width="810" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEgnL5CJsIud_4J1qL2YchlTc40PjUMATESzNPbU6O0rqjb-bu6BqwbtlUREl_gXlYE0C2xFIaaFfzEJEBw8jMHuunXS7TV_TOdD_iC50x0AHmcjpNaOjd72mk5Ou1OrBas3mHwTiIvsqlgaLSipBKAqh70N0EZekoa-ZAoReQvKHNS1WvIFug7r2tE_=w640-h426" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">This year we were flooded with cautionary internet horrors but perhaps none that felt like both a warning and a way forward as this. Jane Schoenbrun looks back to the start of found footage and the end of our lives on screens and finds Casey (Anna Cobb) staring at us, wondering if the world ahead of her, adulthood, could be the violent uncertainty, the IED of aggression and regret, it appears to be. If so, why bother leaving her bedroom? She's safe there, right? A radical work; disorienting and <i>truly </i>frightening. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">67. What We Left Unfinished</span></span></div><div><span style="color: white; font-size: large;">by Mariam Ghani</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjuyvxeRkVJfaETTm4UclayXM300ggO2IVMM_Wwt7sa0maGzkBKBJxkJCFPtWcaveNI3Z5fKNL57qxNYTCCTitk6rmNt7KqEcKSA6nQOK-zFjfH_01DNYlMGl8g6uwP6UnZ58HrcoAI-_GqKYTIEjvSgXsaTK4BbeKRqIElwVm8V8vEwrteR1MutqSg=s2500" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1899" data-original-width="2500" height="486" src="https://blogger.googleusercontent.com/img/a/AVvXsEjuyvxeRkVJfaETTm4UclayXM300ggO2IVMM_Wwt7sa0maGzkBKBJxkJCFPtWcaveNI3Z5fKNL57qxNYTCCTitk6rmNt7KqEcKSA6nQOK-zFjfH_01DNYlMGl8g6uwP6UnZ58HrcoAI-_GqKYTIEjvSgXsaTK4BbeKRqIElwVm8V8vEwrteR1MutqSg=w640-h486" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">A museum wing of lost possibility, of gorgeous restored footage with no sound, representing a people who for years had no voice. This is the reply to the ending of <i>Rambo III</i>, the forgotten movement, the dead hopes and live fears. We never knew to what we were laying waste, so we never knew what we lost. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">68. Sator</span></span></div><div><span style="color: white; font-size: large;"><span>by </span><span>Jordan Graham</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj9S9iBj5d_V6yHQWny-ri3v7du-cAjfG9WbqAT0faLCOlMBUJ8rxGaeOxkL_QTnLOfpPCiH-9Myq-cDHKXi72y5kqQ0q8Yxi1FQUzVFpHjh-YBYMNqzKJDqkfmMNLSTyp6doGcwr_yqoIAu9R5ZOlVbjLgE5AO5Ml-5qlfs7MwukiIXSLeEZC6dz5q=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="417" data-original-width="1000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEj9S9iBj5d_V6yHQWny-ri3v7du-cAjfG9WbqAT0faLCOlMBUJ8rxGaeOxkL_QTnLOfpPCiH-9Myq-cDHKXi72y5kqQ0q8Yxi1FQUzVFpHjh-YBYMNqzKJDqkfmMNLSTyp6doGcwr_yqoIAu9R5ZOlVbjLgE5AO5Ml-5qlfs7MwukiIXSLeEZC6dz5q=w640-h266" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;"><a href="https://www.patreon.com/posts/46750236" target="_blank">Deep in the woods</a> out of sight of everything but sweet diminished sunlight in small beams, lies family secrets and monstrous histories. But not even sunlight can cure a moldering in the soul. </span><span style="font-size: large;"> </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">69. Taming The Garden</span></span></div><div><span style="color: white; font-size: large;">by Salomé Jashi</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgAN3AtpZ-ZrYw90kUPqCasxLvGZrVfRi6EQoVH7vFiCrVFVmSRJ62tGWgSNZj-pIPHh7YgP4PE99O-kFNJU1BAzhjMPj7gG4bmVARJC7yHNp7OXgpVFqZi6MdlDVUJs8RI9Xl9mSuEffTRA0kGDA4iuPEHBaa6h0X7SPMX-kn3aIcAW93pohvdq-pa=s1778" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1000" data-original-width="1778" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgAN3AtpZ-ZrYw90kUPqCasxLvGZrVfRi6EQoVH7vFiCrVFVmSRJ62tGWgSNZj-pIPHh7YgP4PE99O-kFNJU1BAzhjMPj7gG4bmVARJC7yHNp7OXgpVFqZi6MdlDVUJs8RI9Xl9mSuEffTRA0kGDA4iuPEHBaa6h0X7SPMX-kn3aIcAW93pohvdq-pa=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">An accidental work of futurism, imagining a place where nature can still run even though we've destroyed everything else for miles and the air isn't breathable. How do we support some little part of life when we've been so hellbent on destroying the rest of it? A zen-like calm descends on this pre-apocalyptic exercise. What <i>is </i>the way forward?</span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">70. Belle</span></span></div><div><span style="color: white; font-size: large;">by Mamuro Hosoda</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgtriX8aYUbmf5Bp5r7fM-xG47Y0vkPb4vt9hjW-3k5siF7fDtWKIc8EJC9hMIu00skgldRLFJiz3hJPcKmUcPRx04pHe-BG8RbaJudkZlZ_hvDw-c0mj7uxB9bHsiUYIi92anF7WQ2nbeiz_8jPCVJspJEeYcmIPowhxmlCi9HPeGGMf0-_CrYRwRR=s2048" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="858" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEgtriX8aYUbmf5Bp5r7fM-xG47Y0vkPb4vt9hjW-3k5siF7fDtWKIc8EJC9hMIu00skgldRLFJiz3hJPcKmUcPRx04pHe-BG8RbaJudkZlZ_hvDw-c0mj7uxB9bHsiUYIi92anF7WQ2nbeiz_8jPCVJspJEeYcmIPowhxmlCi9HPeGGMf0-_CrYRwRR=w640-h268" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">A gorgeous cautionary tale about leaving yourself behind as you search for an identity that fits you better. You can be yourself, sure, so long as no one asks who you are. Hosoda's imagination soars conjuring worlds of teenaged imagination. We've heard these ideas before, but they've never looked <i>quite</i> like this. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">71. A Glitch in the Matrix</span></span></div><div><span style="color: white; font-size: large;">by Rodney Ascher</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhVH5HvpHoVxasR42WO9ufmLO_BgWjyoFCAQEWFWY6FkA6kj2Aw4z9Ax9S8VnIlIxRE1nRCUD8w4XKQCUPRGCFn4OtYXf4OZ1FRZ2WdaPNEp3hyjQS2YRB1_uyYqlI0o9MjmQ7QJ2KQwxM-eANgIeSnwanaK8wz1ZiXb0IDGwXXaaeexiRCmXN82Uqq=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1440" data-original-width="2560" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhVH5HvpHoVxasR42WO9ufmLO_BgWjyoFCAQEWFWY6FkA6kj2Aw4z9Ax9S8VnIlIxRE1nRCUD8w4XKQCUPRGCFn4OtYXf4OZ1FRZ2WdaPNEp3hyjQS2YRB1_uyYqlI0o9MjmQ7QJ2KQwxM-eANgIeSnwanaK8wz1ZiXb0IDGwXXaaeexiRCmXN82Uqq=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">A gorgeous cautionary tale about leaving yourself behind as you search for an identity that fits you better. No one cares who you are. That's the hard bargain. In this world, no one's reaching out to save you. There is no Trinity to your Neo, no one on the other end of the phone. You're flying blind. If you decide that the world isn't real, no one stops you in time. The world is real, though. That's the problem. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">72. The Beatles: Get Back</span></span></div><div><span style="color: white; font-size: large;">by Peter Jackson</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEisK-neGreDvgsbYqgRAMyGfZdY_lXnsalNeV4M_gurlF8n7EqM9pHTw8ArN8EI8cwlFEZrW2iTzWy6uyPaOmNneof0fIwZHjZVoZMUD6TMEfuhgpVezYlXPA2iDNxJYjiiV0UVeLJxijyVhXz6QNPzyvEeuU7aFfPfk4FAfkVbWMJWgnGrvZw8XfbH=s1100" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="618" data-original-width="1100" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEisK-neGreDvgsbYqgRAMyGfZdY_lXnsalNeV4M_gurlF8n7EqM9pHTw8ArN8EI8cwlFEZrW2iTzWy6uyPaOmNneof0fIwZHjZVoZMUD6TMEfuhgpVezYlXPA2iDNxJYjiiV0UVeLJxijyVhXz6QNPzyvEeuU7aFfPfk4FAfkVbWMJWgnGrvZw8XfbH=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Getting the past back just long enough to kiss it goodbye. There goes the greatest band in the western canon, or so the history books say, there goes the reasons we had to be mad because they broke up when it was time, there go the songs we imagined created in some holy fugue. The Beatles were just unshaven men in a room, pushed this way and that, ultimately tired of each other. And yet spending these hours with them feels like an otherworldly gift from the same unholy land of the dead that broke New Zealand's unions. It's too late to wonder if we should have this technology. We do. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">73. The Velvet Underground</span></span></div><div><span style="color: white; font-size: large;">by Todd Haynes</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibKqfOztXE3WdoPKY99LihmFE5X48AgcduFvXvOeZh-faIsl_4w363yvUNqAZiIpJn5ZuhNhOb7B8xIj7BsWK7PCj--kObb4KZHpRToUD_czIMYmKeopRFvfsi0ADQOu-I27aDFuYnn_4ydmb2w0bXe5xiq5NCV7KfZW5QN3sWSCCC6V_5cGWJAErT=s1064" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="606" data-original-width="1064" height="364" src="https://blogger.googleusercontent.com/img/a/AVvXsEibKqfOztXE3WdoPKY99LihmFE5X48AgcduFvXvOeZh-faIsl_4w363yvUNqAZiIpJn5ZuhNhOb7B8xIj7BsWK7PCj--kObb4KZHpRToUD_czIMYmKeopRFvfsi0ADQOu-I27aDFuYnn_4ydmb2w0bXe5xiq5NCV7KfZW5QN3sWSCCC6V_5cGWJAErT=w640-h364" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">One avant-garde school views another. <a href="https://www.cultofmac.com/733667/the-velvet-underground-pays-tribute-to-the-60s-coolest-band-apple-tv-review/" target="_blank">Do the ostrich</a>. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">74. Les Olympiads</span></span></div><div><span style="color: white; font-size: large;">by Jacques Audiard</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEirf_3SeV1iahAvUrdJZdQYqDfnc3klTLqcPijiRkGA6TmHhuJkUGrLuA_ZAweu_n4ffpg4mAdyBl108EkneDNh_MTb6J9HpA2EegM-qyzL1uigTLEeO2u1zOt8GpDZbLZCjOcxogXZ8ha12bnrXH998ycqs8gSr8gfOF2WRMjhdM-lTfVaCzVFi81v=s4224" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="2376" data-original-width="4224" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEirf_3SeV1iahAvUrdJZdQYqDfnc3klTLqcPijiRkGA6TmHhuJkUGrLuA_ZAweu_n4ffpg4mAdyBl108EkneDNh_MTb6J9HpA2EegM-qyzL1uigTLEeO2u1zOt8GpDZbLZCjOcxogXZ8ha12bnrXH998ycqs8gSr8gfOF2WRMjhdM-lTfVaCzVFi81v=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">The year's most electrically erotic film, this triangle overflows with Raymond Carver-style messiness, where everyone's immediate goals are misinterpreted. Identity is left behind every few seconds and from the absence springs fresh, sensual melancholy. You can always lose more, especially with the taste of success still on your tongue. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">75. Seance</span></span></div><div><span style="color: white; font-size: large;">by Simon Barrett </span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiFih1wYIKOXPEF6YwkTVwpDV_5s8lfy3xXbLgJEvsnGvNsML8j6SXaJ81nEkTW1PZ03RMFJvHEU1HSxIa_-bpy7NJQI67RI0FRer4lED44FqVTcNAd3cFRNhNaZm1BHHj8jOkRd713SQV3gZMKUDBxTGF-zviqf4KIlOCz_t7uNclldLHAXAHgG9Bk=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEiFih1wYIKOXPEF6YwkTVwpDV_5s8lfy3xXbLgJEvsnGvNsML8j6SXaJ81nEkTW1PZ03RMFJvHEU1HSxIa_-bpy7NJQI67RI0FRer4lED44FqVTcNAd3cFRNhNaZm1BHHj8jOkRd713SQV3gZMKUDBxTGF-zviqf4KIlOCz_t7uNclldLHAXAHgG9Bk=w640-h426" width="640" /></a><span><br /><span style="font-size: medium;">Simon Barrett's pint-sized slasher-keeper is all joyous revision and knowing nods, a <i>Scream</i> for a time when <i>Scream</i> is being remade by pretenders. The knowingly vicious are pitted against each other in this frigid revisionist exercise, exactly the kind of thing I wish more people would do when they have a little money and a little clout. Striking, sexy, and scary. </span></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">76. The Tragedy of Macbeth</span></span></div><div><span style="color: white; font-size: large;">by Joel Coen</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhJs8ThhhQU8N8a19fyQYdVJJK5aw4x3SaoN9dHqqzzBRucRkwEPmFcaE4rdeVjqiSvjFSVP37wwaDppI8Y9CsnkvvW8GFfNAyA93RTBs_5-eDruJU3UIFCSy6_DbMLnVF1ALyYxuToVOf6A96AjLuzhcBK5c56kxJYKwILgpmdjLQwNNCgv-2CsKdP=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhJs8ThhhQU8N8a19fyQYdVJJK5aw4x3SaoN9dHqqzzBRucRkwEPmFcaE4rdeVjqiSvjFSVP37wwaDppI8Y9CsnkvvW8GFfNAyA93RTBs_5-eDruJU3UIFCSy6_DbMLnVF1ALyYxuToVOf6A96AjLuzhcBK5c56kxJYKwILgpmdjLQwNNCgv-2CsKdP=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">One of America's great screen novelists goes <a href="https://letterboxd.com/honorszombie/film/the-tragedy-of-macbeth/" target="_blank">back to class</a>. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="color: white;"><span><span style="font-size: x-large;"><span style="font-family: inherit;">77. </span></span><span><span style="font-size: large;">Moon, 66 Questions</span></span></span></span></div><div><span style="color: white; font-size: large;">by Jacqueline Lentzou</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhJCVOr3W6Q96ySoHare7mzkjMoKMABBUj5xJAUeqa1pXTuhLu8LKvz-V0ePnbH1GwvLOTzlIE3GO52ye1frYV-t-WtBqIWTKzLw2EmoLiabtCWImTSBf6y5gwBLwXGAFrFgAQe2QAVZxpozn1yV5TE7GUAYV10AlgW_gX3DYQ4MdDfKk_bJYKTXxsy=s1024" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="536" data-original-width="1024" height="336" src="https://blogger.googleusercontent.com/img/a/AVvXsEhJCVOr3W6Q96ySoHare7mzkjMoKMABBUj5xJAUeqa1pXTuhLu8LKvz-V0ePnbH1GwvLOTzlIE3GO52ye1frYV-t-WtBqIWTKzLw2EmoLiabtCWImTSBf6y5gwBLwXGAFrFgAQe2QAVZxpozn1yV5TE7GUAYV10AlgW_gX3DYQ4MdDfKk_bJYKTXxsy=w640-h336" width="640" /></span></a></div></div><div><span style="color: white; font-size: medium;">Jacqueline brings in the wildness of experimentation to the too-normal domestic drama of her past, her own recollection. A young woman pines for the absurdity, the non-linear life of a Harmony Korine character but she's pinioned by responsibility, by her relationship to the real world. She's confessing a desire to be free of all that made her, as Lentzou's heroines always do. But there is no escape until they're all dead. </span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">78. Passing</span></span></div><div><span style="color: white; font-size: large;">by Rebecca Hall</span></div><div><span style="color: white;"><span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi2HrR85tkIiJXDH5OUW5pDkU6hrExCWQmH4jPmXOI_yyjkTP0Cfy66rSPO66GOsdArUZFpBguMSlicvnFaUj1Pvpy6dpcfLeldFerpzKmeLZ-YEmw92wI1nBuxPRYF2lDR7H6MC_2PZJp-vAaAtyFVOBOwvI4JfPrrtRt8vf9TBJBG6W3jBhg2PXNH=s1000" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="562" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEi2HrR85tkIiJXDH5OUW5pDkU6hrExCWQmH4jPmXOI_yyjkTP0Cfy66rSPO66GOsdArUZFpBguMSlicvnFaUj1Pvpy6dpcfLeldFerpzKmeLZ-YEmw92wI1nBuxPRYF2lDR7H6MC_2PZJp-vAaAtyFVOBOwvI4JfPrrtRt8vf9TBJBG6W3jBhg2PXNH=w640-h360" width="640" /></a><br /><span style="font-family: inherit; font-size: medium;">Rebecca Hall makes quite the showing for herself behind the camera, crafting a film about race and old new york that feels like we've been watching it in private all these years. Her smartest move is letting Ruth Negga loose on a script filled with contradictions that calls for a star. Ruth Negga <i>is </i>a star, no mistake. She's ably supported by Alexander Skarsgård, André Holland, Bill Camp, and Tessa Thompson, but all movies Ruth Negga in them for more than five minutes are Ruth Negga movies. She paralyzes with her Mae West body language, her Bessie Smith delivery, her </span></span><span style="font-size: medium;">Josephine Baker charisma. This is a performer about to be rock the world. </span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">79. The Empty Man</span></span></div><div><span style="color: white; font-size: large;">by David Prior</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhAUhtj50P7qheBzeIXM3S3WSsuLYuCZFQWqiIlOIAI_bZOHakA0kG2OlqB52pVC5L3UYPktVOhllLN9tbl87Q5w1VttWgBsIHacG5cBE7KtMN0ttXxRpaobUacu6auqUn-C6XnqKG8Wakbx8QErs1ZbURLPMNrKrWCXsjdzUBAvDRMB_YGiwTJiVmX=s1200" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhAUhtj50P7qheBzeIXM3S3WSsuLYuCZFQWqiIlOIAI_bZOHakA0kG2OlqB52pVC5L3UYPktVOhllLN9tbl87Q5w1VttWgBsIHacG5cBE7KtMN0ttXxRpaobUacu6auqUn-C6XnqKG8Wakbx8QErs1ZbURLPMNrKrWCXsjdzUBAvDRMB_YGiwTJiVmX=w640-h426" width="640" /></span></a></div><span style="color: white;"><br /><span style="font-size: medium;">A reactionary <a href="https://www.rogerebert.com/mzs/the-unloved-part-93-the-empty-man" target="_blank">Grimm's fairy tale</a>, bad luck for yesterday's man with today's fears. As haunting as it is disconcerting.</span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">80. V/H/S/94</span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">by </span>Timo Tjahjanto, Jennifer Reeder, Ryan Prows, Chloe Okuno, and Simon Barrett</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjBSAAWX5hW-0UxPo-HZX4LWbJZHni16q2PV0FOUGuROlwXXQtCKTXkZL93voEFFgWQW5kbX6CTkOlfd2pIW1xkyhP58UOw5RxJq0H1ARtAhAw-KfEH-H_YJK_03p6TE_nImldPbcu-PTLgemDejHETzWwsVFTXZg3DF8vUG3BG5SbRf-wan_6Vt0GA=s700" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="394" data-original-width="700" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjBSAAWX5hW-0UxPo-HZX4LWbJZHni16q2PV0FOUGuROlwXXQtCKTXkZL93voEFFgWQW5kbX6CTkOlfd2pIW1xkyhP58UOw5RxJq0H1ARtAhAw-KfEH-H_YJK_03p6TE_nImldPbcu-PTLgemDejHETzWwsVFTXZg3DF8vUG3BG5SbRf-wan_6Vt0GA=w640-h360" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">The most metal horror film of the year, unvarnished blood letting monstrosity, aimless, nameless anti-gods and Raatma make mockeries of carefully constructed careers in deconstruction. Bodily fluids pour in every direction like loosened beer taps and all the while the cameras seem seconds from giving out. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">81. Bingo Hell</span></span></div><div><span style="color: white; font-size: large;">by Gigi Saul Guerrero</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjZRJOKpTKaq5DoMT9HBT6Ibc7sh_Wl0epmGMh4lXnMTDYSE7KJbK-h3uuHbELUVpGv7suPq2oOoLykCF4xS7mJV7aJJ75nMaXWYhL6gFvAgnyr4P-T3jSSmI91D9_bQ-tXiX98-Ot6r-scb7ilQLZqHXFsXAEPGjedOL_tvUWnswKbUrkfFY5pkI3W=s1280" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjZRJOKpTKaq5DoMT9HBT6Ibc7sh_Wl0epmGMh4lXnMTDYSE7KJbK-h3uuHbELUVpGv7suPq2oOoLykCF4xS7mJV7aJJ75nMaXWYhL6gFvAgnyr4P-T3jSSmI91D9_bQ-tXiX98-Ot6r-scb7ilQLZqHXFsXAEPGjedOL_tvUWnswKbUrkfFY5pkI3W=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Guerrero is the closest thing to early Jonathan Demme we seem likely to inherit anytime soon and I've been deeply satisfied with her dayglo horror shows. <i>Bingo Hell</i> is a rallying cry for the old neighborhoods to reject gentrification and all his works. Richard Brake is the devil (but of course) and he wants to tempt a bevy of weary old souls with chintzy deliverance and a plastic heaven. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">82. The Worst Person in the World</span></span></div><div><span style="color: white; font-size: large;">by Joachim Trier</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiwVDxjytqHFMOEsYks76lIjHW8fyUDv6FnVdb3PiIr3qlDnxOSGqnw7kiU7GfIjUPrHzfqLDnpOH4xXgfJt3BNSAxRrg3m_m1LnOssy9vSODcam1RmRQKK8URWS8ast7majpeb197wByDcAsSPRCzk8AHOs3bJmZ7qZXzhvf18V9TytdOrJULDQ48X=s3650" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="2142" data-original-width="3650" height="376" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwVDxjytqHFMOEsYks76lIjHW8fyUDv6FnVdb3PiIr3qlDnxOSGqnw7kiU7GfIjUPrHzfqLDnpOH4xXgfJt3BNSAxRrg3m_m1LnOssy9vSODcam1RmRQKK8URWS8ast7majpeb197wByDcAsSPRCzk8AHOs3bJmZ7qZXzhvf18V9TytdOrJULDQ48X=w640-h376" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">One of those films that's probably technically Trier's best movie, but I miss when he had room to grow, things were mangier. The next one. I'll wait for the next one. This is huge, obviously, an important thing, but important and good don't play so nicely in the rearview mirror. Still, imagine having made something like this?</span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">83. Lisey’s Story</span></span></div><div><span style="color: white; font-size: large;">by Pablo Larrain</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhjcBZ3mvb3dya2PdygGpyMkTHRVbYj4eW6oABRNBwSk-ozEiqX0EkTaxmBGb1-iOrZN7i40qOsr0uKPvQ0rkCekap6SeyfWT_aFrPyIECxg75x7L1sQ2y9o-rCOeDDt6ASj8pyhk7ItntZYCqzxoJvt7sNCXv7ytaijz-NfHqpPrdgJJsFEl6pXn8O=s3408" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1917" data-original-width="3408" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhjcBZ3mvb3dya2PdygGpyMkTHRVbYj4eW6oABRNBwSk-ozEiqX0EkTaxmBGb1-iOrZN7i40qOsr0uKPvQ0rkCekap6SeyfWT_aFrPyIECxg75x7L1sQ2y9o-rCOeDDt6ASj8pyhk7ItntZYCqzxoJvt7sNCXv7ytaijz-NfHqpPrdgJJsFEl6pXn8O=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Though Larrain was lauded for his <i>other</i> tale of a woman driven mad by her husband's royalty and status, he went deeper beneath the surface in <i><a href="https://www.cultofmac.com/736171/liseys-story-review-apple-tv/">Lisey's Story</a></i>.</span><br /><span style="font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">84. News from the World</span></span></div><div><span style="color: white; font-size: large;">by Paul Greengrass</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjl0giZzH7f2PW-q0ad19bfYti_znQ3JQ1hn3tAeweYRlTk0kuyNca9Rp6iuPydO61J746Q-Vxyw6xVys7nJcnFZ_CH6mEtrWJp2Cz4pZSPEpsEuAaao8CzC62msL6FWckPNRMLjzj2gZmj-B1Qyx4RkIe7YcpZZW__KYhAI0bSzSexaRSY5wcR1ZQF=s1200" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="497" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEjl0giZzH7f2PW-q0ad19bfYti_znQ3JQ1hn3tAeweYRlTk0kuyNca9Rp6iuPydO61J746Q-Vxyw6xVys7nJcnFZ_CH6mEtrWJp2Cz4pZSPEpsEuAaao8CzC62msL6FWckPNRMLjzj2gZmj-B1Qyx4RkIe7YcpZZW__KYhAI0bSzSexaRSY5wcR1ZQF=w640-h266" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">Greengrass's best film in a decade or more finds him at last channeling his inner John Ford to tell the tale of a fundamentally good man trying to improve the pieces of the earth he can touch. He brings the word to the weary and stranded. It's language his characters seek, the ability to communicate with each other. Because this is Greengrass' world it's firepower that brings his seekers together finally. From there on it's all just diction. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">85. When I get home director’s cut</span></span></div><div><span style="color: white; font-size: large;">by Solange Knowles</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEioyWQi-6XKsPQ-vtYRoajzhFzM-yn45GJjkcISbCqnn9Dtz9zRXju4Wv-yDvVO-9MkCpsWOzEB07tlk1p2ZtOhg9i6J1pJ8AU4ygugDKsOo7qW96_1YliRm-bY_hwQoOyYZY_ACImmpxE3Jb_9sdXxJGpezRT2WTSjfpt7ZsSaD_0_N5DCnOUEjuYE=s1280" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEioyWQi-6XKsPQ-vtYRoajzhFzM-yn45GJjkcISbCqnn9Dtz9zRXju4Wv-yDvVO-9MkCpsWOzEB07tlk1p2ZtOhg9i6J1pJ8AU4ygugDKsOo7qW96_1YliRm-bY_hwQoOyYZY_ACImmpxE3Jb_9sdXxJGpezRT2WTSjfpt7ZsSaD_0_N5DCnOUEjuYE=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">A dazzling dose of self-mythologizing in minor key, Solange seizes her sister's form, just as it was becoming in-line with Disney house style, and does something daringly abstract with her record company's budget. Solange emerges as would-be cult leader and record spinning fetishist, at the center of a small universe she creates with every cut. Afro-futurism meets the concrete nowness of any given moment. They're only immortal because women like Solange make them so. </span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">86. The Banishing</span></span></div><div><span style="color: white; font-size: large;">by Chris Smith</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEinkPPEPoPzAEZIAHROSE4BeecdkobZ4I_cN7Omo3tZiOhwHh2rundvagERj8GJrvKnlUqFrnNS3W1oezm1OK_EuNE-LsvoR1BMefmHEzwN8QSjacapPiP9fdDhp9W0f-emjwzF365SajCD7X_z7p7qX5uF4NDk4Eilo9f9wAWeQw27TQXUt0ajyETW=s1000" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEinkPPEPoPzAEZIAHROSE4BeecdkobZ4I_cN7Omo3tZiOhwHh2rundvagERj8GJrvKnlUqFrnNS3W1oezm1OK_EuNE-LsvoR1BMefmHEzwN8QSjacapPiP9fdDhp9W0f-emjwzF365SajCD7X_z7p7qX5uF4NDk4Eilo9f9wAWeQw27TQXUt0ajyETW=w640-h360" width="640" /></span></a></div><span style="color: white;"><span style="font-size: medium;">The same year Neil Marshall said goodbye to his credibility, Chris Smith is back in his wheelhouse, the violent gothic, the graphically upsetting chamber piece in period costume. Like a haunted Merchant-Ivory, if that crew were reared on 16mm grindhouse workhorses. Jessica Brown Findlay, my favourite of the <i>Downton</i>-style heroines of antiquity, is the frustrated wife of a priest who finds herself at the mercy of a haunted house. Sean Harris and John Lynch are the devils on her shoulder. An MR James-style tale of conflicting ideologies and eras seeking revenge on the present. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">87. Mad Woman’s Ball</span></span></div><div><span style="color: white; font-size: large;">by Mélanie Laurent</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhKS_UnFI_0uL51xDs_Z3H6zgKRSiDiWEXxBGSsSbJOkVios-NBkHEE2XOalH8-FWPc2cCCs1VMhdq7_rlVcPpGOOc6Nt2Cm--Adb7ylxp5Uy21L9jb7dt47M2h9IHTLwGCq7oNSM3Zj3ZkD_io6NHLpSxny42TiIzXsVPC6oOm5qKk8v5yEMyEN0Qy=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEhKS_UnFI_0uL51xDs_Z3H6zgKRSiDiWEXxBGSsSbJOkVios-NBkHEE2XOalH8-FWPc2cCCs1VMhdq7_rlVcPpGOOc6Nt2Cm--Adb7ylxp5Uy21L9jb7dt47M2h9IHTLwGCq7oNSM3Zj3ZkD_io6NHLpSxny42TiIzXsVPC6oOm5qKk8v5yEMyEN0Qy=w640-h266" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Laurent's project of contextualizing female hysteria as the natural outgrowth of any given historical epoch is an altogether more successful strategy than most of the work done in this direction in American film but her stately grammar withholds her from American audiences so a minor figure in this country she remains, much to my chagrin. She has the solidness and social reasoning of a Sidney Pollack without having yet fallen prey to his lugubriousness. This is perhaps her most proudly enunciated missive yet, a look at the way independent minded women were treated before suffrage. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span><span style="color: white; font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span><span style="font-family: inherit;">88. </span></span><span>The American Sector</span></span></div><div><span style="color: white;"><span style="font-family: inherit;"><span style="font-size: large;">by </span></span><span style="font-size: large;">Courtney Stephens & Pacho Velez</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkgVWsKs_nR3TlEE0qnmRZCM0PRXBn2FozXZ8S81lS1kN0XnbNPWbfY4wxKjY3RDcVP9S8q302K3kyI8EI6DUGkazwXb4MHkr_hjxuUphY4TAYr5JsbezWvy6X3cZs61E1EjcV3kRAg21b2cHsRWqGqCg2Kjgk3YJ9OZMRtbJCmjY22Oq6hS-SbGih=s1380" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="819" data-original-width="1380" height="380" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkgVWsKs_nR3TlEE0qnmRZCM0PRXBn2FozXZ8S81lS1kN0XnbNPWbfY4wxKjY3RDcVP9S8q302K3kyI8EI6DUGkazwXb4MHkr_hjxuUphY4TAYr5JsbezWvy6X3cZs61E1EjcV3kRAg21b2cHsRWqGqCg2Kjgk3YJ9OZMRtbJCmjY22Oq6hS-SbGih=w640-h380" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Why does America still have pieces of the Berlin Wall littering its parks and offices like souvenirs from a bachelorette party? What message are we hoping to send? That your parent's screams will be kept in locket form around the necks of strangers who have never cared if you ever lived or how miserably you died. </span></div><div><span style="color: white; font-size: large;"><br /></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;"><span>89. </span></span><span>May June July</span></span></div><div><span style="color: white; font-size: large;">by Kevin Jerome Everson</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjsPGWnWT75Po4LevzVyDtifbivGOVYtNcybqwl5nGaYDgYuI-T5WxtPPYo0NH5IcAL7X4R--l8CKhVuug_0uuBqYLP6IwRJUFrL_vYEUxcT23DaoBYnrtclnak2UeW__vYQ6xjtEeV-_RIEbqtYkHnWaag3ulSYmpP_Pln_QsCTr7uMQnJ4JoIUFRN=s1380" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1037" data-original-width="1380" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEjsPGWnWT75Po4LevzVyDtifbivGOVYtNcybqwl5nGaYDgYuI-T5WxtPPYo0NH5IcAL7X4R--l8CKhVuug_0uuBqYLP6IwRJUFrL_vYEUxcT23DaoBYnrtclnak2UeW__vYQ6xjtEeV-_RIEbqtYkHnWaag3ulSYmpP_Pln_QsCTr7uMQnJ4JoIUFRN=w640-h480" width="640" /></span></a></div><div><span style="font-family: inherit;"><span style="color: white; font-size: medium;">There's nothing unusual, per se, about where Kevin Jerome Everson chooses to point his camera but he always seems to see the future when he does it. Here a man, free, on the streets, is tied with a plant, which needs water and sunlight to grow but is in darkness. So many dead flowers, so many that never got their chance to become what they were meant to be. </span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">90. Censor</span></span></div><div><span style="color: white; font-size: large;">by Prano Bailey-Bond</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhZHFQStWht_f8cUK1rFbKZiz16Uy5vCUfSxaf5o0BGmtTxHb8LBgiEjRcHm-lb5i4T8gyWVNO0Jo7enz8FGKc8G5HsogB3syboA84eIx6_qgoPslg1Tc6gKj3BV0q63-4_p4_1QsMgmZ3APF4rLRu5jalgpJ6pzEsMZ_QGh-lrlTEEpDorHKKHE4GA=s2048" style="margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1266" data-original-width="2048" height="396" src="https://blogger.googleusercontent.com/img/a/AVvXsEhZHFQStWht_f8cUK1rFbKZiz16Uy5vCUfSxaf5o0BGmtTxHb8LBgiEjRcHm-lb5i4T8gyWVNO0Jo7enz8FGKc8G5HsogB3syboA84eIx6_qgoPslg1Tc6gKj3BV0q63-4_p4_1QsMgmZ3APF4rLRu5jalgpJ6pzEsMZ_QGh-lrlTEEpDorHKKHE4GA=w640-h396" width="640" /></span></a></div><span style="color: white; font-size: medium;">The video nasties come back to haunt a woman choking on the fumes of ancient morality in this garish neon nightmare. Much to sink your teeth into from the old formats to the inventive murders, to Niamh Algar's game performance as repression itself finally coming apart at the seams. </span></div><div><span style="color: white;"><br /></span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;">91. Kingdom: Ashin of the North</span></span></div><div><span style="color: white; font-size: large;">by Seong-hun Kim</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjDd5PChx_lca3dvro2x0bP1ffkP3W7xlR7EvmFjY99R7DBqJKrI3X6QeVA9ED7tHImGwopiW-gKOx8lkJgc4pf24a7cVUwIwgxlZPrwfy5B4mMpvYWW1m0n1qF49vsEWoihNG30JpXrP0qthSQMzA967ix8sBgUooJg8MDdzTQWPjl--mrS8rHQm1U=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="696" data-original-width="1200" height="372" src="https://blogger.googleusercontent.com/img/a/AVvXsEjDd5PChx_lca3dvro2x0bP1ffkP3W7xlR7EvmFjY99R7DBqJKrI3X6QeVA9ED7tHImGwopiW-gKOx8lkJgc4pf24a7cVUwIwgxlZPrwfy5B4mMpvYWW1m0n1qF49vsEWoihNG30JpXrP0qthSQMzA967ix8sBgUooJg8MDdzTQWPjl--mrS8rHQm1U=w640-h372" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Netflix's great Korean experiment has yielded some of its most popular TV and its most quickly forgotten modern classics. Here, somewhere in no man's land, a film meant as a bridge between seasons of the thoroughly watchable <i>Kingdom</i>. Here a woman abandoned by all life on earth finds her people in the undead after a crucible of horror. Moody and tough, but exciting and exacting. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">92. Prisoners of the Ghost Land</span></span></div><div><span style="color: white; font-size: large;">by Sion Sono </span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_tYExCkQ9glRxCwmRSFhN-53GKTUp9twmCysXoNi4Nizpr4oFLqgzflXINxVwtjrypO8I1g8lmRuGxVW21_23MqVOKuLWBbddR9K6mKbwpiES-jz5XdNKw6Dqa8YdY9vid-xguzv01YascRHU0Ykb78uE6vTsPHoFwfaLA1uigPGchTS1AHZFXWfm=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="720" data-original-width="1200" height="384" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_tYExCkQ9glRxCwmRSFhN-53GKTUp9twmCysXoNi4Nizpr4oFLqgzflXINxVwtjrypO8I1g8lmRuGxVW21_23MqVOKuLWBbddR9K6mKbwpiES-jz5XdNKw6Dqa8YdY9vid-xguzv01YascRHU0Ykb78uE6vTsPHoFwfaLA1uigPGchTS1AHZFXWfm=w640-h384" width="640" /></span></a></div><div><span style="color: white;"><span style="font-size: medium;">Though Nic Cage ended the year in Oscar conversations, he began it in <a href="https://read.kinoscope.org/2021/02/09/nouveau-shamanic-western-kabuki-sion-sonos-prisoners-of-the-ghostland/" target="_blank">high vulgar style</a>. </span><br /><span style="font-family: inherit; font-size: x-large;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">93. All the Moons</span></span></div><div><span style="color: white; font-size: large;"><span>by </span><span>Igor Legarreta</span></span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1_7A1_6uUy8fRrj75AeF8UqitnSN5RHiNm0UWDIwKGqvWOo-PqmbjpA-Hb5sMEs6cTExKA5xuceoHRI0c27qMLlvKeZNnX8yqHMBrMWOMvLkoVEw6DfTzdAURmteODFbc6p_e2Kh7NPyN7yqbk_l2Ds6smJq49FajlBYp6MJPI3Cv7WsYg-zZ5BQD=s1440" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1440" height="356" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1_7A1_6uUy8fRrj75AeF8UqitnSN5RHiNm0UWDIwKGqvWOo-PqmbjpA-Hb5sMEs6cTExKA5xuceoHRI0c27qMLlvKeZNnX8yqHMBrMWOMvLkoVEw6DfTzdAURmteODFbc6p_e2Kh7NPyN7yqbk_l2Ds6smJq49FajlBYp6MJPI3Cv7WsYg-zZ5BQD=w640-h356" width="640" /></a><br /><span style="font-size: medium;"><span style="font-family: inherit;"><span>A gentle fable about contemplating infinity. For the <a href="https://www.patreon.com/posts/55063479" target="_blank">child</a> afraid of </span></span><span style="font-family: inherit;">death in all of us. </span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">94. 95. Paranormal Activity: Next of Kin / The Forever Purge</span></span></div><div><span style="color: white;"><span style="font-size: large;">by William Eubank / </span><span style="font-size: large;">Everardo Gout</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjU9JXJcwugD82oNi72K6Cw1bEe9mrYG98dn4ltdh4giIYeo_cVyigOMgevEvFMtOIRI63fXAJ_pQ-p9DaaWHgODMlpwUByUj8I_fIwbHhYSikMNOilAPrE5wxOJWZpsjSV4osZKXsJ3zcmHgzWbiULeSp3jUp-96k21MgLZ28AAfPGJyNMLVE-jlLw=s1400" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="1050" data-original-width="1400" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEjU9JXJcwugD82oNi72K6Cw1bEe9mrYG98dn4ltdh4giIYeo_cVyigOMgevEvFMtOIRI63fXAJ_pQ-p9DaaWHgODMlpwUByUj8I_fIwbHhYSikMNOilAPrE5wxOJWZpsjSV4osZKXsJ3zcmHgzWbiULeSp3jUp-96k21MgLZ28AAfPGJyNMLVE-jlLw=w640-h480" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">Two franchises highjacked by directors who know no one's watching them carefully enough to stop them from technical excess. Magnificently choreographed fast-food delivery; bad taste joys, both. Whether it's Dan Lippert as amish livestock or Josh Lucas as a recidivist redneck, you'll get your money's worth. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;">96. Cow</span><span class="Apple-converted-space" style="font-family: inherit;"> </span></span></div><div><span style="color: white; font-size: large;">by Andrea Arnold</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjb-ecm0P2uIr1l0RnGTa07fWjpi2U5yJIrqr-IU0p8WEi72LdhJ9hHcNSockV5DZ2aJE02q9OmdZs_zM8-oY1rwzYHGKwSaaLQVTzgW7Hg-kCqQkD8uebKs6jsyj5M8z9U2jy3-ndEFraXlUUaHWRxH-nyUub3HHS-N0eOjaD88dHRLtLxafqfOs6w=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjb-ecm0P2uIr1l0RnGTa07fWjpi2U5yJIrqr-IU0p8WEi72LdhJ9hHcNSockV5DZ2aJE02q9OmdZs_zM8-oY1rwzYHGKwSaaLQVTzgW7Hg-kCqQkD8uebKs6jsyj5M8z9U2jy3-ndEFraXlUUaHWRxH-nyUub3HHS-N0eOjaD88dHRLtLxafqfOs6w=w640-h360" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">After a detour having her work maimed in Hollywood, Arnold returns to fundamentals, finding the essential nature of a woman in captivity. Some kind of Kuleshovian affectation at work, a cow can seem sassy when the right song plays under standing still. Her ideal heroine. </span></div><div><span style="color: white; font-size: large;"><br /><span style="font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">97. Hell Hath No Fury</span></span></div><div><span style="color: white; font-size: large;">by Jesse V. Johnson </span></div><div><span style="color: white;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBrNHlu16az3q0H9Ic_E9qLZt-94i2voNYB2G_TJerk2RESGfzhyAv440jko8Yc-DEq-eg5oiSCPIDuXg5TfYgjdhCPquayjyL3NRxwfWD1s1pvuf9_WiWcxZCuFyWj6ruwXRkjYNzqOUK_cOhhn4kQoshhnPxmmL02c_rXO_w0i6H_iJT014YSrdG=s1280" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBrNHlu16az3q0H9Ic_E9qLZt-94i2voNYB2G_TJerk2RESGfzhyAv440jko8Yc-DEq-eg5oiSCPIDuXg5TfYgjdhCPquayjyL3NRxwfWD1s1pvuf9_WiWcxZCuFyWj6ruwXRkjYNzqOUK_cOhhn4kQoshhnPxmmL02c_rXO_w0i6H_iJT014YSrdG=w640-h360" width="640" /></a><span><br /><span style="font-family: inherit; font-size: medium;">Jesse V. Johnson is the sardonic smartass tearing up the rulebook for VOD, the guy you wished for as cinema went out of video stores and into redboxes and segregated streaming services. He cares how low budget movies feel. Here he steps into the exploded crevice left behind by <i>Inglourious Basterds</i> and delivers on that film's promise of non-stop violence and uneasily shifting alliances. Traitors and bastards holding hands with their left and a grenade with their right. </span></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: white; font-family: inherit;">98. Joy Ride</span></span></div><div><span style="color: white; font-size: large;">by Bobcat Goldthwait</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhWqlfobOzT_sBkWI-WaV0uIO0jPnbstdRhnK08_d2818zzKHbVnR03SMrxGAsRERBnc62nP8lOCZxfAvQHKCCJHgNAfhTNER8uSlrPXcHBQpTk8KeTTRSwAszYhI4ykTeK08r5de1PsmXDuVjzi5FrYVu1Enam71KYzEgLDuFOIINz95RlgBXHeW6Z=s943" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="472" data-original-width="943" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhWqlfobOzT_sBkWI-WaV0uIO0jPnbstdRhnK08_d2818zzKHbVnR03SMrxGAsRERBnc62nP8lOCZxfAvQHKCCJHgNAfhTNER8uSlrPXcHBQpTk8KeTTRSwAszYhI4ykTeK08r5de1PsmXDuVjzi5FrYVu1Enam71KYzEgLDuFOIINz95RlgBXHeW6Z=w640-h320" width="640" /></span></a></div><div><span style="color: white; font-size: medium;">A trip to heaven with two guys who've seen the inside of hell and come back. Dana and Bobcat prop each other, give each other strength and purpose, and seeing them together, sharing a stage, a car, or a memory, is as loving an image as documentary gave me last year. </span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;"><br /></span></span></div><div><span style="font-family: inherit;"><span style="color: white; font-size: large;">99. 100. Skyfire / Ice Road</span></span></div><div><span style="color: white; font-size: large;"><span style="font-family: inherit;"><span>by Simon West / </span></span><span>Jonathan Hensleigh</span></span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhFzKovMDEAx7qO5bN1zRunvN8Dg2VgWKBne3LRm9s83zwPxXEopefcPgZA6iCfDLdKzIqtLmrdnW5DFN-EGa9l2UoCLoRHLJZmuLMWWQL4r1RauICgKtqB1XU0gvQITnvLtDyYtGJN0MAt5syXs7Av-MibsVS-qRQyT11Cu2BOAiLwlsUc-95f-Sep=s1001" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="color: white;"><img border="0" data-original-height="563" data-original-width="1001" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhFzKovMDEAx7qO5bN1zRunvN8Dg2VgWKBne3LRm9s83zwPxXEopefcPgZA6iCfDLdKzIqtLmrdnW5DFN-EGa9l2UoCLoRHLJZmuLMWWQL4r1RauICgKtqB1XU0gvQITnvLtDyYtGJN0MAt5syXs7Av-MibsVS-qRQyT11Cu2BOAiLwlsUc-95f-Sep=w640-h360" width="640" /></span></a></div><div><div class="separator" style="clear: both; text-align: left;"><span style="color: white; font-size: medium;">The two polarities of action schlock from many year veterans given newly buoyant CGI canvases on which to paint. One sees fire from the heavens interrupt a nationalist PR display, the other sees desperate men driving to their doom across tundra and asphalt. Both are better than anything with superheroes I saw in the last year.</span></div></div>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-89522167673096605902022-01-10T00:21:00.010-05:002022-01-31T23:31:05.475-05:00The Best Television Shows of 2021<p><span style="font-size: x-large;">1.<span style="white-space: pre;"> </span>Yellowjackets</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjKKKAB64Ux82URXhjgbpBf3AzvwXl9EMjJ-AdfsxfS5Cm4IlmqfejcKY8haJCjbnNsJ_3fvCHU5z6wmHKajRYhrGtQPyVgAI7sVfLaby9OG0kjN1MiTUrjg9IsQGclp52Bbqmrekd01f2VFMPq8142XIe2LjTC_Zlr6tzIBATBFVwI0uknjFQIkyq3=s1284" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="856" data-original-width="1284" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEjKKKAB64Ux82URXhjgbpBf3AzvwXl9EMjJ-AdfsxfS5Cm4IlmqfejcKY8haJCjbnNsJ_3fvCHU5z6wmHKajRYhrGtQPyVgAI7sVfLaby9OG0kjN1MiTUrjg9IsQGclp52Bbqmrekd01f2VFMPq8142XIe2LjTC_Zlr6tzIBATBFVwI0uknjFQIkyq3=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">I'm in the middle of writing a <a href="https://www.rogerebert.com/features/yellowjackets-tv-feature-showtime-2022">video essay</a> on why this show is so meaningful to me but suffice to say for now this show managed to combine survival horror, teen girl dystopia, folk horror hallucinations, and still have time to be among the most sharp pieces of media about lost youth and wasted potential I've ever seen. The second it started I fell in love. It's rewarded me by not assuming I did and continuing to try and be the best show on TV. It is. </span></p><p><span style="font-size: medium;">Standout Performance: I mean this show has a true all-timer youth cast: Sophie Thatcher, Sophie Nélisse, Ella Purnell, Jasmin Savoy Brown, Samantha Hanratty, all of them are stupendous as teen girls at the end of their tether. And they grow into the redoubtable likes of Christina Ricci, Tawny Cypress, and Juliette Lewis, but as usual it's Melanie Lynskey who steals the show. Her world weary rendition of adult Shauna is heartbreaking every episode. While her <i>Heavenly Creatures </i>co-star Kate Winslet was solving crime, she was committing them and covering them up. </span></p><p><span style="font-size: x-large;">2.<span style="white-space: pre;"> </span>Black Summer</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhsnidesg4RAxIHTycIJVqhr7J2YZ6zfZBFekw9P19cVn3j_SaiK25Z9T5Mr-RmvsekTNA293afRbYyLlbEew_9vIsGvscv4Y79ptdIBLB9FPfLp-GKF_l9_ZTfkAdjUWtX6JixRTyMbVnN0bgK59yuxF5uCnSCNkoIwZtDrUxUucyJGQWTwVMaqYxE=s1024" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="683" data-original-width="1024" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhsnidesg4RAxIHTycIJVqhr7J2YZ6zfZBFekw9P19cVn3j_SaiK25Z9T5Mr-RmvsekTNA293afRbYyLlbEew_9vIsGvscv4Y79ptdIBLB9FPfLp-GKF_l9_ZTfkAdjUWtX6JixRTyMbVnN0bgK59yuxF5uCnSCNkoIwZtDrUxUucyJGQWTwVMaqYxE=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">If I've ever been so frightened by TV as I am by an average <i><a href="https://vimeo.com/577770257" target="_blank">Black Summer</a></i> episode, I can't readily recall when or why. This show leans more into tropes this season (the haunted house, the dystopian gangland society that arises after apocalypse, even cults for a moment) and keeps leaning until they buckle and snap. The directors Jon Hyams and Abram Cox have made such careful use of chaos and silence and the writers have so carefully considered the meaning and use of every single syllable uttered, that every single sound is dangerous. This show had me on edge for the entirety of its runtime. An incredible work of art. </span></p><p><span style="font-size: medium;">Standout Performance: Jesse Lipscomb did wonders with very little in the way of active development but I think MVP might still be Justin Chu Cary as the impostor Spears. His episode-long parlay with another survivor he can't trust is a series highlight. </span></p><p><span style="font-size: x-large;">3.<span style="white-space: pre;"> </span>What We Do in the Shadows </span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEigr2K2STSKebEKnvyrgplq-4lNILj9jMVxM5PIJi3dOgxmkXP3XtFwKKEz1dGHX9yT0wW-YJWxs5l5jPOnIEytbGJOKDQi9ZSCn5oYTDcAtleW8ithMxJx5m5dAphjSJ_KFI1bghJZR0lhoLW3iE4uf8A7IVb3nwdJMFiO1QXr55iPkYbO7g9Q33lc=s1400" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEigr2K2STSKebEKnvyrgplq-4lNILj9jMVxM5PIJi3dOgxmkXP3XtFwKKEz1dGHX9yT0wW-YJWxs5l5jPOnIEytbGJOKDQi9ZSCn5oYTDcAtleW8ithMxJx5m5dAphjSJ_KFI1bghJZR0lhoLW3iE4uf8A7IVb3nwdJMFiO1QXr55iPkYbO7g9Q33lc=w640-h320" width="640" /></a></p><p><span style="font-size: medium;">The show ended by teasing an appearance from Taika Waititi, the Lin-Manuel Miranda of comedy, so it's entirely possible this show and I are about to break up, but what a beautiful relationship it's been. Watching this miracle of deadpan horror and twisted performances is like drinking a perfect cocktail. Smooth and beautiful and when it's over you've laughed at everything, maybe a little more so than you think you should have. This season saw the vampires flinch at responsibility they didn't really ask for and learn that life on earth is pointless. Like <i>Futurama</i> it's a show about the boundless cynicism and uncaring indifference of your supposed best friends in the world. This was the funniest the show has ever been. </span></p><p><span style="font-size: medium;">Standout Performance: Matt Berry, as much as I have a crush on everyone in the cast, from demure Harvey Guillén to moody Kayan Novak to preening Natasia Demetriou, the Lady Gaga of comedy. Matt Berry is just one of those people who makes me laugh with every single thing he does and says and the show gets out of his way and lets him do it. "Bat!" still kills me every time. </span></p><p><span style="font-size: x-large;">4.<span style="white-space: pre;"> </span>Succession / Pretend It's A City</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjYxDIJGI9sLLBhw9-jyJAsMU1rjn-m7p4tASQ7inezOPSRThyaN2iZivN6yqfHu842agXlYivt5mgagVKwQoz39KC5UWRLlLW65PzrqALc8U1TRZ_hHWMCxWwOOAeoN6Vbw2V8vZmM2aa3xlTlSDbi_W9wgrjJcQV3zWDQb0_0y0HkbrpIbVr22lWI=s779" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="518" data-original-width="779" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEjYxDIJGI9sLLBhw9-jyJAsMU1rjn-m7p4tASQ7inezOPSRThyaN2iZivN6yqfHu842agXlYivt5mgagVKwQoz39KC5UWRLlLW65PzrqALc8U1TRZ_hHWMCxWwOOAeoN6Vbw2V8vZmM2aa3xlTlSDbi_W9wgrjJcQV3zWDQb0_0y0HkbrpIbVr22lWI=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">I'm very flippantly combining two shows about dying New York for simplicity's sake but they do give you a world of too-fast culture with a grouchy lodestar. In Scorsese's docu-series its motormouthed Fran Lebowitz, decrying what her beloved New York has become since her heyday. In <i>Succession</i> it's Brian Cox's aggrieved and dying Logan Roy, who wants so badly to quit except he loves what he does and he loves knowing he's the only one who keeps his billion dollar empire from crumbling. This season was the most uncomfortable yet with everyone going miles out of their way to show their worst self off to everyone who needed to trust them. </span></p><p><span style="font-size: medium;">Standout Performance: Well I like Scorsese as the off camera greek chorus in <i>Pretend</i> but in <i>Succession </i>it's Kieran Culkin as fuckboi wonder Roman and Matthew Macdadyen as Tom Wombsgans. Culkin gets to do maybe the greatest "trying to sink into the floorboards after embarrassing himself" performance, twice. And then Macfadyen is on another plane of existence on this show, playing Tom like Randy Rhodes played guitar. A true wild card of queer self immolation and google-translated masculine posturing.</span></p><p><span style="font-size: x-large;">5.<span style="white-space: pre;"> </span>The Other Two</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhgB412KS3-knl6MKWOTllP3Zvt1xNMPkZifoXvFG_m57SzY3WwjvcUPWhvzcP0yH-CwC2oWD2MbeHeYfzJWhuiqItT2DRF2cnZawoG4J8FhUVZ6yJcCChLUNSCw7KGslhJO66SaFFfcQ8L_UQTfbLUiJ3vJEqGJYylhslnwYCPGHBX5yejsLrpT0cF=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhgB412KS3-knl6MKWOTllP3Zvt1xNMPkZifoXvFG_m57SzY3WwjvcUPWhvzcP0yH-CwC2oWD2MbeHeYfzJWhuiqItT2DRF2cnZawoG4J8FhUVZ6yJcCChLUNSCw7KGslhJO66SaFFfcQ8L_UQTfbLUiJ3vJEqGJYylhslnwYCPGHBX5yejsLrpT0cF=w640-h360" width="640" /></a></p><p><span style="font-size: medium;">This is the best show about being "a creative" in the present. This show understands that for people to survive you have to be a brand, and in order to be a brand, you have to know deadening things about the way the world works. Famous people get everything handed to them, dreamers do guest spots on Thrillist TV, complain that they aren't getting more work than their peers, and pray for auditions. You fake being famous and you just might become famous. If the show weren't casually one of the most hysterical half hour comedies in living memory, it would be the saddest thing I've ever seen. Bravo. </span></p><p><span style="font-size: medium;">Standout Performance: Though I'm probably the world's biggest Drew Tarver fan, I have to say Helene York as stupendously over confident Brooke. She jumps into rooms like a chicken into a cockfight that's just been released by its handler, spraying plumed desperation at everything in arm's reach. The most savage take down of girlboss culture there is, a one-woman People's Choice Awards brunch. </span></p><p><span style="font-size: x-large;">6.<span style="white-space: pre;"> </span>Painting with John</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjk8Bc4uUMXZm0ycRu1VwlegUK8u7N_v9ysrP79MGN-UVuFLIefEwUDwocg5sSWAxxGJAJIlNmMhq0gZF0usAXCeazBBC8bKzqMDfqe8_Pqbf7AS9HwSWRu_lhwzoqX211U5v5x2TSatQJScb2QO9KtCuyCd5xrlEO831x-FC7SjswraE441BefLVRV=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjk8Bc4uUMXZm0ycRu1VwlegUK8u7N_v9ysrP79MGN-UVuFLIefEwUDwocg5sSWAxxGJAJIlNmMhq0gZF0usAXCeazBBC8bKzqMDfqe8_Pqbf7AS9HwSWRu_lhwzoqX211U5v5x2TSatQJScb2QO9KtCuyCd5xrlEO831x-FC7SjswraE441BefLVRV=w640-h360" width="640" /></a></p><p><span style="font-size: medium;">Nearly 30 years after John Lurie changed television forever on <i>Fishing with John</i>, he finally got to take his victory lap. Each episode of <i>Painting With John </i>is the most zen half hour of TV you could ask for, just a guy telling stories and painting great work. Deliberately positioning himself as the anti-Bob Ross, Lurie gargles out gorgeous stories about a life in the spotlight, his brushes with the surreality of fame and fortune like little windows into an alternate universe, themselves little paintings of a forgotten milieu. Lurie's still an amiable host even after all that life has put him through and I could watch him paint and fuck around with the debris in his lawn forever. </span></p><p><span style="font-size: medium;">Standout Performance: John. Good to have you back, John. </span></p><p><span style="font-size: x-large;">7.<span style="white-space: pre;"> </span>Reservation Dogs</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh0GwZOLnEW4-oNdA1Vy9-Boy46gL25g875t7t0_HvXmUf6i-p0F7Bu8XROsVO2lYkDXkdPW0nfKgzfh9aunRN-hDnEIU5xX9gw6kLi5M7JP9gOIrEpyizbfDEKojThbua1qqtU5RXH1NaipKEwKc05j5CF1PmTH4jQYuAPKNCtITSKq70EPkiW9PRa=s2868" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1494" data-original-width="2868" height="334" src="https://blogger.googleusercontent.com/img/a/AVvXsEh0GwZOLnEW4-oNdA1Vy9-Boy46gL25g875t7t0_HvXmUf6i-p0F7Bu8XROsVO2lYkDXkdPW0nfKgzfh9aunRN-hDnEIU5xX9gw6kLi5M7JP9gOIrEpyizbfDEKojThbua1qqtU5RXH1NaipKEwKc05j5CF1PmTH4jQYuAPKNCtITSKq70EPkiW9PRa=w640-h334" width="640" /></a></div><span style="font-size: medium;">Truly criminal to think we waited this long for a show with an entirely First Nations cast on a major network getting a full PR blitz, not just because there have been no shortage of amazing actors from which to choose, but because the cast of this show are amazing in every register and I would have liked to see them all together sooner. Sterlin Harjo's ode to the nothingness of life on the res dips in and out of tear-jerking sincerity so smoothly you barely notice you're having your soul wrung out like an old dish rag. Weren't you laughing at Jarmuschian depression comedy a second ago? This collection of banal hardships and deeply felt bonds form the most ideologically and sociologically astute show on TV. Also the idea of seeing ridiculously talented <i>legends</i> Wes Studi and Gary Farmer on a TV comedy is mind-boggling. They'd only come out to do this if it is was good or if it was ground-breaking. This is both. </span><p></p><p><span style="font-size: medium;">Standout Performance: How do you choose? I'm tempted to say Devery Jacobs, one of the greatest actresses under 30, the epitome of cool, or the always great Zahn McClarnon as clueless deputy Big, but Paulina Alexis stole my heart in "Hunting," the episode where she and her dad finally open up about a mutual loss. She's effortlessly sad and winning as she tries to keep from crying for shame of messing up her war paint. </span></p><p><span style="font-size: x-large;">8.<span style="white-space: pre;"> </span>Servant</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg6RsqSnXgdfFeF4dZFfqm36z7zSPEfMUzcfNm4W6sIapZZ2LjliS9BQ7CnVs4BgzI2jVpfjPx8R09ph5SBEs0rOu7hGTJHnxqognqNGjmzvI-5FZruVanGoJ0GgZE_QYYWowKrHkP3Yp7iUgpCsfWGCewQmZxVdjVxWaGO75oWwpAlgpRPFAQ9AGD9=s960" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="587" data-original-width="960" height="392" src="https://blogger.googleusercontent.com/img/a/AVvXsEg6RsqSnXgdfFeF4dZFfqm36z7zSPEfMUzcfNm4W6sIapZZ2LjliS9BQ7CnVs4BgzI2jVpfjPx8R09ph5SBEs0rOu7hGTJHnxqognqNGjmzvI-5FZruVanGoJ0GgZE_QYYWowKrHkP3Yp7iUgpCsfWGCewQmZxVdjVxWaGO75oWwpAlgpRPFAQ9AGD9=w640-h392" width="640" /></a></p><p><span style="font-size: medium;"><a href="https://www.cultofmac.com/727122/one-year-best-of-apple-tv-plus/" target="_blank">M. Night Shyamalan's</a> been having the coolest comeback of any artist in visual media right now, making one passion project movie after another while producing and occasionally directing the gorgeous rip-shit <i>Servant</i>, which treats the pervert hall of fame (Brian De Palma, Alfred Hitchcock, Walerian Borowczyk, Dario Argento) as ingredients for a decadent confit. The <a href="https://www.cultofmac.com/730239/servant-season-2-review-more-high-key-lunacy-apple-tv/" target="_blank">second season </a>took a leap into the occult and I needed a bib I was so ravenous for its immaculately photographed twists and turns. </span></p><p><span style="font-size: medium;">Standout Performance: The main cast all do consistently wonky work (I mean that as a compliment, I wouldn't change a note) but it was a true joy to see Rainer Werner Fassbinder's final muse Barbara Sukowa show up as deranged Aunt Josephine for a few episodes. This show has such slick and sick lineage and I greatly appreciated Shyamalan pulling out the big guns for his perverted audience. </span></p><p><span style="font-size: x-large;">9.<span style="white-space: pre;"> </span>The Expanse</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhOyzYvrnOYucA2-fy4Q0O1a5m6--yuUL5VQYJE3Dl-XGOc1maNfNcCkpR6M3qkJ2EeSyL708Kg0382S6_wHghgRpZ7BKQhjAVNpi1Tp7wWseAbprtWYLU7EgAtQCYxvwc4uSfRCpJvFwNgQrbf7JitL9My9xQ5tUR1ooVaqe796WKDxJrMEWEIruqm=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhOyzYvrnOYucA2-fy4Q0O1a5m6--yuUL5VQYJE3Dl-XGOc1maNfNcCkpR6M3qkJ2EeSyL708Kg0382S6_wHghgRpZ7BKQhjAVNpi1Tp7wWseAbprtWYLU7EgAtQCYxvwc4uSfRCpJvFwNgQrbf7JitL9My9xQ5tUR1ooVaqe796WKDxJrMEWEIruqm=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">Saying goodbye to<i> The Expanse</i> was levied only somewhat by the fact that they so clearly leave open the possibility that we'll see the crew of the Rocinante again. God I hope so. It took some doing to get over the preening and overly cute neo-noir bent of the earliest episodes <br />(I love Thomas Jane but someone has to smack that fuckin hat off his head, it's been ten motherfuckin years of that thing) but by the end of season 2 I was <i>all in</i> on this show's space-fairing seriousness. It helped of course that they introduced Bobbie Draper (Frankie Adams), the bruiser from Mars, one of my favourite creations on any show. The final truncated season left me desperate for more, but the ending was tidy in all the right ways. I gripped the arm of my seat more than a few times, hoping to see my heroes get their happy ending. Beltalowda til next time.</span></p><p><span style="font-size: medium;">Standout Performance: Adams is my favorite, but she has stiff competition as always from Shohreh Agdashloo as sly Avasarala, the Secretary-General of the United Nations. And then there's Wes Chatham as no-nonsense mechanic Amos. Those three represent the show at its best: quietly undoing stock types through exciting, exacting performance. I was <i>very</i> pleased to see someone got my fan mail and left a "maybe" sized hole in the question of whether Draper and Amos got down to business. </span></p><p><span style="font-size: x-large;">10.<span style="white-space: pre;"> </span>30 Coins</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg7iRP4NXeri8qJKd-0FQl8hCnJUz5oGUNr27lf_4vmmnw9WkJlX6dQadFROMG8oOB6NCaq4Lxof6wuFYYPeMuhYaBmZmW1W8DtB1j6uKSXCq_SzJtRd69a0owdQBsr_Q6ae04SSjgbWFPsF9twDwL5w0oKXdml-CxMfGyFxRJ_iO9pQxAqqSY98OHJ=s1600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEg7iRP4NXeri8qJKd-0FQl8hCnJUz5oGUNr27lf_4vmmnw9WkJlX6dQadFROMG8oOB6NCaq4Lxof6wuFYYPeMuhYaBmZmW1W8DtB1j6uKSXCq_SzJtRd69a0owdQBsr_Q6ae04SSjgbWFPsF9twDwL5w0oKXdml-CxMfGyFxRJ_iO9pQxAqqSY98OHJ=w640-h480" width="640" /></a></p><p><span style="font-size: medium;">How it took <i>this </i>long to give <a href="https://www.rogerebert.com/streaming/30-coins-tv-review-2021">Alex De La Iglesia</a> a television show I'll never know but literally the opening credits are argument enough that it was the smartest decision anyone's ever made. <i>30 Coins</i> is a broiling Satantic brew, complete with machine gun-toting priests, </span><span style="font-size: medium;"><span>cow-born</span><span> spider babies, and an impending apocalypse. </span></span></p><p><span style="font-size: medium;">Standout Performance: Eduard Fernández, by a broken nose. He attacks his role as a warrior for god with ferocity, bringing grave intensity to the wonderfully silly doings. </span></p><p><span style="font-size: x-large;">11.<span style="white-space: pre;"> </span>Superstore</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg7qTNM62STMGt4lT41HTiuj25qjG5cbR9NG0hNqiYCFn2rdfy4T-NN4qEqXIjwDZpzoGEEmtEWaIcg4xChXOiOcy2i7iTtim8SWXokpY-OJyF8Fp3raCJCGVUAyuLUlGrrXqnbWP-U5JaXvORbxPCqzRThBtNj1TdSehoL9nMWr5eF1-tocVDvqmeM=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="667" data-original-width="1000" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEg7qTNM62STMGt4lT41HTiuj25qjG5cbR9NG0hNqiYCFn2rdfy4T-NN4qEqXIjwDZpzoGEEmtEWaIcg4xChXOiOcy2i7iTtim8SWXokpY-OJyF8Fp3raCJCGVUAyuLUlGrrXqnbWP-U5JaXvORbxPCqzRThBtNj1TdSehoL9nMWr5eF1-tocVDvqmeM=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">No show this honest about the crimes done to the American labor force could stay on the air forever. <i>Superstore</i> could be cute and sentimental but largely this was just a seventeen car pile up of indignity done to people who would rather be at home but can't pay rent unless you buy a TV or some ugly clothes from them. Masquerading as a sitcom, this was quietly a powerful tool of radical praxis, showing how difficult it is to get a workforce to unionize and how easily corporate will threaten you with deportation if you don't comply with their insane demands. </span></p><p><span style="font-size: medium;">Standout Performance: Again, how do you choose, everybody was stupendous, but I will miss Nichole Sakura's dizzy Cheyenne quite a bit. Something about her earnest admissions of taking the path of least resistance were always funny. </span></p><p><span style="font-size: x-large;">12.<span style="white-space: pre;"> </span>Dr. Brain</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhDCmDv0gy_LXHUl1uk6lWUu3xGzXcZiJy2-jL1_V68bDmknnaqFGu1RBLOatKFIPg8sHk_7cxai5J8-OFPpPgfwFBbeiIBjItzPNccZ3nBtgZDOfYwB_frDPinEVhiWwfkB9f28-hs7xJc9bH_fiYvDKd1PeHF55ImscWT1un_3ZdXA2Yd8kTSetPW=s681" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhDCmDv0gy_LXHUl1uk6lWUu3xGzXcZiJy2-jL1_V68bDmknnaqFGu1RBLOatKFIPg8sHk_7cxai5J8-OFPpPgfwFBbeiIBjItzPNccZ3nBtgZDOfYwB_frDPinEVhiWwfkB9f28-hs7xJc9bH_fiYvDKd1PeHF55ImscWT1un_3ZdXA2Yd8kTSetPW=w640-h360" width="640" /></a></p><p><span style="font-size: medium;"><a href="https://www.cultofmac.com/757549/dr-brain-review-apple-tv/" target="_blank">Kim Jee-Woon</a> got a blank check and made a delirious little genre bender about spying on dead people's unconscious minds to solve crime. Dr. Sewon Koh is at the bottom of a conspiracy involving multiple murder, dastardly surgery, and the gaslighting of dozens of bereaved parents for the sake of a monomaniacal quest for immortality. Every few seconds a new generic idea is introduced and subverted by the mad scientist at the helm of this very ambitious detective story. </span></p><p><span style="font-size: medium;">Standout Performance: Hee-soon Park as Sewon's ghostly sidekick, a grinning monster of id who learns to like being dead. </span></p><p><span style="font-size: x-large;">13.<span style="white-space: pre;"> </span>I Think You Should Leave</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEijgb9gbNlFHD2C-xzMpzgSqNBhwuRmPHuj2vvw0yaIVr67Q6rPee7mvXoD3apJ_7-txNyElF1xuUgn8Fs9tIagFN18j0v-vllM7lCKE_Z2P3OtzTYlm2NPfWympiFtFdnQaAY1PwhjbXyjegv935KWG0WVDP4KKl6qGnLFPQAS2E6ah4fsi9b0Tj2a=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEijgb9gbNlFHD2C-xzMpzgSqNBhwuRmPHuj2vvw0yaIVr67Q6rPee7mvXoD3apJ_7-txNyElF1xuUgn8Fs9tIagFN18j0v-vllM7lCKE_Z2P3OtzTYlm2NPfWympiFtFdnQaAY1PwhjbXyjegv935KWG0WVDP4KKl6qGnLFPQAS2E6ah4fsi9b0Tj2a=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">Not every <i>I Think You Should Leave </i>sketch is created equally but that isn't because there's bad craftsmanship at work. It's because the sketches that really work are the funniest three minutes of TV you feel like you've</span><span style="font-size: large;"> ever seen. Tim Robinson and his farm team of improvisers, writers, actors, and comedians sometimes hit on an idea so funny you think your heart might stop. Whether it's at the man who literally doesn't know how to drive, the guy who's having a lovely dinner until he has to pay, the prank show host with an elaborate make-up job, or Coffin Flop, you'll be laughing like an infant at something. </span></p><p><span style="font-size: medium;">Standout Performance: Patti Harrison. She's been proving her mettle as a comedian for a while now (look up how she lost her twitter account), but <i>ITYSL</i> lets her be an absolute freak for a few glorious minutes a season. The way she says "They're so d<i>irty!</i>" almost secured me an appearance on Coffin Flop. She's quite simply the funniest person in America. </span></p><p><span style="font-size: x-large;">14.<span style="white-space: pre;"> </span>The Mosquito Coast</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvdRWZwnlLXSMNba9lzqfPMw41A7xHPP3-B2inK7ZEelr_mQ591HjOP0hW9bJH11cOUULDtWHWsezMftksySc4ETmz7vlyvPr2WxbqNy5azdn6jZ5eukO2I_mzMsfZGhWjY5XK2BAQ42dbgBDXTlFuEDawfF7cKw1YdEV3K7azyv-D2o-95EMYF-a8=s3840" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1918" data-original-width="3840" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvdRWZwnlLXSMNba9lzqfPMw41A7xHPP3-B2inK7ZEelr_mQ591HjOP0hW9bJH11cOUULDtWHWsezMftksySc4ETmz7vlyvPr2WxbqNy5azdn6jZ5eukO2I_mzMsfZGhWjY5XK2BAQ42dbgBDXTlFuEDawfF7cKw1YdEV3K7azyv-D2o-95EMYF-a8=w640-h320" width="640" /></a></p><p><span style="font-size: medium;">I was suspicious of the very idea of making a new <a href="https://www.cultofmac.com/736179/mosquito-coast-review-apple-tv-series/" target="_blank"><i>Mosquito Coast</i>,</a> considering how much I adore the original adaptation but the name Rupert Wyatt got me on board right quick. The director of <i>The Escapist</i> and <i>The Gambler </i>knows well how to fine tune a shopworn premise and sure enough this show about a family of fugitives fleeing to South America hits the ground running. </span></p><p><span style="font-size: medium;">Standout Performance: It's good to see a part worthy of what Melissa George can bring to a role. She's been wasted for years in more anonymous parts but her work as the perpetually put-upon fugitive wife is <i>rather</i> stirring. Next to Justin Theroux as her husband, a man who always acts like he's just been hotwired like a car, her exhaustion makes perfect sense. </span></p><p><span style="font-size: x-large;">15.<span style="white-space: pre;"> </span>Swagger</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgk4iWSIWIsyvnEiB-2MxLcsiuYv_39nROS4hv7dXZ-iQdbR7y30VIP1qw9wgEIZQDmKnqBIkChHG35h9i6mKt71MHcCOoPt2ElG3AtN08s9nCqdXnHly_3YBhKZvAxMKH_YGi_KNAiot5VdRCqPOGh-km7t8YbUtu4cssQrhfRei8vErxFskl3cleV=s1478" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="831" data-original-width="1478" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgk4iWSIWIsyvnEiB-2MxLcsiuYv_39nROS4hv7dXZ-iQdbR7y30VIP1qw9wgEIZQDmKnqBIkChHG35h9i6mKt71MHcCOoPt2ElG3AtN08s9nCqdXnHly_3YBhKZvAxMKH_YGi_KNAiot5VdRCqPOGh-km7t8YbUtu4cssQrhfRei8vErxFskl3cleV=w640-h360" width="640" /></a></p><p><span style="font-size: medium;">From out of nowhere and coming with the dubiousness of having an athlete sign off on it (<i>Space Jam </i>had just gotten a sequel, you'll forgive my PTSD), I expected nothing from <i><a href="https://www.cultofmac.com/757078/swagger-recap-radicals-apple-tv/" target="_blank">Swagger</a></i> and got everything. This show is smart and sensitive about the climate assailing the junior athletes headed for greater things; drugs, poverty, sexual abuse, parents too invested or not invested at all. This show presents a thrilling tapestry of every day disappointments in Baltimore while also spinning a believable and exciting story of a kid's journey from golden child to underdog and back again. </span></p><p><span style="font-size: medium;">Standout Performance: O'Shea Jackson, Jr. As the coach who doesn't want anyone to know how much he cares he keeps the show's heart beating as all around him rage temptation, despair, and violence. He plays Ike like a guy you run into on the street, get one look at and think you know his life story. Magnificent work. </span></p><p><span style="font-size: x-large;">16.<span style="white-space: pre;"> </span>Mare of Easttown </span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhL3YCPnld04K7nx7lmWH2Uj-11vuudQHH6FPz_8MtBrIMvTVF_2Hw9vHnZOFMhwSz4JGPipcqxaSa3nILQSb1mxKet6Rxb32KblhdRbe7xsoxoLtRTp8t_oj_IlT7YUI5ZSogMh98kTuaMoZ_0MLJcoxrTk4LCCgtUjHWJZrmXFfl504QWa8YQz6hu=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1280" data-original-width="1920" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhL3YCPnld04K7nx7lmWH2Uj-11vuudQHH6FPz_8MtBrIMvTVF_2Hw9vHnZOFMhwSz4JGPipcqxaSa3nILQSb1mxKet6Rxb32KblhdRbe7xsoxoLtRTp8t_oj_IlT7YUI5ZSogMh98kTuaMoZ_0MLJcoxrTk4LCCgtUjHWJZrmXFfl504QWa8YQz6hu=w640-h426" width="640" /></a></p><p><span style="font-size: medium;">Or <i>My Aunt, P.I. </i>This show about growing into your worst self while your friends and family watch from the sidelines is like cigarettes for Christmas. The depressive, Wawa-fueled Pennsylvania procedural was always going to be a smash in my living room if nowhere else, but it seems to have caught on everywhere. Any show about Kate Winslet doing the Delaware County accent, vaping and drinking coffee and just ruining her life (set to Flock of Seagulls, The Killers, and Mannequin Pussy) was always going to speak my broken PA spirit. This is about as good as bad TV gets. </span></p><p><span style="font-size: medium;">Standout Performance: Kate. I mean it's gotta be Kate. She has to pull up every rock in her yard and realize that everything that's given her comfort is a lie or worse. </span></p><p><span style="font-size: x-large;">17.<span style="white-space: pre;"> </span>AP Bio / Mythic Quest</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjmIvloupmqKh8Gy2i0gEMw_YjH3EQ7kRzbo7IOyCUIKiF1sXUjzRANwYrtTq0WMBCpi5rvm4_COhjIw9nZIC1_DriIlDH6HJERRcuRFDiLrQv5cUQM2bab4A4dKZv7AWfmCHLuqbI-seWQBPR6jPbhJ3kcpWK1HV0sTLme-DrHRv4pMHwMzsFF9H_b=s991" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="492" data-original-width="991" height="318" src="https://blogger.googleusercontent.com/img/a/AVvXsEjmIvloupmqKh8Gy2i0gEMw_YjH3EQ7kRzbo7IOyCUIKiF1sXUjzRANwYrtTq0WMBCpi5rvm4_COhjIw9nZIC1_DriIlDH6HJERRcuRFDiLrQv5cUQM2bab4A4dKZv7AWfmCHLuqbI-seWQBPR6jPbhJ3kcpWK1HV0sTLme-DrHRv4pMHwMzsFF9H_b=w640-h318" width="640" /></a></p><p><span style="font-size: medium;">Mike O'Brien's punk rock sitcom <i>A.P. Bio</i> has softened some of its edges since leaving Fox for NBC but it's lost none of its ability to make me giggle. Everyone in the writer's room knows how much we just <i>like</i> all these characters and so no longer adopts the initial arm's reach at which they were all kept to mimic horrified Jack Griffin's (Glenn Howerton) perspective. Now he likes them too so the show can get its hands dirty showing us why. </span></p><p><span style="font-size: medium;">Meanwhile Howerton's old <i>Always Sunny</i> cohorts did consistently amazing work on <i><a href="https://www.cultofmac.com/739332/mythic-quest-season-2-review-apple-tv/" target="_blank">Mythic Quest</a></i>, about a team of game designers staring obsolescence in the face. </span></p><p><span style="font-size: medium;">Standout Performance: I can't fully explain why I'm so charmed by Mary Sohn above everyone else on this show, but she's just amiably crazed and knowingly trashy in a way I love. To be clear everyone on this show really bites into their roles as some of the worst people on earth, but I do love watching Sohn as a gossipy menace to herself. </span></p><p><span style="font-size: medium;">As for <i>Mythic Quest</i> it's Charlotte Nicdao, who always seems in danger of disintegrating into her own neuroses but projects a goofy, frantic confidence to everyone as a counter measure (her troubles with driving a fancy car still make me laugh a year later). Marvelous stuff.</span></p><p><span style="font-size: x-large;">18.<span style="white-space: pre;"> </span>Philly D.A.</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIUqKMK6Gu9Q6Pm1CMKF17q4_vuIg2QkrpkuWh62kPRAq1gkoWOyzlNBDUBHmbltQyWPLFe6ecuJlt17KBxm6PviWo6m7wUqA-Gapih4QBz_I4kTDOpumnbEHl3SuuAwiFv3blGi_N1QfC_p9zXlYejmq9vS34VqUv_v8cGVw31orXxR0KALRxhcjE=s1440" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1440" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIUqKMK6Gu9Q6Pm1CMKF17q4_vuIg2QkrpkuWh62kPRAq1gkoWOyzlNBDUBHmbltQyWPLFe6ecuJlt17KBxm6PviWo6m7wUqA-Gapih4QBz_I4kTDOpumnbEHl3SuuAwiFv3blGi_N1QfC_p9zXlYejmq9vS34VqUv_v8cGVw31orXxR0KALRxhcjE=w640-h480" width="640" /></a></p><p><span style="font-size: medium;">The story of District Attorney Larry Krasner has not been an easy one to watch from afar. People hate that he was even <i>attempting </i>to clean up the justice departments approach to bail, drug offenses, and minimums. Others hate that he doesn't go far enough in trying to stop police from taking out their frustrations on the poorest in Philadelphia. <i>Philly DA</i> is a fascinating and at times horrifying look at his first year in office and the climate of entrenched bureaucracy and a public's loathing for the health of the poor he was up against. </span></p><p><span style="font-size: medium;">Standout Performance: The story of Latonya Myers is a nail-biting bit of inspiration on a show bookended by the most depressing facts and figures. Myers was in prison at a young age and is now an anti-incarceration activist. Before she can reach for the next important step in her life she has to prove herself in court, and I hope it isn't spoiling anything to say I was grateful for such a beautiful win at this point in the season. </span></p><p><span style="font-size: x-large;">19.<span style="white-space: pre;"> </span>Chapelwaite</span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj_z8iHldtaF0KMtRtbkQFxuhkhlSyTuu2ET8x-9b_o1od7cGfhv8pLlINphNQbezYfnV2jCO1HAC3TTwRrgp4uEOiLVkOna0097SbR_pnEJoLa8ojCma5wj3ht1QaCgGM3p_JRD9IVoau6vqw4MGtGowB1gQD9dIQQZJN-WmBcFhzRMDDZ69qhQzjr=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="604" data-original-width="1200" height="322" src="https://blogger.googleusercontent.com/img/a/AVvXsEj_z8iHldtaF0KMtRtbkQFxuhkhlSyTuu2ET8x-9b_o1od7cGfhv8pLlINphNQbezYfnV2jCO1HAC3TTwRrgp4uEOiLVkOna0097SbR_pnEJoLa8ojCma5wj3ht1QaCgGM3p_JRD9IVoau6vqw4MGtGowB1gQD9dIQQZJN-WmBcFhzRMDDZ69qhQzjr=w640-h322" width="640" /></a></p><p><span style="font-size: medium;">Though it builds to a conclusion not perfectly supported by what had come before, there is no denying that I was sucked into the stupendously designed <i>Chapelwaite</i> from the word go. This blue-grey tone poem (based on Stephen King's prequel to <i>Salem's Lot</i>) spends a lot of time as a cautionary tale about racism before becoming a much more simple tale of keeping vampires out of your house, but it happens to be a compelling vision of both. Adrien Brody really digs into his performance as a self-loathing alcoholic with dreams he'll never realize.</span></p><p><span style="font-size: medium;">Standout Performance: Sirena Gulamgaus as Loa, the youngest of Brody's two daughters, does such a fine job conveying her embittered jealousy at the people around her who get to have what they want while she gets so little. She packs so much into her every stare and pout. She comes up against a number of seasoned actors throughout the season and gamely holds her own. </span></p><p><span style="font-size: x-large;">20.<span style="white-space: pre;"> </span>Foundation </span></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiJgtFnk2H7-YX_AeLrzzA7RHC76mB-LlAAZVvnXMTBVrBjqT59dkCFV9BnuBwLPHaTMnxCagONfkfqDcaF3pEVnQ_40G4_uYxAWpKSFuNO3kvAzLBHAhQnNPw2PxvoweLeJtDwO-lwmu2vi9scx2yG_kd6vWT90AYZ9MIPF61Tk6YNLD-LxMOrH4TC=s960" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="540" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJgtFnk2H7-YX_AeLrzzA7RHC76mB-LlAAZVvnXMTBVrBjqT59dkCFV9BnuBwLPHaTMnxCagONfkfqDcaF3pEVnQ_40G4_uYxAWpKSFuNO3kvAzLBHAhQnNPw2PxvoweLeJtDwO-lwmu2vi9scx2yG_kd6vWT90AYZ9MIPF61Tk6YNLD-LxMOrH4TC=w640-h360" width="640" /></a></p><p><span style="font-size: medium;">This show made me very nervous by spending two episodes on little but exposition and stage setting, but <a href="https://www.cultofmac.com/754084/foundation-takes-big-beautiful-risks-and-were-hooked-apple-tv-review/" target="_blank">episode three</a> kicked everything into high gear and then <i>Foundation</i> never slowed down. This show, based on something of a Holy Grail for a certain sci-fi fan, charts an experiment in civilization far away from the watchful eye of galactic fascism. </span></p><p><span style="font-size: medium;">Standout Performance: Gotta be my guy Jared Harris. Harris just sets a show like six tons of concrete, he makes you believe everything you see. His version of space prophet Hari Seldon is as a man who's finally getting to enjoy being right about everything. Harris doesn't often get to make full use of that twinkle in his eye, but here he's just the right combination of doomsaying, burdened, and spritely and mischievous. </span></p>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com1tag:blogger.com,1999:blog-8048150012419794149.post-5108078792635675632022-01-09T12:02:00.008-05:002022-03-10T15:11:50.038-05:00The 2021 Monsieur Oscars<div style="text-align: left;"><div><span style="font-size: x-large;">Favourite Non-Fiction Features</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgfOSz6PtYLF7vUNcr5LRo0cOD_YdKHfTHIy0NB1OX657xlNNy7plblwCbvRAAkTH17HyCxGzdTvvgER_pqFhH4z1ePWXK-WoKFQS7YLHREe6hsrqZlatCgPQ1JUtimEjO7yviIyrRWeqDdWhgFjbOK3OeKq13oFkI36DddnVqjrjdl13AsIc_Av9kO=s1200" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgfOSz6PtYLF7vUNcr5LRo0cOD_YdKHfTHIy0NB1OX657xlNNy7plblwCbvRAAkTH17HyCxGzdTvvgER_pqFhH4z1ePWXK-WoKFQS7YLHREe6hsrqZlatCgPQ1JUtimEjO7yviIyrRWeqDdWhgFjbOK3OeKq13oFkI36DddnVqjrjdl13AsIc_Av9kO=w640-h266" width="640" /></a><br /><ol><li><span style="font-size: medium;">Faya Dayi</span></li><li><span style="font-size: medium;">Procession </span></li><li><span style="font-size: medium;">All Light, Everywhere</span></li><li><span style="font-size: medium;">A Glitch in the Matrix</span></li><li><span style="font-size: medium;">Taming the Garden</span></li><li><span style="font-size: medium;">Sabaya</span></li><li><span style="font-size: medium;">Mariner of the Mountains</span></li><li><span style="font-size: medium;">Get Back</span></li><li><span style="font-size: medium;">Velvet Underground</span></li><li><span style="font-size: medium;">The American Sector</span></li><li><span style="font-size: medium;">Village Detective: A Song Cycle</span></li><li><span style="font-size: medium;">Babi Yar. Context / State Funeral</span></li><li><span style="font-size: medium;">Marx Can Wait</span></li><li><span style="font-size: medium;">A Crime on The Bayou</span></li><li><span style="font-size: medium;">Joy Ride</span></li></ol></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Favourite Fiction Features</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg5ZmrQEu5ALSK8_trjwSR-mXSw6-jmnIgAo72EeaW7cfvf2e7cArTWKx2MyxwFT1AoZGNUdfcGqjPwaYo0uKEgKwPdicYNusSBqlsRIBtNgiilF2ohMjsYqMH4ZssRZGbUDZeR1NxQBMzvJIqSb8PIrH9ZxoXS6pMNctaFCkxAY5PCc_ERvQqMV5cD=s2000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="1179" data-original-width="2000" height="378" src="https://blogger.googleusercontent.com/img/a/AVvXsEg5ZmrQEu5ALSK8_trjwSR-mXSw6-jmnIgAo72EeaW7cfvf2e7cArTWKx2MyxwFT1AoZGNUdfcGqjPwaYo0uKEgKwPdicYNusSBqlsRIBtNgiilF2ohMjsYqMH4ZssRZGbUDZeR1NxQBMzvJIqSb8PIrH9ZxoXS6pMNctaFCkxAY5PCc_ERvQqMV5cD=w640-h378" width="640" /></span></a></div><div><span style="font-size: medium;"><br /></span></div><div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>1.<span style="white-space: pre;"> West Side Story </span></span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>2.<span style="white-space: pre;"> The Matrix: Resurrections </span></span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>3.<span style="white-space: pre;"> </span>Benediction</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>4.<span style="white-space: pre;"> </span>The Card Counter</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>5.<span style="white-space: pre;"> </span>Petite Maman</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>6.<span style="white-space: pre;"> </span>Bad Luck Banging or Loony Porn</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>7.<span style="white-space: pre;"> </span>The Souvenir Part 2</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>8.<span style="white-space: pre;"> </span>Hit the Road</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>9.<span style="white-space: pre;"> </span>Unclenching the Fists</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>10.<span style="white-space: pre;"> </span>The French Dispatch</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>11.<span style="white-space: pre;"> </span>The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>12.<span style="white-space: pre;"> </span>Licorice Pizza</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>13.<span style="white-space: pre;"> </span>C’mon C’mon</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>14.<span style="white-space: pre;"> </span>No Sudden Move</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>15.<span style="white-space: pre;"> </span>Annette</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>16.<span style="white-space: pre;"> </span>Old</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>17. Wrath of Man</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>18.<span style="white-space: pre;"> </span>Parallel Mothers</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>19.<span style="white-space: pre;"> </span>Mad God</span></div><div><span style="font-size: medium;"><span style="white-space: pre;"> </span>20.<span style="white-space: pre;"> </span>France</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: x-large;">Favourite Short Film</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPuHCKzHxpFht8bgg7g_ZIGh1yrSYtRHvmEszlIonOlvssGPUQoCUliobP9ykJEeNle9BvOw39wh26rv0_2Z7OM7dvXxsgxJnBNB6OunEPhqE8WhGm8cJ6FF5P-a666nXsMabH-t2zBmQhekhwdrNnXbqAnF_E3VIjSaDTLGnBXH2TBtrYBX1hzNj1=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPuHCKzHxpFht8bgg7g_ZIGh1yrSYtRHvmEszlIonOlvssGPUQoCUliobP9ykJEeNle9BvOw39wh26rv0_2Z7OM7dvXxsgxJnBNB6OunEPhqE8WhGm8cJ6FF5P-a666nXsMabH-t2zBmQhekhwdrNnXbqAnF_E3VIjSaDTLGnBXH2TBtrYBX1hzNj1=w640-h360" width="640" /></span></a></div><div><ol style="text-align: left;"><li><span style="font-size: medium;">Blind Body</span></li><li><span style="font-size: medium;">Cityscape</span></li><li><span style="font-size: medium;">A Weave of Light</span></li><li><span style="font-size: medium;">May June July</span></li><li><span style="font-size: medium;">In Place of Monuments</span></li><li><span style="font-size: medium;">Robin Robin </span></li><li><span style="font-size: medium;">2 Pasolini</span></li><li><span style="font-size: medium;">Sycorax</span></li><li><span style="font-size: medium;">Death Valley</span></li><li><span style="font-size: medium;">ditat deus donuts</span></li></ol></div></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Favourite Performance by a Film Director</span></div><div><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh-svcjd2N78kRU8-HxwMsTPMSacxBMgyfPVLq1FaTR_vKOyIBJsE5kpD2zPvmlWYZBZyEx43O9tL-WoD0j1k2CtMl7ESgHPA86mawDrjYk3N9Dy2GmHgAPvI-SSi4lWhy5p5avjRK8YsY154PUbnTnPosa-9Vf5aLmIiSFI_lNNYckTVFUYerX25Sl=s4096" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1716" data-original-width="4096" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-svcjd2N78kRU8-HxwMsTPMSacxBMgyfPVLq1FaTR_vKOyIBJsE5kpD2zPvmlWYZBZyEx43O9tL-WoD0j1k2CtMl7ESgHPA86mawDrjYk3N9Dy2GmHgAPvI-SSi4lWhy5p5avjRK8YsY154PUbnTnPosa-9Vf5aLmIiSFI_lNNYckTVFUYerX25Sl=w640-h268" width="640" /></a><br /></span><ol><li><span style="font-size: medium;">West Side Story</span></li><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">Old</span></li><li><span style="font-size: medium;">29 Needles</span></li><li><span style="font-size: medium;">Unclenching the Fists</span></li><li><span style="font-size: medium;">Faya Dayi</span></li><li><span style="font-size: medium;">Kandisha / The Deep House</span></li><li><span style="font-size: medium;">Bad Luck Banging or Loony Porn</span></li><li><span style="font-size: medium;">Oxygen</span></li><li><span style="font-size: medium;">The Novice</span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">Il Buco</span></li><li><span style="font-size: medium;">Hit the Road</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">Licorice Pizza</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">Cry Macho</span></li><li><span style="font-size: medium;">Bingo Hell</span></li><li><span style="font-size: medium;">Mad God</span></li><li><span style="font-size: medium;">Wrath of Man</span></li><li><span style="font-size: medium;">The Card Counter</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">Jungle Cruise</span></li><li><span style="font-size: medium;">The Last Duel</span></li></ol></div></div><div><span style="font-size: medium;"><br /></span></div><div><div><span style="font-size: x-large;">Favourite Original Screenplay</span></div><div><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj5pDDXVOYmmppVOaDZvm4y8UAHEtP-io71bkhE_p36E1QdoLLs-fyH5EtoIFZWf96E52QxA1b4dMZoUZlm0RMvsLUWRe8iYV68ok_TpW7d_C8giYyh9VTfseES032uWynJFr9O83k_6SnA-bjbNJPLY3L2pbVATCa4YGssOS7RycjNm-NfKN4VJTPI=s1400" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="799" data-original-width="1400" height="366" src="https://blogger.googleusercontent.com/img/a/AVvXsEj5pDDXVOYmmppVOaDZvm4y8UAHEtP-io71bkhE_p36E1QdoLLs-fyH5EtoIFZWf96E52QxA1b4dMZoUZlm0RMvsLUWRe8iYV68ok_TpW7d_C8giYyh9VTfseES032uWynJFr9O83k_6SnA-bjbNJPLY3L2pbVATCa4YGssOS7RycjNm-NfKN4VJTPI=w640-h366" width="640" /></a><br /></span><ol><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">Shiva Baby</span></li><li><span style="font-size: medium;">Hit the Road</span></li><li><span style="font-size: medium;">The Novice</span></li><li><span style="font-size: medium;">Licorice Pizza</span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">The Card Counter</span></li><li><span style="font-size: medium;">In The Earth</span></li><li><span style="font-size: medium;">Petite Maman</span></li><li><span style="font-size: medium;">Pig</span></li><li><span style="font-size: medium;">C’mon C’mon</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">Bad Luck Banging or Loony Porn</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">Unclenching the Fists</span></li><li><span style="font-size: medium;">The Last Thing Mary Saw</span></li><li><span style="font-size: medium;">Mad God</span></li><li><span style="font-size: medium;">El Planeta</span></li></ol></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: x-large;">Favourite Adapted Screenplay</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiEksa4YkgZDrQWbnlb91RhFhsdJiJBsHUeqpAilCxwYz__xGjW3NuJgN_3N9Rie9xDOO28mi3nnVI64y8klvRSXnQq6odGXDwcaFVWNIvpPb1mzC9lCM3BmrfFiOyCzrNl3KO_Gq3XlVx-zy1rvnuofEdmPeHyjiPbLTZCMNMUkJrSdAcITEBPDVxL=s840" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="352" data-original-width="840" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEiEksa4YkgZDrQWbnlb91RhFhsdJiJBsHUeqpAilCxwYz__xGjW3NuJgN_3N9Rie9xDOO28mi3nnVI64y8klvRSXnQq6odGXDwcaFVWNIvpPb1mzC9lCM3BmrfFiOyCzrNl3KO_Gq3XlVx-zy1rvnuofEdmPeHyjiPbLTZCMNMUkJrSdAcITEBPDVxL=w640-h268" width="640" /></span></a></div><div><ol><li><span style="font-size: medium;">West Side Story</span></li><li><span style="font-size: medium;">The World To Come</span></li><li><span style="font-size: medium;">The Power of the Dog </span></li><li><span style="font-size: medium;">Benedetta</span></li><li><span style="font-size: medium;">The Many Saints of Newark</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">The North Water</span></li><li><span style="font-size: medium;">Passing</span></li><li><span style="font-size: medium;">Les Olympiads</span></li><li><span style="font-size: medium;">Wrath of Man</span></li></ol></div></div><div><span style="font-size: medium;"><br /></span></div></div><div style="text-align: left;"><span style="font-size: x-large;">Favourite Performance by an Actress in a Leading Role</span></div><div style="text-align: left;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiUIpVLbPJfIW9amsqXmCgltu3L8Kzo5S4NwVL3-ADD9LLOZTMRzJPOk5buFrAuXKqvWmm20OwdO-qxUCQ4A19QOymE3qIPQqncgFR-T28op9TbcrXt-buWi0MrD-bqm0gtBJZ-nx-QuQe7dzUJQEWTJwgtSW8d3rKCIVwFbgornqmJY_eNCAZ-Uzht=s3840" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1608" data-original-width="3840" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEiUIpVLbPJfIW9amsqXmCgltu3L8Kzo5S4NwVL3-ADD9LLOZTMRzJPOk5buFrAuXKqvWmm20OwdO-qxUCQ4A19QOymE3qIPQqncgFR-T28op9TbcrXt-buWi0MrD-bqm0gtBJZ-nx-QuQe7dzUJQEWTJwgtSW8d3rKCIVwFbgornqmJY_eNCAZ-Uzht=w640-h268" width="640" /></a><br /></span><ol style="text-align: left;"><li><span style="font-size: medium;">Isabelle Fuhrman <i>- The Novice & The Last Thing Mary Saw</i></span></li><li><span style="font-size: medium;">Milana Aguzarova - <i>Unclenching the Fists</i></span></li><li><span style="font-size: medium;">Noemie Merlant & Lucie Zhang - Les Olympiads</span></li><li><span style="font-size: medium;">Léa Seydoux - <i>France</i></span></li><li><span style="font-size: medium;">Melanie Laurent - <i>Oxygen</i></span></li><li><span style="font-size: medium;">Pantea Panahiha - <i>Hit The Road</i></span></li><li><span style="font-size: medium;">Andra Day - <i>The United States Vs. Billie Holiday</i></span></li><li><span style="font-size: medium;">Penelope Cruz - <i>Parallel Mothers</i></span></li><li><span style="font-size: medium;">Anna Cobb - <i>We’re All Going To The World’s Fare</i></span></li><li><span style="font-size: medium;">Amalia Ulman<i> - <i>El Planeta</i></i></span></li><li><span style="font-size: medium;">Barbara Crampton - <i>Jakob’s Wife</i></span></li><li><span style="font-size: medium;">Katia Pascariu - <i>Bad Luck Banging or Loony Porn</i></span></li><li><span style="font-size: medium;">Olivia Munn - <i>Violet</i></span></li><li><span style="font-size: medium;">Jodie Comer - <i>The Last Duel</i></span></li><li><span style="font-size: medium;">Mena Suvari - <i>Locked In</i></span></li><li><span style="font-size: medium;">Kim Tae-Ri - <i>Space Sweepers</i></span></li><li><span style="font-size: medium;">Alana Haim - <i>Licorice Pizza</i></span></li><li><span style="font-size: medium;">Rebecca Hall - <i>The Night House</i></span></li><li><span style="font-size: medium;">Katherine Waterston - <i>The World To Come</i></span></li><li><span style="font-size: medium;">Rachel Sennott - <i>Shiva Baby</i></span></li><li><span style="font-size: medium;">Megan Fox - <i>Till Death</i></span></li><li><span style="font-size: medium;">Nika McGuigan & Nora Jane Noone - <i>Wildfire</i></span></li><li><span style="font-size: medium;">Jessica Brown Findlay - <i>The Banishing</i></span></li><li><span style="font-size: medium;">Patti Harrison <i>- Together Together</i></span></li><li><span style="font-size: medium;">Tessa Thompson - <i>Passing</i></span></li></ol></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span><span style="font-size: x-large;">Favourite Performance by an Actress in a Supporting Role</span></div><div style="text-align: left;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgRF_hD3TSpq4Uk6YoaQzO3DjsUoqkcDxZ4-uM51ORzMvBwOYhVCaur_J_u4aYN2gC3l58p5MvmXEPFBSRH6e6vZ38B8CnUAs7mbjYdy-brdjebdbt08SXgexqt_bnNaKbhn7CF9xHro-8dEbMYwrEJkyeyZ76hg4Aje68UKvQ1NFZoihXqCbUJ1dTL=s1000" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="562" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgRF_hD3TSpq4Uk6YoaQzO3DjsUoqkcDxZ4-uM51ORzMvBwOYhVCaur_J_u4aYN2gC3l58p5MvmXEPFBSRH6e6vZ38B8CnUAs7mbjYdy-brdjebdbt08SXgexqt_bnNaKbhn7CF9xHro-8dEbMYwrEJkyeyZ76hg4Aje68UKvQ1NFZoihXqCbUJ1dTL=w640-h360" width="640" /></a><br /></span><ol style="text-align: left;"><li><span style="font-size: medium;">Ruth Negga - <i>Passing</i></span></li><li><span style="font-size: medium;">Kathryn Hunter - <i>The Tragedy of Macbeth</i></span></li><li><span style="font-size: medium;">Gaby Hoffman - <i>C’mon C’mon</i></span></li><li><span style="font-size: medium;">Vera Farmiga - <i>The Many Saints of Newark</i></span></li><li><span style="font-size: medium;">Carrie Ann-Moss & Jessica Henwick<i> - The Matrix: Resurrections </i></span></li><li><span style="font-size: medium;">Regina King<i> - The Harder They Fall</i></span></li><li><span style="font-size: medium;">Tôko Miura - <i>Drive My Car</i></span></li><li><span style="font-size: medium;">Tig Notaro - <i>Army of the Dead</i></span></li><li><span style="font-size: medium;">Vanessa Kirby - <i>The World To Come</i></span></li><li><span style="font-size: medium;">Léa Seydoux - <i>The French Dispatch</i></span></li><li><span style="font-size: medium;">Molly Gordon - <i>Shiva Baby</i></span></li><li><span style="font-size: medium;">Ariana DeBose & Rita Moreno - <i>West Side Story</i></span></li><li><span style="font-size: medium;">Charlotte Rampling - <i>Benedetta/Dune</i></span></li><li><span style="font-size: medium;">Ale Ulman - <i>El Planeta</i></span></li><li><span style="font-size: medium;">Joan Allen & Jennifer Jason Leigh - <i>Lisey’s Story</i></span></li><li><span style="font-size: medium;">Kirsten Dunst - <i>The</i> <i>Power of the Dog</i></span></li><li><span style="font-size: medium;">Helena Zengel - <i>News from the World</i></span></li><li><span style="font-size: medium;">Laura San Giacomo - <i>Violet</i></span></li><li><span style="font-size: medium;">Daniela Melchior <i>- The Suicide Squad</i></span></li><li><span style="font-size: medium;">Glenn Close<i> - Swan Song</i></span></li></ol></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">Favourite Performance by an Actor in a Supporting Role</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvHDZb0oVvHSp8zdwEblKygGz5lHfnCq3bhavH04zZyyLlnzMSggyO-LCRlw3TiSne3YAjM3UcqC7rub1R-Y9IV5jML11nk8DFFuJd_6q39ux2uLg0gKfdcgUq__1ZPPNEbVLQscjP_f5JdrO6JJ52uAfsDS4iFHvtA23DEqhqD1bLtl7495c7vWBP=s711" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="415" data-original-width="711" height="374" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvHDZb0oVvHSp8zdwEblKygGz5lHfnCq3bhavH04zZyyLlnzMSggyO-LCRlw3TiSne3YAjM3UcqC7rub1R-Y9IV5jML11nk8DFFuJd_6q39ux2uLg0gKfdcgUq__1ZPPNEbVLQscjP_f5JdrO6JJ52uAfsDS4iFHvtA23DEqhqD1bLtl7495c7vWBP=w640-h374" width="640" /></span></a></div><div style="text-align: left;"><ol style="text-align: left;"><li><span style="font-size: medium;">Simon Helberg - <i>Annette</i></span></li><li><span style="font-size: medium;">Mike Faist & David Alvarez<i> - West Side Story</i></span></li><li><span style="font-size: medium;">Brendan Frasier - <i>No Sudden Move</i></span></li><li><span style="font-size: medium;">Colman Domingo & Nicholas Braun - <i>Zola</i></span></li><li><span style="font-size: medium;">Jesse Plemons - <i>Jungle Cruise / Power of the Dog</i></span></li><li><span style="font-size: medium;">Simon Russell Beale - <i>Benediction</i></span></li><li><span style="font-size: medium;">Richard Brake - <i>Bingo Hell</i></span></li><li><span style="font-size: medium;">Jeffrey Wright & Benicio Del Toro - <i>The French Dispatch</i></span></li><li><span style="font-size: medium;">Bill Moseley - <i>Prisoners of the Ghost Land</i></span></li><li><span style="font-size: medium;">Ryder Allen - <i>Palmer</i></span></li><li><span style="font-size: medium;">Bradley Cooper - <i>Licorice Pizza</i></span></li><li><span style="font-size: medium;">Richard Ayoade - <i>The Souvenir: Part 2</i></span></li><li><span style="font-size: medium;">Josh Hartnett & Holt McCallany - <i>Wrath of Man</i></span></li><li><span style="font-size: medium;">Mathieu Amalric - <i>Oxygen</i></span></li><li><span style="font-size: medium;">Udo Kier - <i>Skinwalker</i></span></li><li><span style="font-size: medium;">Dan Lippert - <i>Paranormal Activity:</i> <i>Next of Kin</i></span></li><li><span style="font-size: medium;">John Magaro, Ray Liotta, & Corey Stoll - <i>The</i> <i>Many Saints of Newark</i></span></li><li><span style="font-size: medium;">Bertie Carvel, Brian Thompson, and Alex Hassell - <i>The Tragedy of Macbeth</i></span></li><li><span style="font-size: medium;">Delroy Lindo - <i>The Harder They Fall</i></span></li><li><span style="font-size: medium;">Javier Bardem<i> - Dune</i></span></li></ol></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">Favourite Performance by an Actor in a Leading Role</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhNz8hLE_0GT2ikaHYEW-Tmy6TOY7mdvyabclVvaR7O-CL9SHqjLBj6sAmuG7hVOChYL185TnLJ6AsgE96nL8Ml_84IZkOYsLSBXFrZ6qXm5Tpf3Tekh_HThqN17FHGRvr86xZhnLOiXYdNQwgNf_HI8qUi1EJbuCPeB9Lh0XUR_MNtJ11Y-7IQioCM=s2560" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1706" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEhNz8hLE_0GT2ikaHYEW-Tmy6TOY7mdvyabclVvaR7O-CL9SHqjLBj6sAmuG7hVOChYL185TnLJ6AsgE96nL8Ml_84IZkOYsLSBXFrZ6qXm5Tpf3Tekh_HThqN17FHGRvr86xZhnLOiXYdNQwgNf_HI8qUi1EJbuCPeB9Lh0XUR_MNtJ11Y-7IQioCM=w640-h426" width="640" /></span></a></div><div style="text-align: left;"><ol style="text-align: left;"><li><span style="font-size: medium;">Nicolas Cage - <i>Pig / Prisoners of the Ghost Land / Willy’s Wonderland </i></span></li><li><span style="font-size: medium;">Scott Adkins - <i>One Shot</i></span></li><li><span style="font-size: medium;">Larry Fessenden - <i>Jakob’s Wife</i></span></li><li><span style="font-size: medium;">Dario Argento - <i>Vortex</i></span></li><li><span style="font-size: medium;">Benicio Del Toro & Don Cheadle - <i>No Sudden Move</i></span></li><li><span style="font-size: medium;">Oscar Isaac - <i>The Card Counter</i></span></li><li><span style="font-size: medium;">Cooper Hoffman - <i>Licorice Pizza</i></span></li><li><span style="font-size: medium;">Joaquin Phoenix & Woody Norman - <i>C’mon C’mon</i></span></li><li><span style="font-size: medium;">Jack O’Connell - <i>The North Water</i></span></li><li><span style="font-size: medium;">André Holland - <i>Passing</i></span></li><li><span style="font-size: medium;">Jack Lowden - <i>Benediction</i></span></li><li><span style="font-size: medium;">Michael Greyeyes<i> - Wild Indian</i></span></li><li><span style="font-size: medium;">Jonathan Majors<i> </i>- <i>The Harder They Fall</i></span></li><li><span style="font-size: medium;">Ronnie Gene Blevins - <i>Feral State</i></span></li><li><span style="font-size: medium;">Clint Eastwood - <i>Cry Macho</i></span></li><li><span style="font-size: medium;">Mahershala Ali<i> - Swan Song</i></span></li><li><span style="font-size: medium;">Denzel Washington - <i>The Tragedy of Macbeth</i></span></li><li><span style="font-size: medium;">Leandro Taub<i> - Externo</i></span></li><li><span style="font-size: medium;">Daniel Kaluuya & Lakeith Stanfield - <i>Judas & The Black Messiah</i></span></li><li><span style="font-size: medium;">Pablo Schreiber - <i>Lorelei </i></span></li></ol><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Favourite Ensemble Cast</span></div><div><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhAF7OlwlaMYqGMGpSlX1UxdvITWWEvKgNWmZ-bokWZDRG8560ZjNMCh8JsWBAfhbLaqkpascEmi3NJW-47vJXX9ne0IjXSx7vA0e4-uVifaGS7yK2M0s3ehWSInV5cG8s1lZ4ZQeGMp0-X6wCj5jAZGt6uVJXsxEfFIqMgxEWZvj-wW2kbUogM4TqK=s2560" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1571" data-original-width="2560" height="392" src="https://blogger.googleusercontent.com/img/a/AVvXsEhAF7OlwlaMYqGMGpSlX1UxdvITWWEvKgNWmZ-bokWZDRG8560ZjNMCh8JsWBAfhbLaqkpascEmi3NJW-47vJXX9ne0IjXSx7vA0e4-uVifaGS7yK2M0s3ehWSInV5cG8s1lZ4ZQeGMp0-X6wCj5jAZGt6uVJXsxEfFIqMgxEWZvj-wW2kbUogM4TqK=w640-h392" width="640" /></a><br /></span><ol><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">Wrath of Man</span></li><li><span style="font-size: medium;">Hit the Road</span></li><li><span style="font-size: medium;">Procession </span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)</span></li><li><span style="font-size: medium;">Shiva Baby</span></li><li><span style="font-size: medium;">Licorice Pizza</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">El Planeta</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">VHS/94</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">Benedetta</span></li><li><span style="font-size: medium;">Unclenching the Fists</span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">Many Saints of Newark</span></li><li><span style="font-size: medium;">The Last Thing Mary Saw</span></li><li><span style="font-size: medium;">29 Needles</span></li></ol></div></div></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">Achievement in Cinematography </span></div><div style="text-align: left;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEivy1gTTb22nP_HkQ2K02TtR5IHgBWxwEzBncxRWynYYY6wr6qp8Rdx7dTyJkDN-s4jA09OIeDODT8nqFcTw8QXogaAAhSQ43vfMo5NPTwkDH69mjzyO7LOGqaSbmNO5aql12rNJWOiwiEpWzIiXHP8CaFx0vhovlF1iv17vX-_g-snHeCRFExZDfQp=s1920" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEivy1gTTb22nP_HkQ2K02TtR5IHgBWxwEzBncxRWynYYY6wr6qp8Rdx7dTyJkDN-s4jA09OIeDODT8nqFcTw8QXogaAAhSQ43vfMo5NPTwkDH69mjzyO7LOGqaSbmNO5aql12rNJWOiwiEpWzIiXHP8CaFx0vhovlF1iv17vX-_g-snHeCRFExZDfQp=w640-h360" width="640" /></a><br /></span><ol style="text-align: left;"><li><span style="font-size: medium;">West Side Story </span></li><li><span style="font-size: medium;">Old</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">Faya Dayi</span></li><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">Licorice Pizza</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">Il Buco</span></li><li><span style="font-size: medium;">The Card Counter</span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">Wrath of Man</span></li><li><span style="font-size: medium;">The Last Thing Mary Saw</span></li><li><span style="font-size: medium;">VHS/94</span></li><li><span style="font-size: medium;">Resident Evil: Welcome to Raccoon City</span></li><li><span style="font-size: medium;">Unclenching the Fists</span></li><li><span style="font-size: medium;">The Novice</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">Candyman</span></li><li><span style="font-size: medium;">The American Sector</span></li><li><span style="font-size: medium;">Bad Luck Banging or Loony Porn</span></li><li><span style="font-size: medium;">The Souvenir: Part 2</span></li><li><span style="font-size: medium;">Antlers</span></li><li><span style="font-size: medium;">C'mon C'mon</span></li><li><span style="font-size: medium;">Rifkin’s Festival</span></li></ol></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span><span style="font-size: x-large;">Favourite Musical Score</span></div><div style="text-align: left;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEht4HJ6az0uuLCAH2YZ4hyfpLPz5aSf4UX6vrFpY7CVQxtxUCmtkIYCzwdPtViofaiZBQR2-W_l7AUllCX4P-2QBTaLV1IeiEXu5S9ustsspBHVKQGzAptg3-XMKmcIAuXtfGl9VBl2-V1s1P0qc7FCPwCkzVNNfiFsAo8EWE1eTmE5p3eXvE9oQljC=s1280" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEht4HJ6az0uuLCAH2YZ4hyfpLPz5aSf4UX6vrFpY7CVQxtxUCmtkIYCzwdPtViofaiZBQR2-W_l7AUllCX4P-2QBTaLV1IeiEXu5S9ustsspBHVKQGzAptg3-XMKmcIAuXtfGl9VBl2-V1s1P0qc7FCPwCkzVNNfiFsAo8EWE1eTmE5p3eXvE9oQljC=w640-h360" width="640" /></a><br /></span><ol style="text-align: left;"><li><span style="font-size: medium;">29 Needles</span></li><li><span style="font-size: medium;">Wrath of Man</span></li><li><span style="font-size: medium;">The world to Come</span></li><li><span style="font-size: medium;">Old</span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">Resident Evil: Welcome to Raccoon City</span></li><li><span style="font-size: medium;">Licorice Pizza</span></li><li><span style="font-size: medium;">John and the Hole </span></li><li><span style="font-size: medium;">Power of the Dog</span></li><li><span style="font-size: medium;">The Matrix: Resurrections</span></li></ol></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">Achievement in Production Design</span></div><div style="text-align: left;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjyN_LuJJxhTrFZtUS2qJafQn6UnzGmJqm0boTF-6cZDXfx_8o9UGCpBCMuqIb6W3erRxh8uX6alyAaNJ3-_vOTSqWDTA6I47aW-8YwDD2GZdwz3DIRuL4aoNtHAy96sKd1VbMa6Ttb2w4d4T-qT1jU3it2L5zfnRNHYTyN5--o-CTHiK8VxinQuq8B=s3012" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="2203" data-original-width="3012" height="468" src="https://blogger.googleusercontent.com/img/a/AVvXsEjyN_LuJJxhTrFZtUS2qJafQn6UnzGmJqm0boTF-6cZDXfx_8o9UGCpBCMuqIb6W3erRxh8uX6alyAaNJ3-_vOTSqWDTA6I47aW-8YwDD2GZdwz3DIRuL4aoNtHAy96sKd1VbMa6Ttb2w4d4T-qT1jU3it2L5zfnRNHYTyN5--o-CTHiK8VxinQuq8B=w640-h468" width="640" /></a><br /></span><ol style="text-align: left;"><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">West Side Story </span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">Bad Luck Banging or Loony Porn</span></li><li><span style="font-size: medium;">Wrath of Man</span></li><li><span style="font-size: medium;">The North Water</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">The Last Thing Mary Saw</span></li><li><span style="font-size: medium;">Petite Maman</span></li><li><span style="font-size: medium;">Old</span></li><li><span style="font-size: medium;">VHS/94</span></li><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">Eight for Silver</span></li><li><span style="font-size: medium;">Mad God</span></li><li><span style="font-size: medium;">Licorice Pizza</span></li><li><span style="font-size: medium;">Unclenching the Fists</span></li><li><span style="font-size: medium;">Benedetta</span></li></ol><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">Achievement in Costume Design</span></div><div style="text-align: left;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg6bcOYEXNbabZfZ6ipe9GXvOgdpdjdgqiY-FqDq-DtK6sGBl4vjvjv52cnAnF4GKSR0z3TSYtzO7xnAgLwb4PsvRFwzRxWbvj7P2si1Xn7-bfeWtxAAyF3oONclZJaC4rFeh9vWy9HitSefMjQiftC5gz4zA2S_8_4qcYqhWoOdoCiV-RBQB2N-DnR=s681" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="383" data-original-width="681" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEg6bcOYEXNbabZfZ6ipe9GXvOgdpdjdgqiY-FqDq-DtK6sGBl4vjvjv52cnAnF4GKSR0z3TSYtzO7xnAgLwb4PsvRFwzRxWbvj7P2si1Xn7-bfeWtxAAyF3oONclZJaC4rFeh9vWy9HitSefMjQiftC5gz4zA2S_8_4qcYqhWoOdoCiV-RBQB2N-DnR=w640-h360" width="640" /></a><br /></span><ol style="text-align: left;"><li><span style="font-size: medium;">West Side Story </span></li><li><span style="font-size: medium;">Eight for Silver</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">The Power of the Dog </span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">Space Sweepers</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">Benedetta</span></li><li><span style="font-size: medium;">Passing</span></li><li><span style="font-size: medium;">The World To Come</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">The Last Thing Mary Saw</span></li><li><span style="font-size: medium;">The Souvenir: Part 2</span></li></ol></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-size: x-large;">Achievement in Art Direction</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjIvRJ65zfMDE2Pio77oiOaalfLrROuXQhvRQgREFxkKQPnRJtGmZV7uM6csyRiTeM6yI5JJnpp75tTuPd1LAj2MndcnoLrPIVZLL6IjfGezxlY6syRtsI7y8uVhWkXNMp7gJY-tytknCj43ejxyB-h-vU-al6gQtGhhAoqBm8NpZ5nWdGJJ8I4hWev=s582" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="327" data-original-width="582" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEjIvRJ65zfMDE2Pio77oiOaalfLrROuXQhvRQgREFxkKQPnRJtGmZV7uM6csyRiTeM6yI5JJnpp75tTuPd1LAj2MndcnoLrPIVZLL6IjfGezxlY6syRtsI7y8uVhWkXNMp7gJY-tytknCj43ejxyB-h-vU-al6gQtGhhAoqBm8NpZ5nWdGJJ8I4hWev=w640-h360" width="640" /></span></a></div><div style="text-align: left;"><ol style="text-align: left;"><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">West Side Story </span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">Kandisha</span></li><li><span style="font-size: medium;">Benediction</span></li><li><span style="font-size: medium;">VHS/94</span></li><li><span style="font-size: medium;">The North Water</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">The Power of the Dog </span></li><li><span style="font-size: medium;">Belle</span></li><li><span style="font-size: medium;">Benedetta</span></li><li><span style="font-size: medium;">Parallel Mothers</span></li><li><span style="font-size: medium;">Mad God</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">Old</span></li><li><span style="font-size: medium;">The Last Thing Mary Saw</span></li><li><span style="font-size: medium;">Annette</span></li><li><span style="font-size: medium;">The Souvenir: Part 2</span></li><li><span style="font-size: medium;">Eight for Silver</span></li><li><span style="font-size: medium;">Oxygen</span></li></ol></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;">Achievement in Film Editing</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiPoN9DCNjyFq7c-q7uUYI7uUXYUTCkTxXtDyUzVN8DKcum04KtFELclK1ckp_FbrElNDPvy7j6c_qtWcAq26YUuvlbnTRWJTPyLBd0OCnGPFCrwXwyi6_mUwLtFpRBaWtk0s_KpjgJkoYvjuIf2zhEzzeXz84UM_wcxqk6EyEQgRD0-Ymd0hZ5K7D1=s2000" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1000" data-original-width="2000" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiPoN9DCNjyFq7c-q7uUYI7uUXYUTCkTxXtDyUzVN8DKcum04KtFELclK1ckp_FbrElNDPvy7j6c_qtWcAq26YUuvlbnTRWJTPyLBd0OCnGPFCrwXwyi6_mUwLtFpRBaWtk0s_KpjgJkoYvjuIf2zhEzzeXz84UM_wcxqk6EyEQgRD0-Ymd0hZ5K7D1=w640-h320" width="640" /></span></a></div><div style="text-align: left;"><ol style="text-align: left;"><li><span style="font-size: medium;">West Side Story</span></li><li><span style="font-size: medium;">The French Dispatch</span></li><li><span style="font-size: medium;">The Novice</span></li><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">Oxygen</span></li><li><span style="font-size: medium;">Faya Dayi</span></li><li><span style="font-size: medium;">Benedetta</span></li><li><span style="font-size: medium;">Benediction </span></li><li><span style="font-size: medium;">A Weave of Light</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">No Sudden Move</span></li><li><span style="font-size: medium;">Mad God</span></li><li><span style="font-size: medium;">Old</span></li><li><span style="font-size: medium;">The Night House</span></li><li><span style="font-size: medium;">Bad Luck Banging or Loony Porn</span></li><li><span style="font-size: medium;">Jungle Cruise</span></li><li><span style="font-size: medium;">Sator</span></li><li><span style="font-size: medium;">The Card Counter</span></li><li><span style="font-size: medium;">The Souvenir: Part 2</span></li><li><span style="font-size: medium;">In the Earth</span></li><li><span style="font-size: medium;">The Worst Person in the World</span></li><li><span style="font-size: medium;">A Glitch in the Matrix</span></li><li><span style="font-size: medium;">All Light, Everywhere</span></li><li><span style="font-size: medium;">Velvet Underground </span></li><li><span style="font-size: medium;">Get Back</span></li></ol><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Achievement in Sound Design</span></div><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgtQy90X85EDHSTXL8o--Wq9qLF5BzUjXGApe47CWhNS9jhO8epWhPlp5q3oJe-yehihmKWn-QbiQJyEFxRSYHfPiYxsirNxSKmm4YsVl9TD-jhJoSdGr_juGTDVQDGneHKtxpbnTct2tdgFUTfTfvDXId0O14Mz2jTFv8fCwdRW9oIjGcMyzVZkO3n=s1600" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: medium;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/a/AVvXsEgtQy90X85EDHSTXL8o--Wq9qLF5BzUjXGApe47CWhNS9jhO8epWhPlp5q3oJe-yehihmKWn-QbiQJyEFxRSYHfPiYxsirNxSKmm4YsVl9TD-jhJoSdGr_juGTDVQDGneHKtxpbnTct2tdgFUTfTfvDXId0O14Mz2jTFv8fCwdRW9oIjGcMyzVZkO3n=w640-h480" width="640" /></span></a></div><div><ol style="text-align: left;"><li><span style="font-size: medium;">West Side Story</span></li><li><span style="font-size: medium;">The Matrix: Resurrections</span></li><li><span style="font-size: medium;">Mad God</span></li><li><span style="font-size: medium;">In The Earth</span></li><li><span style="font-size: medium;">The Novice</span></li><li><span style="font-size: medium;">Antlers</span></li><li><span style="font-size: medium;">The Last Duel</span></li><li><span style="font-size: medium;">Faya Dayi</span></li><li><span style="font-size: medium;">Oxygen</span></li><li><span style="font-size: medium;">The Souvenir: Part 2</span></li></ol></div></div>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-30103075261427065422022-01-06T02:18:00.001-05:002022-01-06T02:28:10.334-05:003 on Licorice Pizza<p style="margin-bottom: 0.25em; margin-top: 0.25em; text-align: justify; text-indent: 1em;">Three writers offer their thoughts on Paul Thomas Anderson's newest film <i>Licorice Pizza. </i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0cDLQtuqznnxRGD8pShvsXeTKMk48a_3XdLg5dJtMfGLh_jVL60U3usxdrRlIZZGCLM7No5gDIpr5ojewYqobb5JY0MucNCL7rYuYHtbUEZ-rE_M8IMLCQBFeBraVo9DOFcXxvIe-mE/s780/intro-1636309762.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="780" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0cDLQtuqznnxRGD8pShvsXeTKMk48a_3XdLg5dJtMfGLh_jVL60U3usxdrRlIZZGCLM7No5gDIpr5ojewYqobb5JY0MucNCL7rYuYHtbUEZ-rE_M8IMLCQBFeBraVo9DOFcXxvIe-mE/w640-h360/intro-1636309762.jpeg" width="640" /></a></div><span style="font-size: x-large;">Scout Tafoya</span><p></p><p><span style="font-size: medium;"><span>Is it enough for a film to be joyous? Does that forgive its odd shape and amoral longings? So much of the broad project of the popular American cinema seems to depress a person, whether through unimaginative militarism or dour rumination on the human condition thrice filtered through generic idioms so shopworn that to look through them is like wearing antique glasses. But to see something clear-eyed in its nostalgia for bad times <i>and honest...</i> that I'd venture approaches uniqueness. Licorice Pizza is a happily grotesque joy ride through scarcity that feels like excess. In dingy carpeted rooms lit by cigars and ugly orange halogens pouring through liquor, a ruddy dreamer with his father's gorgeous, quaking sincerity, tries to wave his hands and create the world. His burlesque of chintzy capitalist adulthood is laundered by the girl next door who should have become something by now, but her constant drifting back into the young man's orbit says she knows she hasn't and wasn't ever going to "make it." The girl </span><span>who can,</span><span> </span><span>per Joyce, enjoy invisibility, but doesn't want it. A yellowing yearbook filled with signatures from Clint Eastwood, Alan Rudolph, Peter Bogdanovich, and Robert Altman. Life is short, everyone is out for themselves, have a great summer. We need joy more than we need answers. There's so little of it to go around. </span></span></p><p><span style="font-size: x-large;">Tucker Johnson</span></p><p><span style="font-size: medium;"><i>Licorice Pizza</i> occupies two separate spaces for me. The first is the experience of a young man falling for an older woman. People want to make a big deal of the ages of the two characters but I think the picture is best painted <i>with</i> the serious gap between them. Alana isn’t just another girl at school that Gary develops a crush on. She’s foreign to his world. She’s exotic to him. As a former 15 year old that idea is incredible. The politics and drama of school are removed. Friends and peers can’t judge Gary or speak against Alana because they don’t know her. It’s why summer camp romances happen. No one has a history or elevated stake in what’s going on. It’s a story beat that illustrates beautifully the freedom of being 15. Love doesn’t come with too many strings at that age and the insanity of so much of what these two get up to together works to back that up.</span></p><p><span style="font-size: medium;">The second space this film lives in for me is the idea that happiness is exactly what people need it to be. Despite all the time Gary and Alana spend trying to make it, legally or otherwise, the film’s end really just reminds us that even if a particular status, job, relationship, etc is viewed positively by those around you and a relationship is not, that doesn’t confirm one is better than the other. Gary and Alana really are good for one another. They disagree but that’s about as serious as it gets between them. To your point, Scout, their caring for each other <i>is</i> joyous. They are both kind of able to extend that feeling of a summer romance for much longer than the season would allow. Being able to resist having to grow up with your favorite person by your side? What could be better?</span></p><p><span style="font-size: x-large;">Sean Van Deuren</span></p><p><span style="font-size: medium;">One could make the case that every Paul Thomas Anderson film is at heart a romantic comedy. His films thrive on the kinetic energy and mad sparks that fly when two unlikely characters begin a chaotic love affair, even if their love is less romantic than symbiotic. Whether it’s Lancaster Dodd and Freddie Quell in <i>The Master</i>, Doc and Bigfoot in <i>Inherent Vice</i>, Alma and Reynolds in <i>Phantom Thread</i>, it makes no difference what the surface level genre or plot is because, in the end, the real engine inside each of these stories is what happens when two opposites meet in harmony. It’s fitting then that whenever Anderson goes into full romantic comedy mode, as in <i>Punch-Drunk Love</i> and most recently in the wonderful <i>Licorice Pizza</i>, we seem to get a filmmaker working at full capacity in a cinematic language that is unmistakably and wholly his own. Is it enough for a film to be joyous? I certainly hope so. But even so Licorice Pizza has complexity, nuance, absurdity, longing, and strangeness to add to the mix. It’s <i>Amarcord</i> a la Altman and Saturday Night Live — except any comparisons don’t really do justice to the truly dazzling and dizzying experience of watching what is possibly the most himself Paul Thomas Anderson has ever allowed one of his films to be. There’s a looseness within the control of each scene that can only be described as masterful. <i>Licorice Pizza</i> is a joy, yes, but it’s also an audacious, oddball spectacle of two lost people living in a lost era who manage somehow to discover themselves temporarily through each other. </span><span style="text-align: justify; text-indent: 1em;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhP0rvdghr8CtPc81OxNrqc-trl0dEQS5eT55XDLtQAI3lfuKJcgfb7HnhYrIXoDPKttpljSMjapkBxEe6QP6QkjnD_oXwDP_E1wLuqXnlJXzVTlB9C6_Dmg8qkbe6tc2VPuiM_vB0gpBxYW_lp32mLIC9h08sHb5TpeRdBA5jdnJdCIwOPpt_dFA78=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1500" height="366" src="https://blogger.googleusercontent.com/img/a/AVvXsEhP0rvdghr8CtPc81OxNrqc-trl0dEQS5eT55XDLtQAI3lfuKJcgfb7HnhYrIXoDPKttpljSMjapkBxEe6QP6QkjnD_oXwDP_E1wLuqXnlJXzVTlB9C6_Dmg8qkbe6tc2VPuiM_vB0gpBxYW_lp32mLIC9h08sHb5TpeRdBA5jdnJdCIwOPpt_dFA78=w640-h366" width="640" /></a></div><p></p><p><span style="font-size: x-large; text-align: justify; text-indent: 1em;">Scout Tafoya</span></p><p><span style="font-size: medium;"><span style="text-align: justify; text-indent: 16px;">I find myself thinking more and more of Luchino Visconti, the cinematic heir to Thomas Mann, when thinking of Paul Thomas Anderson. Visconti showed us the world at first, but then he created the world anew, a place of degenerate values and infernal longings. The impossible made not just possible but sweaty and pulsing, something you could reach out and touch if you dared. Anderson seemed to be deliberately reaching into Visconti's world when he made <i>Phantom Thread</i>, what with its tyrannical fashion</span><span style="text-align: justify; text-indent: 16px;"> designer hero and New Year's detour on a magic mountain. Visconti's heroes are so frequently like Anderson's. Doomed aristocrats and lost deck hands-cum-street urchins, kings in their own mind and kings trapped by real crowns. Anderson has little trouble reveling in their twisted fates in lovingly appointed apartments and ballrooms but he seems most at home on the streets. Tracking around California's sun kissed sidewalks with upstart entrepreneurs solving the mysteries of the universe. </span><i style="text-align: justify; text-indent: 16px;">Inherent Vice</i><span style="text-align: justify; text-indent: 16px;">, </span><i style="text-align: justify; text-indent: 16px;">Punch-Drunk Love </i><span style="text-align: justify; text-indent: 16px;">and now </span><i style="text-align: justify; text-indent: 16px;">Licorice Pizza</i><span style="text-align: justify; text-indent: 16px;"> show what happens, what the world becomes, when you've got an idea and you're in love. Sean as you say it's about people finding themselves through each other, magnificently put, but it's about people giving each other permission to make the world in their own image. Just as rogue producer Jon Peters (in perhaps the greatest group of scenes in this unstoppably delightful collection of scenes) and councilman Joel Wachs are trying to turn the valley into what they wish it to be, Alana and Gary want to shape it to, but to their liking to fit their dreams. Alana wants to know that wherever she wants to drive the road will accommodate her. Gary wants to know that whatever happens next he's the first one to take advantage of it, the king of a plastic empire of fad merchandise and neon signs. Joyce again: "Phantasmal mirth, folded away: muskperfumed. And no more turn aside and brood. Folded away in the memory of nature with her toys. Memories beset his brooding brain. Her glass of water from the kitchen tap when she had approached the sacrament. A cored apple, filled with brown sugar, roasting for her at the hob on a dark autumn evening." It's all in Anderson's memory, the bad men and worse history, but for him and for his heroes it was home. And now it can be ours for a few hours as history collapses in on itself in the now.</span></span></p><p><span style="font-size: x-large;">Tucker Johnson</span></p><p><span style="font-size: medium;">I think all three of us have joked before about how in a perfect world, despite our varying opinions on his first three films, PTA’s career should just have started with <i>Punch-Drunk Love</i>. Other than maybe getting Adam Sandler to be in your first film the idea of a 90 minute, odds and ends film like PDL seems like the rebirth of PTA. It’s insane that even in 2022, </span><i style="font-size: large;">Punch-Drunk Love</i><span style="font-size: medium;"> still sits at more or less the halfway point of his output.</span></p><p><span style="font-size: medium;">I think, though, looking at <i>Licorice Pizza</i> with a little distance it feels to me like <i>Boogie Nights</i> by way of the current PTA. Both films consist of a lot of the same types of scene. The time period of course but also the hustle, whether that be in the form of porn, selling stereos, selling waterbeds, making action films (more porn), etc. Both films move pretty freely from sequence to sequence, scene to scene, but <i>Licorice Pizza</i> just does so with 20 years more experience. Not every moment needs to be the be-all end-all. Life is just life. Things happen or they don’t and we move on regardless.</span></p><p><span style="font-size: medium;">I think <i>Boogie Nights</i> and <i>Licorice Pizza</i> are companion works in their characters as well. Gary and Dirk feel like stand-ins for one another. Both young gifted men who make the best of their abilities to be successful outside of what society hopes for or expects of them. The same is true I think of Alana and Amber (Julianne Moore). They both work in the same chosen fields as the men in their lives but are judged or treated far more poorly because of it than the guys. Both also become de-facto mothers for all of the men surrounding them. I think it falls again to PTA having had 20 years to mature on how he tells a story to put Alana at the forefront of getting herself out of trouble rather than repeatedly succumbing to the freedom and excess that her chosen world and the men in it allow her.</span></p><p><span style="font-size: x-large;">Sean Van Deuren</span></p><p><span style="font-size: medium;">That's such an interesting point, Tucker, about PTA maturing and putting the character of Alana getting herself out of trouble at the forefront. It raises an interesting question: who exactly is the film's protagonist? It's mostly described as a dual coming-of-age tale, but can we say that's really true? Yes, Gary is a lead, but his character arc is static compared to Alana's. We never see the same kind of quiet moments of reflection for Gary, for instance, that we witness Alana having. The most significant and meaningful example of this being the potentially life-threatening incident where she drives a truck without gas backwards down a hill at night to escape Bradly Cooper's wild rendition of Jon Peters (Gary is present, but remains typically unphased). Afterward, however, we see Alana sitting alone on the sidewalk curb with a look that says she's thinking through every life decision she's ever made — one of the film's quieter and more poignant moments. Rather than a shared coming-of-age tale, this seems to be Alana's story in the same way that <i>Phantom Thread</i> was Alma's story and <i>The Master</i> was Freddie's story. These are the characters facing struggles and changing over the course of the narrative. Of course, to call Alana the sole protagonist might be a stretch, too. After all, <i>Licorice Pizza</i> is not exactly playing by any conventional narrative rules. In that sense, perhaps the better question to ask is not who is the protagonist but rather is there a protagonist at all? Or has PTA instead made a film playing to a different beat entirely? Given the joyfully uneven pacing, focus on scene-stealing side characters, soundtrack bursting with songs often played till their entire length, and the overall lovingly crafted world-building, is it possible the true protagonist of <i>Licorice Pizza</i> is actually the sense of time and place, San Fernando valley in the 70s, itself? It seems at every corner, the setting is interrupting the narrative — saying: look at me — and constantly reminding us that the time we're living in can sneak up on you and interrupt your own story, like the police randomly whisking Gary away from selling waterbeds for mistaken murder chargers or a drunken old time film director (Tom Waits) commanding everyone in a restaurant to put their steaks aside to watch Sean Penn's version of William Holden perform a motorcycle stunt outside or the surprise of a cherry bomb going off in a bathroom stall as high school boys are trying to comb their hair for picture day. This feeling of being alive at a particular time and place keeps taking over and changing things up, like the needle on a record player pushing forward and switching to the next song and then the next song. And though all these period details are crucial, the film ultimately transcends the boundaries of the historical. It's not merely reminding you how it felt to be alive in the early 70s, but how it feels to be alive in general. The cumulative effect of all these scenes washing over you is a feeling of buoyancy and a sense of wonder at the strangeness and the surprise of being alive, as if the film is giving us the same advice Gary tells Alana as prep before a completely madcap casting interview: whatever's asked of us, just say yes. </span></p>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-61299360005209365552021-01-05T13:18:00.012-05:002021-03-17T15:04:57.921-04:00My Favourite Films of 2020<span style="font-size: large;">1. last night I dreamt that somebody loved me / A letter to adolescence / The Tale of Eurydice<br />by Haaniyah Angus<br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIL009inIcqvCDSwAaOYsuhUasjlhf7xRwzFOzVFYNZaoBQyTFhEZl88UnErgDxQLVTT-f_BrBb2jkUtXWjWsiZ-Bg31pW-kYILcCGhtOxbA3VBWzlOT93tc3a91JOlZ8gtMhkgAKr94/s1280/959259003_1280x720.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIL009inIcqvCDSwAaOYsuhUasjlhf7xRwzFOzVFYNZaoBQyTFhEZl88UnErgDxQLVTT-f_BrBb2jkUtXWjWsiZ-Bg31pW-kYILcCGhtOxbA3VBWzlOT93tc3a91JOlZ8gtMhkgAKr94/w640-h360/959259003_1280x720.jpg" width="640" /></span></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;">The most exciting new voice in film lays out <a href="https://letterboxd.com/honorszombie/film/the-tale-of-eurydice/">a perfect hand</a> of short form work and waits for us to blink. I was stuck to the screen watching these, pint-sized rhapsodies for not just lost happiness but depth of feeling. It isn't that Angus misses feeling good, it's that she knows that feeling anything this much is itself the terrible privilege of being human. And no artist made me happier to be human this year. </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br />2. About Endlessness<br />by Roy Andersson</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVvLDFiFWj8NlVD5eeAja-DmOo_QsUSrMI7XzT-ffhS7ABL1m27GpYwLt1qCOesh1J-CjZH59jHKoxrb2x6Pc69Z0Ph0wiswEYjFcfBxnD3MjTXrQHL5hglzLfWJJlZHZFJiB3eDcO8Po/s1152/about-endlessness-4+%25281%2529.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="648" data-original-width="1152" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVvLDFiFWj8NlVD5eeAja-DmOo_QsUSrMI7XzT-ffhS7ABL1m27GpYwLt1qCOesh1J-CjZH59jHKoxrb2x6Pc69Z0Ph0wiswEYjFcfBxnD3MjTXrQHL5hglzLfWJJlZHZFJiB3eDcO8Po/w640-h360/about-endlessness-4+%25281%2529.png" width="640" /></span></a></div><div><span style="font-size: medium;">Every few years Roy Andersson seems to charm a series of paintings to come to life and each time there’s an unrepeatable effect on the mind. Sometimes it’s an ineffably warm despair, sometimes it’s a feeling of colliding with the infinite. Here it’s of a kind of gentle envelopment from an unknown force, as if time, the end of all things, is taking you by the hand and guiding you like of Dickens’ ghosts through the full spectrum of modern behavior, from true, deep love to random violence. This is it. This is what we wade through and this is what we will, for better or worse, will leave behind when we too become part of the endlessness. Andersson’s always slyly joked about the enormity of the universe (those gorgeous zero perspectives) but here he does seem to be sort of throwing his hands up at his own findings and his own impulse to investigate in the first place. Can we really and truly conceive of the vastness of time and space? Almost certainly not, but you know what? Who cares? There are people to hug in the now, right next to you. That matters.</span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">3. It Must Be Heaven</span></div><div><span style="font-size: large;">by Elia Suleiman</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf8cgdN1a-ec9YKzJnzmQRhMeFp7UJYvEVm3_I7wMTsOj4eLrR9kuQxFXx9dlW-wotBJTgIQN-ehMfURSllsZFxTrBsFoghOYZ8jr1pf42ZtXBjH-8awFZ8rT5BuoIuJrOpBcTgjCzcjw/s2000/20517969_web1_200214-SAA-C-Cinemaphile-Joanne-Sargent_1.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf8cgdN1a-ec9YKzJnzmQRhMeFp7UJYvEVm3_I7wMTsOj4eLrR9kuQxFXx9dlW-wotBJTgIQN-ehMfURSllsZFxTrBsFoghOYZ8jr1pf42ZtXBjH-8awFZ8rT5BuoIuJrOpBcTgjCzcjw/w640-h426/20517969_web1_200214-SAA-C-Cinemaphile-Joanne-Sargent_1.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Cut from the same cloth as Keaton and Chaplin, Elia Suleiman has long been the stone faced counter programmer of middle eastern cinema, a Palestinian looking for a home untouched by war and conflict and finding little but bad luck and crooked mirrors. Journeying with him has been among the most endearing pleasures of the modern cinema and to see him squeezing himself into an increasingly difficult to read and define 21st century makes for a hearty banquet indeed. There are effulgent sight gags, side-splitting edits, gorgeous visions of disobedience, and anchoring the piece as ever is Suleiman, looking downright debonair as a well-to-do world traveler. He’s still looking for a home, more aware than ever he might never find it (the world has grown no kinder to the plight of the Palestinian people in the years since his last film) but it is a genuine privilege to travel with him with no destination in mind.</span></span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">4. The Amusement Park / Hopper/Welles</span></div><div><span style="font-size: large;">by George A. Romero / Orson Welles</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaABj53d8eggotWRg57LxYiu_cFBSsipg_BV9-3OX3jRqCxjVuA_eA8Zn2ZWoZbMxJ5vhkfE8L3uLKZ-AIfBbRQOhji5GJ2SQ7d8U7bwgWru_HLjJQgQsFYTOokX8fuHjiJQFC1fG4W6E/s1500/amusement_park_indie_collect.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1000" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaABj53d8eggotWRg57LxYiu_cFBSsipg_BV9-3OX3jRqCxjVuA_eA8Zn2ZWoZbMxJ5vhkfE8L3uLKZ-AIfBbRQOhji5GJ2SQ7d8U7bwgWru_HLjJQgQsFYTOokX8fuHjiJQFC1fG4W6E/w640-h426/amusement_park_indie_collect.jpg" width="640" /></span></a></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;">They were destined to be <a href="https://www.rogerebert.com/reviews/the-amusement-park-2020">minor works</a> in the canons of their <a href="https://read.kinoscope.org/2020/10/02/youd-be-great-as-jesus-orson-welles-hopper-welles/">illustrious creators</a>, but in 2020, dredged up like sunken idols from the ocean floor, they're blinding beacons of beauty and horror, nearly radioactive in impact. One about what happens when society neglects the individual, the other about when it neglects the artist. The former is a carnival of horrors, minor indignities that erode the sense of self and the latter shows two men who should be on top of the world. It wasn't to be, Welles and Hopper both took their turn at the Amusement Park, and they were spat out just as indifferently. Romero himself died before his body of work, his mind, was given its due. Men pinioned to their first works and dropped off the side of the boat to struggle for money the rest of their lives. Hopper gave up trying to direct, maybe the only one of them who saw the writing on the wall (Hopper's <i>Out of the Blue</i> was also restored this year), and now we'll be piecing together what they did and what they meant for years. All of it is too late. </span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">5. Lovers Rock</span></div><div><span style="font-size: large;">by Steve Mcqueen</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpHvmIp9wnoJ4HW0Cz8qpJtzSD5HF7gNP2zwhkAkfsiNl_1SCCEyycMGlWXuvDfSIhdHyKzQEF1TPrNqZHof3vthyphenhyphenrDjaHqXtohUwJo1r4v_fyC3eUbvT7iTovYcdb1W6ZOukHddwlkk8/s2048/20112020_LoversRock03.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpHvmIp9wnoJ4HW0Cz8qpJtzSD5HF7gNP2zwhkAkfsiNl_1SCCEyycMGlWXuvDfSIhdHyKzQEF1TPrNqZHof3vthyphenhyphenrDjaHqXtohUwJo1r4v_fyC3eUbvT7iTovYcdb1W6ZOukHddwlkk8/w640-h426/20112020_LoversRock03.jpg" width="640" /></a><br /><span style="font-size: medium;">Steve McQueen's strengths I think have much to do with a kind of quest for the synesthetic. As a gallery artist he used cinematic ideas to make us consider time and proximity, to kind of make an audience be aware of the space between themselves and people and objects - the world and where we fit into it. As a director of fiction features, he's been attempting to place us inside new worlds through temperature and movement. The cold air on a bruised hand of a prison guard in Ireland, the rhythmic bouncing of two snitches flailing for their lives, the sweaty muscularity of participants in a lamplit orgy, that I think is what he does best. Placing you somewhere and making you <i>feel</i> that you're there, whether that means living your best life or dying slowly. <i><a href="https://vimeo.com/495916156">Lovers Rock</a> </i>not only possesses the strongest dose of this textural transportation, it's a movie that's little else except for the <i>you are there</i> feeling, and where McQueen finally gifted us transit to is the best cinematic party of this or possibly any year. The dramatic situational work of <i>Widows </i>and <i>12 Years A Slave</i> has been replaced with an intuitive certainty. It never matters what happens next because what's happening now - the slow grinding of the hips of dance partners, eager skin apparent under ample fabric, hands touching bodies, bodies gyrating as reggae, dub, and soul fills the air like the warm air and weed smoke - is just right. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">6. Tesla</span></div><div><span><span style="font-size: large;">by Michael Almereyda</span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIJlRvRwoHP8yoIyZkHzHRkCN3Nq2tOzCowm71cwui3upk0iR-XphUOvCTqdu6XHPvpm_I-f9wgyiiqMHlscwK39OCI-281vr6wsSM7J6qVJZ3Gu8WM883ucF8cktnX68mZLuIqmPY-a4/s2048/TESLAStill8.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1116" data-original-width="2048" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIJlRvRwoHP8yoIyZkHzHRkCN3Nq2tOzCowm71cwui3upk0iR-XphUOvCTqdu6XHPvpm_I-f9wgyiiqMHlscwK39OCI-281vr6wsSM7J6qVJZ3Gu8WM883ucF8cktnX68mZLuIqmPY-a4/w640-h348/TESLAStill8.jpg" width="640" /></a><br /><span style="font-size: medium;">A movie interested not in the achievements of its ostensible subject but rather how <a href="https://letterboxd.com/honorszombie/film/tesla-2020/">his mind worked</a>, and the places his life's work lead us thinking people. His legacy is not in the way we turn on the kitchen light, but rather how we are now able to investigate the unknowable world. Almereyda as usual imagines a place where we'll never truly be alone, no matter how desperately lonely we feel, because we have the history of the mind to keep us company. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">7. City Hall</span></div><div><span style="font-size: large;">by Frederick Wiseman</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzPcZaDYYCbekh5nNdqvr7fvC6mmjIfOTskrMtw3QIozV1f2SCgMCFI4V8TtDwWQBNZiPOCPsXiZq7elplDuezs89cldS9sOxX-wUr1v2orhqlX0a2miw0omDk_aZS9X-buM8TLeBYl3I/s740/cityhall04.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="416" data-original-width="740" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzPcZaDYYCbekh5nNdqvr7fvC6mmjIfOTskrMtw3QIozV1f2SCgMCFI4V8TtDwWQBNZiPOCPsXiZq7elplDuezs89cldS9sOxX-wUr1v2orhqlX0a2miw0omDk_aZS9X-buM8TLeBYl3I/w640-h360/cityhall04.jpg" width="640" /></a><br /><span style="font-size: medium;">Talk of the "Great American Novel" has been unavoidable in conversations about Frederick Wiseman's </span></span><span style="font-size: medium;"><i>City Hall, </i>a film defined by completeness of perspective and ambition. Here nearly every civil concern he's ever taken up for the length of a movie, to say nothing of the scope and interests of his city symphonies (and this is quietly one of his best), is given new life in a roving diary of Wiseman's own hometown of Boston. There's some beautiful Joycean character to this movie, which judges the progress of a city through its trash collectors, fiances, and public servants. There is similar a beautiful optimism inherent in the idea that Boston should be functioning properly by now, and for a place with such a storied history of racist violence it's doing better than I think anyone could have imagined. Wiseman checks in on this town's great experiment in working normally and finds a kind of herculean thrust toward normalcy beset on all sides by budgetary problems, men and women who've been brutally knocked down by life, and a cold, gray place that was once the first great city in America. It's something of a miracle that Boston has survived enough to do so well (and lord knows her worst people will keep holding her back), but at the same if any place was going to, it's this. Wiseman allows himself <i>just this much </i>belief in institutions for this, because he looks around and sees so many people <i>trying</i> and that looked like hope. </span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">8. Her Socialist Smile <br />by John Gianvito</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwlulwPhlXnmMukffplCGbwCllhY0zjq9JQhcz3iZMiRoo6na46z-Anw6UgG8IZrgIXNPEQSeev7oonSMf9CIWTLEsZ9vOqcnIx0hkRvEqd1vdrhUrWnlEGUTJQ4pVh3IpEsbYLgNbfpk/s300/download+%25282%2529.jpeg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="168" data-original-width="300" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwlulwPhlXnmMukffplCGbwCllhY0zjq9JQhcz3iZMiRoo6na46z-Anw6UgG8IZrgIXNPEQSeev7oonSMf9CIWTLEsZ9vOqcnIx0hkRvEqd1vdrhUrWnlEGUTJQ4pVh3IpEsbYLgNbfpk/w640-h358/download+%25282%2529.jpeg" width="640" /></a><br /><span style="font-size: medium;"><a href="https://www.rogerebert.com/festivals/nyff-2020-her-socialist-smile-plastic-house-tragic-jungle-undine">Gianvito the formalist</a> is known mostly for the quiet and focus with which he makes his points. This is his version of a punk song, but even still its power and anger sneaks up on you. Predictably it starts from a place of overwhelming empathy, trying to get us to imagine life with no sight or sound, before also then asking how <i>the rest of us</i> didn't come to the same conclusions she did: that everyone is equal truly, no matter how or where they were born. Shockingly effective and immediate work. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">9. Bad Trip<br />by Kitao Sakurai</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yMG1hU6xtNyVLF8hG3k-onK3I8swAqbddApsKZSRRW68qQMIBQl04Jkd6WSIBE3RGnpSwNtyX2TZeVnb_-Nl9TQ4qX71YtdsMQoJl7zBLnljReHU5hiwR0AVMxPZy9butQ5l5CN7OgE/s1000/bad-trip.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yMG1hU6xtNyVLF8hG3k-onK3I8swAqbddApsKZSRRW68qQMIBQl04Jkd6WSIBE3RGnpSwNtyX2TZeVnb_-Nl9TQ4qX71YtdsMQoJl7zBLnljReHU5hiwR0AVMxPZy9butQ5l5CN7OgE/w640-h360/bad-trip.jpg" width="640" /></span></a></div><div><span style="font-size: medium;"><a href="https://consequenceofsound.net/2020/06/tv-review-eric-andre-legalize-everything/">Eric Andre</a> is just about the most reliable comedic presence in America. Whether as a bit player in <i>Popstar</i>, a stand-up comedian, or a fake talk show host, there's no presence as charismatically depraved. It was only a matter of time before he'd make a movie that was a proper showcase for his worldview and his antic form of comedic assault. Backed by <i>Jackass</i> producer Jeff Tremaine (who also helped the rap group Odd Future find their inner Lonely Island on <i>Loiter Squad</i>) Andre's hit upon an idea so brilliant I'm almost mad no one's done it like this before. He, Tiffany Haddish, and Lil Rel Howery enact a personal drama around unsuspecting bystanders, including musical numbers, car crashes, and prison breaks. Andre as ever is the beatific face of Biblical misfortune, looking to the hapless for help when his clothes are eaten by a vacuum or when he winds up with his penis in a Chinese finger trap. It's like a 90s buddy comedy wore Jimi Hendrix fabled acid-headband, magnificently disgusting, perfectly profane, aggressively cinematic, and surreally humourous. </span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">10. On a Magical Night</span></div><div><span style="font-size: large;">by Christophe Honoré</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWCElIDdeAWzObEcAmaSRQuszr86LkFw6Mf9PDnihnFpFCrFIRfkcmn3knfLZOhb_yAsy6vPYtQUyIdSY7WZ2VcCxpHnvWcaIGsa3PcBAPr84I8v-LvMM_tHyJSuL-PwHmvQbOibaPiIk/s1600/RDV_MagicalNight_04-1600x900-c-default.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWCElIDdeAWzObEcAmaSRQuszr86LkFw6Mf9PDnihnFpFCrFIRfkcmn3knfLZOhb_yAsy6vPYtQUyIdSY7WZ2VcCxpHnvWcaIGsa3PcBAPr84I8v-LvMM_tHyJSuL-PwHmvQbOibaPiIk/w640-h360/RDV_MagicalNight_04-1600x900-c-default.jpg" width="640" /></a><br /><span style="font-size: medium;">Chistophe Honoré is something like the John Cale of French cinema. Beneath the <i>really </i>tough emotional truths is an ornately manicured stylization that's like a magazine spread of the greatest hits of french cinema. Here some of Varda's second wave feminism, there some of Godard's lithe color coordination and musicality, and front and center a Rivettian melding of the performative and the realistic. All the world is a gorgeously upholstered stage in his cinema of magnificent excess. Here Chiara Mastroianni is a woman who gets tired of sleeping with hot young men <i>just </i>as her husband discovers her storied history of infidelity. What follows is a deliberately feather weight psychodramatic slideshow as she is visited by the ghost of her former lovers and her husband's younger self. Every couple of seconds there's a visual idea or an editing trick that reminds you that few artists take their job as seriously or have as much fun doing it as </span><span style="font-size: medium;"><span>Honoré. The film culminates in a montage set to Manilow's "Could it be Magic?" and that's just not<i> </i>something a lightweight would attempt, let alone pull off. </span><br /></span><br /><br /><span style="font-size: large;">11. Look Then Below / Movie That Invites Pausing</span></span></div><div><span style="font-size: large;">by Ben Rivers / Ken Jacobs<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjv7QLenLYyZs2LoiPWphHQBSYwap2VedAz6auIynRas_xp9lnSHkN3znEEjimdNAoje0xSofdLsnnuorFlAgN6D43i7lr9LyZPqxYU_KAPCmuYTy3QXNNOXzoIs9Ycgle-ojjhxiOS-k/s300/download+%25281%2529.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="168" data-original-width="300" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjv7QLenLYyZs2LoiPWphHQBSYwap2VedAz6auIynRas_xp9lnSHkN3znEEjimdNAoje0xSofdLsnnuorFlAgN6D43i7lr9LyZPqxYU_KAPCmuYTy3QXNNOXzoIs9Ycgle-ojjhxiOS-k/w640-h358/download+%25281%2529.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">I'm a lucky fellow, all things considered. Maybe my favourite male experimental directors were<i> quite</i> busy this year. Ken Jacobs has been practically hyperactive lately and his newest is sensational even for him, filling the eye and sweetly overwhelming the mind with a riptide of textures moving faster than you can keep track of them. Rivers has abandoned easy subtext (well <i>Easy </i>isn't the right word, Rivers is never <i>easy</i>) for pure image and sound, creating a luminous cathedral of <i>things</i>, some of his most purely pleasurable work. Both films seem to understand that we need our screens to give back to us more than ever and invite us to be lost in the minute rippling of gold or in divining the shape and size of a cave, these are pockets in which weary viewers may climb. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">12. Night of the Kings<br />by Philippe Lacôte</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4KOBbJkY4wnL0dv5U_F0nKEz7hlZqpN8Lzq3mzcBXn4Or5aDp0yx2KE0zuxByePf2lPPX64guFw9zpv4PDAD8lZ3mQirH7rbO-jfKd3KuZ831dLR-EIGGdg-JOKNpwAfPVVPI8u5tE8/s1150/nightofthekings.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="650" data-original-width="1150" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw4KOBbJkY4wnL0dv5U_F0nKEz7hlZqpN8Lzq3mzcBXn4Or5aDp0yx2KE0zuxByePf2lPPX64guFw9zpv4PDAD8lZ3mQirH7rbO-jfKd3KuZ831dLR-EIGGdg-JOKNpwAfPVVPI8u5tE8/w640-h362/nightofthekings.jpg" width="640" /></span></a></div><div><span><span style="font-size: medium;">Riding a wave of <a href="https://www.rogerebert.com/festivals/nyff-2020-night-of-the-kings-atarrabi-and-mikelats-the-salt-of-tears">brilliant French African</a> cinema, Lacôte makes the <i>coolest</i> film of the year, a smattering of Denis, Carax, Sembene, Mambety and Cissé that nevertheless feels singular. None of them would have had the idea to fuse sober folk stylings with post-colonial post-modernism in quite so snappy a fashion. Blood-black images of men deciding that the walls of a prison don't mean what they're meant to: walls can't hold legends, and they can't stop the law, so the inmates will make their own. A whole ecosystem of a movie; I could have pulled up a piece of wall and lived there. Americans try every year to make something this snappy and fail. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">13. His House</span></span></div><div><span style="font-size: large;">by Remi Weekes</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEita8BGCKCbqyOklduDKQXcNwZh20dW8S-Ni9GpphEiYtFoWa7tsV35INdSq0ZnAUtRhcx9nqM1moN8Qa3MICBTicMkoz505UH3fitsIb8w7XD2ffDQd2jz6p-FK5big2RAmBODc_dvSfY/s343/download.jpeg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="147" data-original-width="343" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEita8BGCKCbqyOklduDKQXcNwZh20dW8S-Ni9GpphEiYtFoWa7tsV35INdSq0ZnAUtRhcx9nqM1moN8Qa3MICBTicMkoz505UH3fitsIb8w7XD2ffDQd2jz6p-FK5big2RAmBODc_dvSfY/w640-h274/download.jpeg" width="640" /></a><br /><span style="font-size: medium;">On the one hand it's good that the refugee crisis received a <a href="https://letterboxd.com/honorszombie/film/his-house/">horror treatment </a>as sensitive as it is bone-chilling, a slam dunk as drama and genre, but on the other hand - the refugee crisis has gotten so bad we're making horror movies about it. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br />14. Emma. / The Personal History of David Copperfield</span></div><div><span style="font-size: large;">by Autumn De Wilde / Armando Iannucci <br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoAocVRUgeZdC-aTd365Zlp8Sky2F7dV4OjkUdlbrESYAGfOm338qm96JMoKMXFCZduVnDAFA5u_MKvy3bYQz0no3LO3lwD3syIenUk2fP1-7ul7Uwg0vlOX8cNb2ZWr_29DOYipH6fQM/s1500/Emma-large.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="860" data-original-width="1500" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoAocVRUgeZdC-aTd365Zlp8Sky2F7dV4OjkUdlbrESYAGfOm338qm96JMoKMXFCZduVnDAFA5u_MKvy3bYQz0no3LO3lwD3syIenUk2fP1-7ul7Uwg0vlOX8cNb2ZWr_29DOYipH6fQM/w640-h368/Emma-large.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">There’s of course something to be said for the intricate framing and Byzantine choreography but I think the success here is one primarily of tone. This new, brilliant <i>Emma</i> is breezy and free, correctly situating Jane Austen’s text in a zone free of modern mannerism or overly emotional reading, but rather treating each character as a sort of quickly shuffled card in motion. The latest Dickens is a windswept storm of happy maybes and possibility. <i>Emma.</i> practically floats from one painterly image to the next, and though it’s lovely there is beneath it all the threat of encroaching melancholy and disfavor. The film tap dances on a knife edge, over there unwanted depth, here too much quirk and twee. It never once loses its footing, astonishingly making this one of the most successful Austen adaptations of all time, lighter than air but robust and warm. <i>David Copperfield </i>is faithful in spirit and word to the great novel, but Iannucci has created something so rapturous that any student of moving images will find some hook, some way in, a true democratizing through unyielding pulchritude, beautiful music, insatiable pace, and a similar lightness. What a triump that our old texts can still so magnificently be brought to life. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">15. Wolfwalkers<br />by Tomm Moore & Ross Stewart</span></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv0uGUHuJ9xEmOA_mlIHrQn4csyxb0ZJA6VsE1q21tOb30WylU1iLQTnhZl0I9H-WbTlgcNGs7W3Y3y51Lrve7ddVgVcyrhx687hKjxWfAA50sR6jqmodaLwSnDRcJwolSLLoNtxRpY14/s1199/wolfwalkers-02.jpg" style="text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="500" data-original-width="1199" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv0uGUHuJ9xEmOA_mlIHrQn4csyxb0ZJA6VsE1q21tOb30WylU1iLQTnhZl0I9H-WbTlgcNGs7W3Y3y51Lrve7ddVgVcyrhx687hKjxWfAA50sR6jqmodaLwSnDRcJwolSLLoNtxRpY14/w640-h267/wolfwalkers-02.jpg" width="640" /></span></a></div><div><span style="font-size: medium;">A <a href="https://letterboxd.com/honorszombie/film/wolfwalkers/">pagan song of love</a> and friendship from the guys who've been conquering the form for over a decade, and as lovely and winning as every note and performance is, things get awfully dark and frightening before the dawn. This is what you can get away with without a Walt Disney watermark. </span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">16. Gretel & Hansel</span></div><div><span style="font-size: large;">by Oz Perkins</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIW8LGoCSaDajPZLjErwR_xZtuWFdGJUvWVY6r8FY3z_h85MqTNr53lEbC5UTPOHgT_wnUyCUq8Db6rIyx0T89xOgkuVi6Cexfo5mAAamUoI4D7FycZRRnfuK5MsVhCHRiEElFtAz-zl0/s1531/MV5BMDE0MDBjZTktMzcwNC00ZTE0LWI2YTItZjgyYTkwZmFkZjJhXkEyXkFqcGdeQWFybm8%2540._V1_.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1000" data-original-width="1531" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIW8LGoCSaDajPZLjErwR_xZtuWFdGJUvWVY6r8FY3z_h85MqTNr53lEbC5UTPOHgT_wnUyCUq8Db6rIyx0T89xOgkuVi6Cexfo5mAAamUoI4D7FycZRRnfuK5MsVhCHRiEElFtAz-zl0/w640-h418/MV5BMDE0MDBjZTktMzcwNC00ZTE0LWI2YTItZjgyYTkwZmFkZjJhXkEyXkFqcGdeQWFybm8%2540._V1_.jpg" width="640" /></a><br /><span style="font-size: medium;">Homegrown Jodorowski from the most exacting user of space and silence on the scene. Oz is a dynamo at arranging things in the frame and letting menace creep all over you like beads of sweat you hadn't noticed you were gathering. This is a splendid revisionist Grimm tale with all the blood and guts left in and no small dose of empowerment left in the ashes and bones. Every <i>gorgeous</i>ly precise images of psychedelic, autumnal New England, every shudder-inducing ounce of momentum, every keyhole hiding something somehow worse than the mess in the antechamber delivers on the promise of Perkins' luscious debut films. He just keeps getting better. </span></span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">17. Notturno</span></div><div><span style="font-size: large;">by Gianfranco Rosi</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiWhA_owxd3TwPUttXPd03hKU72Xm3ucU2k78RnHeOHuUlRr2FtENJKjn5hvbcOs_WI19MktcqrjZCEmB3QXxgZGuc9wT0wLqnYWp6KVwQ5eIx46H6mrSjvWvG6ycMx3ctgMTHTCseAMU/s1200/notturno-gianfranco-rosi.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiWhA_owxd3TwPUttXPd03hKU72Xm3ucU2k78RnHeOHuUlRr2FtENJKjn5hvbcOs_WI19MktcqrjZCEmB3QXxgZGuc9wT0wLqnYWp6KVwQ5eIx46H6mrSjvWvG6ycMx3ctgMTHTCseAMU/w640-h320/notturno-gianfranco-rosi.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Rosi's films seem to deliberately aim right for the heart of the question of modern documentary ethics. As in, how much can an account of real misery and death feel like a movie and should it? Of course the more movies try to act <i>worthy </i>of the stories they tell, the more unconscionable pious the result. And so Rosi remains himself, showing not the death that captures headlines but the truly unsettling aftermath. He simply sets up his camera, showing the quiet dusks, the tense little arguments, the way that lives and societies are routinely upended into absurdity and no one thinks that maybe well behaved issue docs that win awards is not the way forward. No one is coming to help the people made homeless by the endless war America waged on the middle east and the splinter groups formed in response to the lying intervention. Maybe just showing you what it's like to be a kid might do <i>something</i>. Rosi's intentions I think are honorable and this is my favourite of his movies, a look at how when war has made its home in your backyard, not even sunrise and sunset look the same anymore. Nothing, no minuscule normality on which you once relied, will be the same. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">18. Joan of Arc</span></div><div><span style="font-size: large;">by Bruno Dumont</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_nvS5fSQJ1XldDTUOKNgPBWJXYVXnHF3w6Lpo0t0qlmvbyZcNSqGVo6z5_CObn5a73R_eDSrZFazNoXRmVn0X-TrrsJfHH3cZFoZPFoqKAlqhG0nm9sZRMAkfg-DROwCqgXF7MzXUCs/s1200/Jeanne-Joan-of-Arc-Bruno-Dumont.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="773" data-original-width="1200" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_nvS5fSQJ1XldDTUOKNgPBWJXYVXnHF3w6Lpo0t0qlmvbyZcNSqGVo6z5_CObn5a73R_eDSrZFazNoXRmVn0X-TrrsJfHH3cZFoZPFoqKAlqhG0nm9sZRMAkfg-DROwCqgXF7MzXUCs/w640-h412/Jeanne-Joan-of-Arc-Bruno-Dumont.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">I used to think there was nothing better than Dumont ditching dogged Bressonian despair for Tati-esque comedic absurdity, but I kind of like this compromise, where he seems to just kind of be following his bliss to whatever kind of sequence he wants, whether it's pure rhythm, wordplay, or the theoretical, theological arguments from his early work. It's a little firework of a film, crackling with attention to detail and the pleasure found in the shapes and designs of the antique world. Turns out questioning the order of the unknown world can be just as fun as cannibalism and aliens. </span><br /><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">19. Alone</span></span></div><div><span style="font-size: large;">by John Hyams</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6caAogTTd2Y2DpW6zWvA-F4BqG2BLkSZ4J0YLwP2oMNAAr1pJzgmXW-F1I6BFkN7GDBpvC-nPT2CnhEpUp04qg2DGWe2Z0AR4GtIZ3GWnbY1nQs2MbWeaElJKlbkYla4DN2pAvhaZuME/s1920/MV5BNzFiMDMxNzktMzI3Ny00ZTllLTllZTYtMTE5NDY1N2IwNjMzXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw%2540%2540._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6caAogTTd2Y2DpW6zWvA-F4BqG2BLkSZ4J0YLwP2oMNAAr1pJzgmXW-F1I6BFkN7GDBpvC-nPT2CnhEpUp04qg2DGWe2Z0AR4GtIZ3GWnbY1nQs2MbWeaElJKlbkYla4DN2pAvhaZuME/w640-h360/MV5BNzFiMDMxNzktMzI3Ny00ZTllLTllZTYtMTE5NDY1N2IwNjMzXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw%2540%2540._V1_.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">It may be weird to say that Hyams has been building to a movie this <a href="https://www.patreon.com/posts/fantasia-fest-41116194">self consciously small and modest </a>when he came from star studded operas of violence, but it's always easier to tell someone's strengths when they're filming two people chasing each other. There's nothing between Hyams' formal acuity, compositional strengths, and jaw-dropping command of the mechanics of tension. A man looking at you wrong here feels as nightmarish as when he locks you in the basement - they mean the same thing: you're going to have to fight for your life. </span><br /><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">20. Possessor </span></span></div><div><span style="font-size: large;">by Brandon Cronenberg</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMp2o6ozYSs3KekLKSRm9mG2J8_MbXJdJzdto64vhyv00AT67FHubpGKMD1HRQkQK4sDlmUbP4AlBxb9AEEOy7IVfjcazEjF4OR6aNFOKFP3dUBgGU1RWQ9jAsBybANCNLz5-JZqpbPFg/s1100/poss.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="619" data-original-width="1100" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMp2o6ozYSs3KekLKSRm9mG2J8_MbXJdJzdto64vhyv00AT67FHubpGKMD1HRQkQK4sDlmUbP4AlBxb9AEEOy7IVfjcazEjF4OR6aNFOKFP3dUBgGU1RWQ9jAsBybANCNLz5-JZqpbPFg/w640-h360/poss.jpg" width="640" /></a><br /><span style="font-size: medium;">Exactly the sort of violent, living <a href="https://letterboxd.com/honorszombie/film/possessor/">cyberpunk comic book</a> this era needs. And that's the reference that best suits it more than anything by Cronenberg, Sr. It's in the way every part feels secondhand but admits it in premise. His hero (the unstoppable Andrea Riseborough) steps into other lives like she were switching movie theatres without a ticket. It's silly and vile and wonderful and the fact it means nothing makes it deeper than it could be with even one foot <i>pointed</i> at sincerity. </span></span></div><div><span><span style="font-size: medium;"><br /></span><br /><span style="font-size: large;">21. Saint-Narcisse</span></span></div><div><span style="font-size: large;">by Bruce LaBruce</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbOnSqVRyZcMOIm4SgLPDHsGLkidKiI-LveLhXUKgfxXO1TlqyPFxPTxs824W6R57wLwwTO7ZUg3MPvBJnOcJYzJH7YV8NxsxgR3ceePjfFahZi3nF-Xjv-ZJXlmLvOmeV1aBbM4Kqmbs/s928/saint-narcisse-H-2020-1599059973-928x523.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbOnSqVRyZcMOIm4SgLPDHsGLkidKiI-LveLhXUKgfxXO1TlqyPFxPTxs824W6R57wLwwTO7ZUg3MPvBJnOcJYzJH7YV8NxsxgR3ceePjfFahZi3nF-Xjv-ZJXlmLvOmeV1aBbM4Kqmbs/w640-h360/saint-narcisse-H-2020-1599059973-928x523.jpg" width="640" /></a></div><span style="font-size: medium;">As fun as it is to champion LaBruce as his most pornographic and flashy, he <i>really is </i>better at these trippy dramas where most of the sex is implied. I think I say this every time he releases a new movie but I think this is my favourite Labruce movie, a fall-leave strewn saga of competing incestuous abandon at perpetual dusk in 70s queer chic. It is extremely lovely to spend time in a kind of moral nether zone where it can be expected that when a man meets his twin, he <i>will </i>have sex with him in the woods and it <i>will not</i> matter at all later. LaBruce tweaks the ending of hair to indict religious restriction of sexual expression on both sides of the spectrum and ends in a garden of frotter-nal delights. </span><br /><span style="font-size: large;"><br /><br />22. Siberia</span></div><div><span style="font-size: large;">by Abel Ferrara</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU5Lm1V_xBIftsCaBC27_GUKsAQn9Kt-d6hdw_3wkfH2rAVx_XetAZuHDK7QpWsel9W6k1HHJ5hOLQss3IOI98oamGJwCH0Ldb_4-z9bKhHV-VBb2afNkr1Ys0OZr5jBjKi3ZFOi9FkdU/s2010/Screen-Shot-2020-02-22-at-8.23.13-AM.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1188" data-original-width="2010" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU5Lm1V_xBIftsCaBC27_GUKsAQn9Kt-d6hdw_3wkfH2rAVx_XetAZuHDK7QpWsel9W6k1HHJ5hOLQss3IOI98oamGJwCH0Ldb_4-z9bKhHV-VBb2afNkr1Ys0OZr5jBjKi3ZFOi9FkdU/w640-h378/Screen-Shot-2020-02-22-at-8.23.13-AM.png" width="640" /></span></a><span><br /><span style="font-size: medium;">Abel Ferrara has been every kind of male director - religious wanderer, hyper-masculine avenger, sexual apologist, screwball tapdancer, sensitive diarist, you name it - but until now he's never quite been the man who uses oedipal metaphor to paint the room with his guts. Finally and justifiably reaching for his inner Tarkovsky and discovering a cornucopia of ripe, modernized symbols spurting like wounds onto his canvas. A bare and risky work, it finally shows Ferrara without a framework, without a net to be glib, and he does a marvelous job just floating from one confrontation to the next. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">23. The Truth</span></div><div><span style="font-size: large;">by Hirokazu Kore-Eda</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaeMecw345fcK9QmUKNrl0Lfyf4njY0wjuBFz2a2e7C9BW-k5qESTlKDHwMBuPxdG36Hga693eLJl-N8c0lRo3-YvdB66BNt7k_FnMlIRe1mlqBWiSflcx6g4r76XZ4RjJXr7KwOoPXc/s1134/la-verite-2-l-champoussin-c-3b-bunbuku-mimovies-fr3.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="756" data-original-width="1134" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaeMecw345fcK9QmUKNrl0Lfyf4njY0wjuBFz2a2e7C9BW-k5qESTlKDHwMBuPxdG36Hga693eLJl-N8c0lRo3-YvdB66BNt7k_FnMlIRe1mlqBWiSflcx6g4r76XZ4RjJXr7KwOoPXc/w640-h426/la-verite-2-l-champoussin-c-3b-bunbuku-mimovies-fr3.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Perhaps the world's greatest suburban dramatist finds his footing in France, documenting a history of repressed emotion and dulled longing. A host of unparalleled performances anchor this generational roundelay, everyone mad about something that can <i>simply </i>never be resolved, people being what they are, and yet the tragedy of the impasse never fully comes to bear. Kore-Eda's gift is placing his narratives in the continuity of life, which is to say there will be more to say when the story ends and he never ever tries to wrap up what isn't dramatically interesting to solve. I thought the novelty of seeing him direct Ethan Hawke would be the reward; turns out it was just the silver lining to a tale expertly told. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">24. Another Round</span></div><div><span style="font-size: large;">by Thomas Vinterberg</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4yX582ymzc-z7imgT2Ep9vlnot_meDZR1OtwC1sP8wm398FVE4eoSWlOAJharG_Lzd_u_zz7KMgtfP6-509BChdxxkOwonTOIN88OFtfmV5rGHPdyHIdoFmEVHwXp95BwC02euzRYnQ/s2000/another-round.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1125" data-original-width="2000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4yX582ymzc-z7imgT2Ep9vlnot_meDZR1OtwC1sP8wm398FVE4eoSWlOAJharG_Lzd_u_zz7KMgtfP6-509BChdxxkOwonTOIN88OFtfmV5rGHPdyHIdoFmEVHwXp95BwC02euzRYnQ/w640-h360/another-round.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">Vinterberg, the <i>other</i> melancholy Dane, knows from addiction narratives and lowlifes galore, but there is such an ebullience, a sense of infinite possibility here you'd think he was born yesterday. I cannot help but adore that when the quartet of losers here decide to start drinking, it's treated like a grand experiment with the very fabric of life and interaction, like they'll be the first men to live like kings and Churchill. The film is as delighted in each new development, even the unspeakably sad ones. Vinterberg <i>knows</i> there's nothing truly inspiring or uplifting about a teacher helping a student through an exam with a secret bottle of vodka, but in the moment it's like the end of a Lifetime movie. This should have toppled over at any point, but refused to. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">25. </span><span style="font-size: large;">To The Ends of the Earth</span></div><div><span style="font-size: large;">by Kiyoshi Kurosawa</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaTOobWcXUrJBKrzrLAEwHt9bYnWXvU3Tc_2eCfVh-kdnxPMtjdm4kMaY4SOGNciH46Oz0vIF_vdlUytRDf49A1ITjzucxKRwnHeNaFyKPoPfsKQRqjeNzBwjYRTJPBT2WNBMn3VJBiBo/s1200/download+%25285%2529.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaTOobWcXUrJBKrzrLAEwHt9bYnWXvU3Tc_2eCfVh-kdnxPMtjdm4kMaY4SOGNciH46Oz0vIF_vdlUytRDf49A1ITjzucxKRwnHeNaFyKPoPfsKQRqjeNzBwjYRTJPBT2WNBMn3VJBiBo/w640-h360/download+%25285%2529.jpeg" width="640" /></span></a></div><div><span style="font-size: medium;"><a href="https://www.patreon.com/posts/39930654">Kurosawa's bow</a> after a decade of innovation and as usual he hinds his clearest and cleverest articulation for his interests when they come out of the mouth of a lost woman looking for purpose. </span></div><div><br /></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">26. Mangrove</span></div><div><span style="font-size: large;">by Steve McQueen</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigHz2hvFUzC3MjR8Jd2osYx_ydo5wxPR3W-knna2GR6sHMc6KPXFBL02TISxJgQEwnQ9fXRMdGryIRAru9iWASuWsMlrELzDeYAoSWTwFhafaOb_72vc3LdbEuDqFQXySgFytfBoH5ILU/s1200/mangrove-1200-1200-675-675-crop-000000.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigHz2hvFUzC3MjR8Jd2osYx_ydo5wxPR3W-knna2GR6sHMc6KPXFBL02TISxJgQEwnQ9fXRMdGryIRAru9iWASuWsMlrELzDeYAoSWTwFhafaOb_72vc3LdbEuDqFQXySgFytfBoH5ILU/w640-h360/mangrove-1200-1200-675-675-crop-000000.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;"><i>Mangrove </i>was the movie that briefly had me fully on the side of McQueen's critics. Too harsh, too didactic, too preachy, too violent for the sake of being violent, the odds deliberately stacked so high that only one real outcome is possible, and almost as if he knew that they'd said this and were saying it even as they watched, he kept solving his own problem by simply directing <i>so well </i>that you can't object to his tactics. No, we did not need more depictions of police violence, but McQueen is full Sidney Lumet courtroom mode is one of the sharpest forces in the modern cinema. I was stunned into silence and not just once. It's obvious, it's righteous, it's beyond compelling. If people demand this kind of narrative, it had better <i>always</i> be this good. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">27. Malmkrog</span></div><div><span style="font-size: large;">by Cristi Puiu</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7e_JNoA2UFlevBnr47Fl-UdfYYGCeupTuJ45wXjLf0MhyphenhyphendIr5oYX1ZFXGk2fvTIardVsq9254XK3YcaHyKRzVfP8mDcfWBRonjb9XcNxLQ-3vfpaGkgqzANkTTa7D4f949PQvSgCPdQM/s1200/Malmkrog.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="755" data-original-width="1200" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7e_JNoA2UFlevBnr47Fl-UdfYYGCeupTuJ45wXjLf0MhyphenhyphendIr5oYX1ZFXGk2fvTIardVsq9254XK3YcaHyKRzVfP8mDcfWBRonjb9XcNxLQ-3vfpaGkgqzANkTTa7D4f949PQvSgCPdQM/w640-h402/Malmkrog.jpg" width="640" /></a><br /><span style="font-size: medium;">Puiu <a href="https://www.patreon.com/posts/41676757">adapts an arch novel</a> so that he can write his own, one more thesis statement on the pile of them he's accumulated through his remarkable career. Here all the implication has been replaced with talk, as a gang of aristocrats plot out the 21st century from the 19th, and suddenly every lost and dying bastard from his later works has their origin story. This was the beginning of the end, and the only way to get at is through the words, the plates, the food, the butlers, and the dead bodies. </span><br /><br /></span></div><div><span><br /></span></div><div><span style="font-size: large;">28. She Dies Tomorrow</span></div><div><span style="font-size: large;">by Amy Seimetz</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkTQ1_o_NDe4kNr2VatVRdww3flIRItapa1n5II6m2V8Ou2mYN21Q0b4YJ4lHfD_AYGW-GPPmQK78XaZ_d1xT8-4pN3yRPV8JBSedzO4K34_-BUpZejrkIUmRsma8j3toRu6i_bxbIbYU/s1917/she-dies-tomorrow_wide-45ae8ab27b4296e7d6da743de8a78ee59f9a6177.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1077" data-original-width="1917" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkTQ1_o_NDe4kNr2VatVRdww3flIRItapa1n5II6m2V8Ou2mYN21Q0b4YJ4lHfD_AYGW-GPPmQK78XaZ_d1xT8-4pN3yRPV8JBSedzO4K34_-BUpZejrkIUmRsma8j3toRu6i_bxbIbYU/w640-h360/she-dies-tomorrow_wide-45ae8ab27b4296e7d6da743de8a78ee59f9a6177.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A mantra for the <a href="https://letterboxd.com/honorszombie/film/she-dies-tomorrow/">dissociative</a>, a tonic against thoughts of the end. Maybe you will, maybe you won't, but <i>today</i> there's so much to do. And so much to enjoy. Tunde Adebimpe as the world's most exhausted party guest, getting high in an RV with a weirdo, playing the same song over and over again because something in it makes you aware that you're alive, Jane Adams off the chain, Kate Lyn Sheil getting back in touch with her experimental roots. Seimetz made a film out of time. </span></span></div><div><span><span style="font-size: medium;"><br /></span><br /><span style="font-size: large;">29. Never Rarely Sometimes Always</span></span></div><div><span style="font-size: large;">by Eliza Hittman</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqVfVpIOkrZaoYsjnoxh4CtMXYhM4wvhlg3YJVbHC4aCMP-iCE1sRMbYS0WhaBTREt60ZsvyzePflUgjbC4CYVxkSyDFSm1F169bxf01cdSnp50wAWOIPpXeCezdYom24VxniFczkK70/s2048/sidney-flanigan-stars-as-autumn-courtesy-focus-features_wide-aaf3be0e7c282c9afdcef986a6ac5a5985876826.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqVfVpIOkrZaoYsjnoxh4CtMXYhM4wvhlg3YJVbHC4aCMP-iCE1sRMbYS0WhaBTREt60ZsvyzePflUgjbC4CYVxkSyDFSm1F169bxf01cdSnp50wAWOIPpXeCezdYom24VxniFczkK70/w640-h360/sidney-flanigan-stars-as-autumn-courtesy-focus-features_wide-aaf3be0e7c282c9afdcef986a6ac5a5985876826.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Hittman’s study of melancholy kids reaches its brutalist apex, a dizzying flurry of close-ups and uncomfortable questions. Her cinema has always been about scraping the ceiling of adulthood and springing a leak that can’t be patched up. Here the trouble is compounded by the seeming impossiblitu of being a young woman who can have anything she wants. The lot of the poor woman is asking permission to be less wretchedly sad, and getting mostly no’s and any film that stares into the face of someone who simply can not afford to take those no’s would be worth your time. Hittman builds in heart-breaking grace notes keep the true horrific monotony of bureaucracy and sexism at bay that will linger hopefully as the particulars of taking back your life fade into a terrible blur.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">30. A Revolt Without Images</span></div><div><span style="font-size: large;">by Pilar Monsell</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lZZKPSU2GomVhUKMSMXqeA6uBsxumjoCViwOxiZAU1ucUzW5qs8RYy-4gAItuODcvC3iYblnxfRUZJ82GCEedB5iDL-H8XgT_wGoAHVSwiNMf7CYAi8h1EDJ4agMLJPjIBUFwuXEr4k/s1600/A-Revolt-Without-Images-1-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lZZKPSU2GomVhUKMSMXqeA6uBsxumjoCViwOxiZAU1ucUzW5qs8RYy-4gAItuODcvC3iYblnxfRUZJ82GCEedB5iDL-H8XgT_wGoAHVSwiNMf7CYAi8h1EDJ4agMLJPjIBUFwuXEr4k/w640-h360/A-Revolt-Without-Images-1-1600x900-c-default.jpg" width="640" /></span></a></div><div><div><span><span style="font-size: medium;">So much of the history of the world is lost to all but shreds, shards, and hearsay, which is how narratives of rebellion are quelled along with any hope of new ones being written. Monsell reconstructs a fire from smoke, building the best form of experimental history, where she is an active and necessary participant but not the hero of the story except to us, grateful for her effort, her focus, and her talent. </span><br class="Apple-interchange-newline" /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">31. Greenland</span></div><div><span style="font-size: large;">by Ric Roman Waugh</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNjoYStetxUzU3ztiCtpHvdx0nIs62hMC2tLuhtu5Kj6mUXSnJd8AenGaz174fOLhK0AqfdYZJZJ7snf9qKaqSRAlhufztDT30-9N0nA7AkqyMpQkRrsBGJ6L7ZvJz5QHu14XZkrtle4I/s1486/download+%25283%2529.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="836" data-original-width="1486" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNjoYStetxUzU3ztiCtpHvdx0nIs62hMC2tLuhtu5Kj6mUXSnJd8AenGaz174fOLhK0AqfdYZJZJ7snf9qKaqSRAlhufztDT30-9N0nA7AkqyMpQkRrsBGJ6L7ZvJz5QHu14XZkrtle4I/w640-h360/download+%25283%2529.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">Waugh is a director like Carhartt is a clothier: dependable and for a certain breed of strapping, self-made, hungover, tall boy pounding man. If that sounds flippant, know that I am an enormous fan of his tales of the new modern übermensch, and this may be the sort of purest distillation of what he does. A hungover man trying to save his family from the horrors of the world. In this case, an asteroid, something that can't be bargained with, but the trappings remain. Too proud fathers, panicking men of low character, prefab mansions, addictions, marriages on the rocks, and a goal that must be run down in an SUV. People complain Hollywood isn't conservative enough but I do rather suspect Waugh makes the movies on which people of all sides of the spectrum could agree are elegant things, despite all the sweat and blood. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">32. Good Lord Bird </span></div><div><span style="font-size: large;">by Albert Hughes, Kate Woods, Michael Nankin, Darnell Martin, Haifaa Al-Mansour & Kevin Hooks<br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq1e2TtQIKLTDp5y0LsTG-7Gr0QLLo3cq1ihfQlNJXCb4776QLYcrZ0pEKJNx-hBuMIK__LtnJ9-yrtgCBMkPMQKObVkbg8-3Hn1qwCNrp84NFX3aLPB9G_Kw6wP5YkDWpcSvlnbqE2Xw/s275/download+%25282%2529.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="183" data-original-width="275" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq1e2TtQIKLTDp5y0LsTG-7Gr0QLLo3cq1ihfQlNJXCb4776QLYcrZ0pEKJNx-hBuMIK__LtnJ9-yrtgCBMkPMQKObVkbg8-3Hn1qwCNrp84NFX3aLPB9G_Kw6wP5YkDWpcSvlnbqE2Xw/w640-h426/download+%25282%2529.jpeg" width="640" /></span></a></div><span><span style="font-size: medium;">A bouquet of technique and enormous performances elbowing their way to the forefront of this tale of who gets to be responsible for our freedom. As Brown's story superceded that of the men and women he was trying to help, so too is Brown's story co-opted by a black man forced to live as a woman to flatter Brown's delusion. Martin, Hughes, and Hooks seem to have been waiting most of their careers to have a hand at these images and settings, to tell this story in their own way, and Hawke is both producer and their willing pawn. This pulpy comic book is as funny and warm as it is rousing and dizzyingly enervating. If we must have slavery stories, this is how they should be drawn.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">33. Episodes - Spring 2018</span></div><div><span style="font-size: large;">by Mathilde Girard<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmS7HvV4jreOH0Bhu1gvXTgT-kAaVQST9Nwdmwmg1zSzalFWfg7z8Ibm6M2FwacJFH3B-ZLfDTzwFvGILdTHlzsOHB2uhfvO2V8h72IuB-vtyxcYYU8C-UQVmYhQ7ig88Q0mqXvMDhV3E/s309/download+%25284%2529.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="163" data-original-width="309" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmS7HvV4jreOH0Bhu1gvXTgT-kAaVQST9Nwdmwmg1zSzalFWfg7z8Ibm6M2FwacJFH3B-ZLfDTzwFvGILdTHlzsOHB2uhfvO2V8h72IuB-vtyxcYYU8C-UQVmYhQ7ig88Q0mqXvMDhV3E/w640-h338/download+%25284%2529.jpeg" width="640" /></span></a><span style="font-size: large;"><br /></span></div><div><span style="font-size: medium;">Honest to god political cinema, unafraid of bodies, language, and ideas, radically unruly in form and splendidly voluptuous in delivery and demeanor. </span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">34. Lingua Franca</span></div><div><span style="font-size: large;">by Isabel Sandoval</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM85ye6q-DtsHA4lnLUEnAcpi2JWGPM2waH4CWieeZfvLMBU39nKcRoL_1McAhceReZtUUv2lhhuEY0E_t7dzIadLByQ-DqxYDJzWQKzpF3Pq8ewDMj-n2tp4xwzdIcuGUHX8K42Kp64Y/s1200/lingua+bd-1200-1200-675-675-crop-000000.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM85ye6q-DtsHA4lnLUEnAcpi2JWGPM2waH4CWieeZfvLMBU39nKcRoL_1McAhceReZtUUv2lhhuEY0E_t7dzIadLByQ-DqxYDJzWQKzpF3Pq8ewDMj-n2tp4xwzdIcuGUHX8K42Kp64Y/w640-h360/lingua+bd-1200-1200-675-675-crop-000000.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;"><span style="font-style: italic;">This </span>may be the most exciting work of the year for all it promises. A major influential moneyman gifts us this deeply felt romantic work on the biggest streaming platform in the world. Sure, Array could have done a bit better by it, considering how monumental the achievement as a piece of aching art, but I'll take the movie in my living room. That's plenty. Sandoval's managed to shoot New York with a kind of luscious depth akin to the best of </span></span><span style="font-size: medium;">Barbet Schroeder, it looks almost pre-industrial at its most alien. But then the turn and suddenly the depressing event spaces and cramped bedrooms seem so shot through with sex and romance you never want to leave. It's a special filmmaker who can make New York seem both old and new, and Sandoval is that major talent. </span></div><div><span><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">35. małni – towards the ocean, towards the shore</span></div><div><span style="font-size: large;">by Sky Hopinka</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNDvcmJzKz5VfE98m5N4Av1z9sAYke60RMRyMHu9nrIcAixX4rzlA4SEiKWn2p8kMCKRovyj22dePm0vrfJVupTJuSrWzuN09HuJqpAbsEfCjVLdfJ1IA6J5fb9TW7v_tq2Zu_KADhqA/s1600/malni-still-3_FEATURE-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNDvcmJzKz5VfE98m5N4Av1z9sAYke60RMRyMHu9nrIcAixX4rzlA4SEiKWn2p8kMCKRovyj22dePm0vrfJVupTJuSrWzuN09HuJqpAbsEfCjVLdfJ1IA6J5fb9TW7v_tq2Zu_KADhqA/w640-h360/malni-still-3_FEATURE-1600x900-c-default.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">I mainlined Sky Hopinka's work this year and discovered the kind of talent who seems to have invented film anew. His work with text, texture, post-production effects, song and sound feels sui generis, even if each component is modified not invented. But that's what it's like when a director sort of shakes your brain with two hands and gets your blood up. <i>małni </i>is his first feature and he boldly abandons most of his previous technique to try his hand at a more active listening, watching people navigate land that once belonged to no one and everyone, and now is a small refuge from a dangerous and unfeeling world. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">36. Color Out of Space</span></div><div><span style="font-size: large;">by Richard Stanley</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2RGs-0y3zeUE3PlCxF_MnqVWG2fuGAtctamexcK8_qx-CM1Sie3a7onIoR4ws6ObF-Xl9XlbskJLzvnII2EkCOMtRJ4VCJNaYGnIgoeXEmuSDaI-sNoX7L7DYQHPwNBQvqlxNKDYfhY/s1452/colour-out-of-space.png" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="788" data-original-width="1452" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2RGs-0y3zeUE3PlCxF_MnqVWG2fuGAtctamexcK8_qx-CM1Sie3a7onIoR4ws6ObF-Xl9XlbskJLzvnII2EkCOMtRJ4VCJNaYGnIgoeXEmuSDaI-sNoX7L7DYQHPwNBQvqlxNKDYfhY/w640-h348/colour-out-of-space.png" width="640" /></a><br /><span style="font-size: medium;">I wasn't initially moved or impressed by this work, a kind of tribute to Stuart Gordon and Brian Yuzna that seemed to borrow their grammar and their stark naked effects work. But the more time passed the more I kept seeing lost and lonely Lavinia (Madeleine Arthur) praying to her absent satanic forces to save her and getting only prismatic radiation scars for her faith. I couldn't get her scared visage out of my head, finally giving into cosmic madness, letting the alien hue eat her alive, and saw a timeless reflection of anti-apathy. It's not that we don't care anymore, it's that no other choice arrived. So throwing your hands up at an unspeakable horror isn't surrender, it's a plea for release from <i>these </i>circumstances. If the first sign of relief happens to be a murderous ecosystem with no place for humanity, it's not like life on earth is much more accomodating. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">37. The Plastic House</span></div><div><span style="font-size: large;">by Allison Chhorn</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5W9QLwP7IKeWTdEjnDGqV4Ah4BMKusxObhHJk2hgP2E8rAf8Qs7-7vEZ7il9T-JVNXYaTyqpjGzeKiQVK_fXGKkgHz7GnJyiF-TwmFMrVeH1MnrkvayRHaF0pEgOG2l8blTNdTwY-gDs/s1280/maxresdefault.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5W9QLwP7IKeWTdEjnDGqV4Ah4BMKusxObhHJk2hgP2E8rAf8Qs7-7vEZ7il9T-JVNXYaTyqpjGzeKiQVK_fXGKkgHz7GnJyiF-TwmFMrVeH1MnrkvayRHaF0pEgOG2l8blTNdTwY-gDs/w640-h360/maxresdefault.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A <a href="https://www.rogerebert.com/festivals/nyff-2020-her-socialist-smile-plastic-house-tragic-jungle-undine">beautiful trip inside</a> a nervous breakdown. A woman contemplates her place in the world as represented by the tangle of leaves that surround her, her place in time represented by the age of her parents, her place in the continuity of human labor and filmmaking (which reflect each other), and we grip it all in deafening silence. </span></span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">38. Samurai Marathon 1855</span></div><div><span style="font-size: large;">by Bernard Rose</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lWE-d9PyDU5YIFwbSURZQ16Xf5aEghzy7IUzqqH8Mdm9aXS21SiBfhgC-SAErCOhzH4mkHcpe2iTxm2xLHTsG3izwHE627wxXGGIFbqDom9AHVI29UWj1GHmMSxJflpVWIK9BSwCyok/s1600/SAMURAI-MARATHON-STILL-3-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lWE-d9PyDU5YIFwbSURZQ16Xf5aEghzy7IUzqqH8Mdm9aXS21SiBfhgC-SAErCOhzH4mkHcpe2iTxm2xLHTsG3izwHE627wxXGGIFbqDom9AHVI29UWj1GHmMSxJflpVWIK9BSwCyok/w640-h360/SAMURAI-MARATHON-STILL-3-1600x900-c-default.jpg" width="640" /></span></a></div><div><span><span style="font-size: medium;">And here I thought Bernard Rose had run out of genres to tag with his spray paint signature. Of course this isn't the vandalism of something like his new horror tales or his quick and dirty Tolstoy adaptations, no this is something like a perfect 10 dive into the deep waters of a genre's history. He'll emerge soon enough but he almost touched the bottom. Armed with Philip Glass's nervous symphonies like a quiver of arrows, Rose finds the kind of narrative not terribly common in the canon of great Samurai films, which allows his to not feel like a cover song so much as a modest new wing of a house. The movie is all galvanizing motion and imperial intrigue on the field of battle/play. Rose should always have a canvas this big he only gets better. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">39. King of Sanwi</span></div><div><span style="font-size: large;">by Akosua Adoma Owusu</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAC1CQFtyDtoL8SzfdGAyIaOViintsrRrNhavipbWUn0bXEMHWAgpQBOnR1H7m_-7Ii-u4jnk2WYaxY6nawCl6cCYGlXeeN0nJQUVmNQdp1nUJC8RPc2jbGW4d4cXXCf3K22-zCQDezuY/s1280/image-w1280.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAC1CQFtyDtoL8SzfdGAyIaOViintsrRrNhavipbWUn0bXEMHWAgpQBOnR1H7m_-7Ii-u4jnk2WYaxY6nawCl6cCYGlXeeN0nJQUVmNQdp1nUJC8RPc2jbGW4d4cXXCf3K22-zCQDezuY/w640-h360/image-w1280.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A requiem for a co-opted king, a lightning bolt of forgotten power and fury, a buried map to a colonial casualty's pyre. Owusu's editing is still maybe the most sensuous in the avant-garde game, which makes her works of justified anger ring like gun shots that can't be dislodged from your body. Think, she asks us, what we lose when we let other people decide who we're meant to be. Remember that no one makes you hold assumptions. You can be rid of them anytime you want. That's the first step to freedom. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">40. Dick Johnson is Dead</span></div><div><span style="font-size: large;">by Kirsten Johnson</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ849DbhobtOW3gSbWcDzO1SnxzwpEl2EYOmzj_qZk4sWDzGnMuOgw6XF_8dPvuBAf_hDOnkqfXDPet7tfSmOgqSUX_HIwIBUcrQFAZLUtyevfCCgiLlSLll0dVoHoF7sCc1HTXQzbqrs/s1280/AAAABfTH8t1IELS-J3EMF1smYq2GZ63-d3sKGugmf_GbzhA4JwkhlD6weTpNJwYxsIGf0VbJ0-TscAdNmRn8EPe7C4N2MDrk.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ849DbhobtOW3gSbWcDzO1SnxzwpEl2EYOmzj_qZk4sWDzGnMuOgw6XF_8dPvuBAf_hDOnkqfXDPet7tfSmOgqSUX_HIwIBUcrQFAZLUtyevfCCgiLlSLll0dVoHoF7sCc1HTXQzbqrs/w640-h360/AAAABfTH8t1IELS-J3EMF1smYq2GZ63-d3sKGugmf_GbzhA4JwkhlD6weTpNJwYxsIGf0VbJ0-TscAdNmRn8EPe7C4N2MDrk.jpg" width="640" /></span></a></div><div><span><span style="font-size: medium;">Perhaps the most relatable experiment of the year, in which the ace cinematographer and newly born hybrid filmmaker tries to throw a funeral for a man she'll miss who nevertheless stands right beside her. Charming, disarming, funny and of course desperately sad, this one bets it all on red, on you identifying with the figures in this tragically absurd carnival of memory. Film remains the only medium that lets us keep our loved ones when they're gone. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">41. Da 5 Bloods / American Utopia</span></div><div><span style="font-size: large;">by Spike Lee</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7FW9Fdh326tpDttt-jIVMDE8Fy1NjXwrX1P4HzHwhxZu4uUsDdROkne7fLq8ZgE5kvvcHin6rhtfdX_Jr58_rlp6pBB36SohaRInxJYhfNs-NTli6sGQTAI0fkN3dRdU1V_tc81DjRy0/s1200/Da-5-Bloods-Review-Spike-Lee-Chadwick-Boseman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7FW9Fdh326tpDttt-jIVMDE8Fy1NjXwrX1P4HzHwhxZu4uUsDdROkne7fLq8ZgE5kvvcHin6rhtfdX_Jr58_rlp6pBB36SohaRInxJYhfNs-NTli6sGQTAI0fkN3dRdU1V_tc81DjRy0/w640-h426/Da-5-Bloods-Review-Spike-Lee-Chadwick-Boseman.jpg" width="640" /></a></div><span style="font-size: medium;">A double feature of diametric opposites, yet ruled by the same ironclad beat. On the one hand Marvin Gaye scores the dwindling fortune of money hungry vets, who need to grab what they can after so many years as the unsuccessful subjects of the American experiment. On the other a physicist trying to re-do the whole experiment himself in a lab filled with song and dance. The work of the Talking Heads and Marvin Gaye have more in common than great rhythm: they were artists who knew the world could only fleetingly be beautiful. There are too many obstacles to continued happiness. Even best friends with a shared traumatic history and a common goal can't keep it together long enough to thrive. Bands that can and can't stay together, America the beautiful. </span><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">42. I’m Your Woman</span></div><div><span style="font-size: large;">by Julia Hart</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhFRzhys81T0zTNQ-HNol4BhyphenhyphenqY0xFixxKkisgYY3NJcita26TC_4aVvjM8CytX5DKLkhJ_rJ0kIRQcRX5wykLq26TBYz2wIbE-fFDxhTrOD8JFP43UfbJxBy76keEk0tqM7YC90leYk/s1215/Screen-Shot-2020-10-13-at-3.38.14-PM.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="707" data-original-width="1215" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhFRzhys81T0zTNQ-HNol4BhyphenhyphenqY0xFixxKkisgYY3NJcita26TC_4aVvjM8CytX5DKLkhJ_rJ0kIRQcRX5wykLq26TBYz2wIbE-fFDxhTrOD8JFP43UfbJxBy76keEk0tqM7YC90leYk/w640-h372/Screen-Shot-2020-10-13-at-3.38.14-PM.png" width="640" /></span></a><span><br /><span style="font-size: medium;">Hart's continuining interest in stripping genre for parts continues unabated. Here she's taken the already threadbare likes of John Carpenter's 70s and reduced it to little but tired eyes, frightened neighbors and depressing days without company. Rachel Brosnahan is getting to the point where it's difficult to believe she could be so disarmed, so formidable a presence is she regularly, but she gives the role of a cowed mother to a foundling her all. The overlapping misfortunes make for marvelous marginalia in every situation in which she becomes ensnared and Hart's crisp framing and eye for sad detail are formidable indeeed.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">43. The Grudge</span></div><div><span style="font-size: large;">by Nicolas Pesce</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZE0c-KPP16kg7GJapOMPFKbI9H74Uvmt-suRhRRTYUp71qqvxQ-FcIS6w-b4SrF1f29FssnTHAnxsQPKA8gkzCyL0vCFdpW_KAYezMNfpSoJ-aK5xVF8GAN2nmkA9tYJ7n08nKmj1uyg/s2048/ENT1.2.Grudge.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1185" data-original-width="2048" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZE0c-KPP16kg7GJapOMPFKbI9H74Uvmt-suRhRRTYUp71qqvxQ-FcIS6w-b4SrF1f29FssnTHAnxsQPKA8gkzCyL0vCFdpW_KAYezMNfpSoJ-aK5xVF8GAN2nmkA9tYJ7n08nKmj1uyg/w640-h370/ENT1.2.Grudge.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">I was not heartened by all the stolen music in Pesce's <i>Piercing. </i>He'd just started and he'd resorted to fetishistic theft <i>right </i>away. Well I needn't have worried. Pesce "sold out" and took this studio assignment and made maybe the best studio-born horror movie of the year, a cinemascope fugue of yellowing corpses and bad decisions. Andrea Riseborough, looking like death itself (be still my heart), leads one of the most gonzo A list casts in history for this bizarre procedural that always ends in decay. I shall endeavor not to be alarmed by Pesce's talent in the future. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">44. Cut Throat City</span></div><div><span style="font-size: large;">by The Rza</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8z6BmC6X5chbXBYL1N20jFlMBcVodvZwdZniUZOqeqzD7x_pJs8gjxDO14svS0gHfDE4OMzhj6BCiGLu14jSaV8MkUNi1N07wC9kU67tv6n7hwIRVU4Z5pmI1fFdKDhvc50URe7Gp0Y/s1600/REVIEW-Cut-Throat-City-8.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="794" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8z6BmC6X5chbXBYL1N20jFlMBcVodvZwdZniUZOqeqzD7x_pJs8gjxDO14svS0gHfDE4OMzhj6BCiGLu14jSaV8MkUNi1N07wC9kU67tv6n7hwIRVU4Z5pmI1fFdKDhvc50URe7Gp0Y/w640-h318/REVIEW-Cut-Throat-City-8.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">The Rza's latest pulp opus is a wickedly engrossing story of social climbers tired of relying on the government and gangs (same dif when you're family is underwater) and go into business with themselves. There seem to be deliberate echoes of Hype Williams' landmark <i>Belly</i> in this but Rza's still chasing a blissful comic velocity, turning his hip-hop hopefuls into superheroes in a flooded post-Katrina neighborhood. Rza splits the difference between Rossellini and Joe Carnahan for one of the most enjoyable picaresques of the year. </span><br /><br /><br /><span style="font-size: large;">45. Driveways</span></span></div><div><span style="font-size: large;">by Andrew Ahn</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh25vfid5X93vw9GxzmXAQKlDBTdLxx5uw6LLg7rsuCwnfrEW_wVUlzHm92qYvb4D18fukoDTimxUY7SUibEk_9QtilduoPG38g1vRlM53XP_kRoF-P7qA4RgMNozRPywl0Mxr_AmhYng/s854/driveways-movie-main.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="480" data-original-width="854" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh25vfid5X93vw9GxzmXAQKlDBTdLxx5uw6LLg7rsuCwnfrEW_wVUlzHm92qYvb4D18fukoDTimxUY7SUibEk_9QtilduoPG38g1vRlM53XP_kRoF-P7qA4RgMNozRPywl0Mxr_AmhYng/w640-h360/driveways-movie-main.jpg" width="640" /></span></a></div><div><span><span style="font-size: medium;">A <a href="https://www.rogerebert.com/features/the-great-performances-of-2020">brutally lovely work</a> on the finding of friendship, and the way that life is about relinquishing our grip on principals to make room for people.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">46. The Expecting</span></div><div><span style="font-size: large;">by Mary Harron</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7sNzjbdVr0A6sjsB8UUwa8FSonAH-oPgLnGlMkQ1ktr6nPnRnDMo_lW2Noeg9uFKML_tK8sc2zx4_Wvy50vTlsd-Qb9YbViufAlQvono9QNhrSsCPidVNr1XwC2x_4w-UDAdq86DcjuY/s1920/image.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1084" data-original-width="1920" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7sNzjbdVr0A6sjsB8UUwa8FSonAH-oPgLnGlMkQ1ktr6nPnRnDMo_lW2Noeg9uFKML_tK8sc2zx4_Wvy50vTlsd-Qb9YbViufAlQvono9QNhrSsCPidVNr1XwC2x_4w-UDAdq86DcjuY/w640-h362/image.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">I've been privileged to recommend two movies to the legendary Molly Haskell in my life. The first was Gatorbait, starring Claudia Jennings. I have yet to show that to her, but I did get to show her the second one, <a href="https://frame.land/framelands-favourite-underseen-and-unloved-films-of-2020/">Mary Harron's </a><i><a href="https://frame.land/framelands-favourite-underseen-and-unloved-films-of-2020/">The Expecting</a>, </i>and all the encouragement I've ever needed in my own convictions was when she enjoyed it. Haskell and I had both enjoyed <i>Charlie Says</i>, which took a male-dominated news item and re-told it from a complicated but sympathetic female perspective, and this did the same to the male-told Alien pregnancy narrative. Harron skimps on nothing, not the genre-dictated grotesquery and squirm-inducing gore moments, nor the sympathy for the desperate unwed mother whose life should be going somewhere else about now. As compact and concise a theoretical exercise as it is a very real and very unnerving horror movie. </span><br /><br /></span></div><div><span><br /></span></div><div><span style="font-size: large;">47. Bloody Nose, Empty Pockets</span></div><div><span style="font-size: large;">by Bill & Turner Ross</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-rhK0MY9JNu-11MXTOeQUU2q-UzEPWlYMYPA9cbaBJOWyEes-RD2VE6W9qgpcO6wCvtIMRhi90-ZENSq6a1G-4tOzKaikr934kI4n12UZ8YEGkpVh2Yge_jyO29ZoJk_f2X7ih_zjtko/s1280/maxresdefault.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-rhK0MY9JNu-11MXTOeQUU2q-UzEPWlYMYPA9cbaBJOWyEes-RD2VE6W9qgpcO6wCvtIMRhi90-ZENSq6a1G-4tOzKaikr934kI4n12UZ8YEGkpVh2Yge_jyO29ZoJk_f2X7ih_zjtko/w640-h360/maxresdefault.jpg" width="640" /></a><br /><span style="font-size: medium;">Perhaps the most shocking thing about <a href="https://www.patreon.com/posts/40886191">this modern marvel</a> is the way it captures that whole days just <i>vanish</i> when you've had too much to drink. The time slips away and you remember things you were supposed to do and didn't, or weren't supposed to and did. The Ross Brothers continue looking in to the little things, places, faces, space, that are supposed to make America what it is. Here they've gone to every one's home away from home and found beauty and warmth and togetherness, and people so addicted to it they don't want to go home, those who have homes to which to go. It would be beautiful but it's just not. </span><br /><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">48. Tommaso</span><br /><span style="font-size: large;">by Abel Ferrara</span></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCpVScR0sHfqYuywyssGNqDrdVtG6FOyl2BqLI7DVZMRz8abc_4Ei0CZQ_ktLqbYiBKbgVFJ8Hg1xQ7WkIIhAncnLaWtP_fYSur00y5Rsox1JPKRcWv9biE_vYOrVd2dqvEKXgxTgQjA/s848/tommaso-004993_1708.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="348" data-original-width="848" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZCpVScR0sHfqYuywyssGNqDrdVtG6FOyl2BqLI7DVZMRz8abc_4Ei0CZQ_ktLqbYiBKbgVFJ8Hg1xQ7WkIIhAncnLaWtP_fYSur00y5Rsox1JPKRcWv9biE_vYOrVd2dqvEKXgxTgQjA/w640-h262/tommaso-004993_1708.jpg" width="640" /></a></div><span style="font-size: medium;"><a href="https://www.patreon.com/posts/39888900">Abel Ferrara</a> chances a positive self-portrait of an artist in recovery before leading him(self) back to the gates of hell, where he feels at home. </span><br /><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">49. Love and Death in Montmartre <br />by Evans Chan</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga0zHCeTIWFH8z5s0ntduoOCKQgFWnk2f-I91FMsYXZN-5F4DWYjSmFcApxOfpz-u5YsBWXNQh2vLkq2OFhN_mawBJ7e4hFji315lP8M13VjQj-B9lRZH7arEAMMrTDu6vqRoQhd4LrEo/s1600/Montmartre-3Retouched-16-9.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga0zHCeTIWFH8z5s0ntduoOCKQgFWnk2f-I91FMsYXZN-5F4DWYjSmFcApxOfpz-u5YsBWXNQh2vLkq2OFhN_mawBJ7e4hFji315lP8M13VjQj-B9lRZH7arEAMMrTDu6vqRoQhd4LrEo/w640-h360/Montmartre-3Retouched-16-9.jpg" width="640" /></span></a></div><div><span style="font-size: medium;">A <a href="https://frame.land/alone-and-alive-at-home-at-the-san-diego-asian-film-festival/">tear-stained poem</a> of regret and thanks, for the people who made the space for us, not around to witness the beauty they created. </span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">50. Apparition </span></div><div><span style="font-size: large;">by Ismaïl Bahri</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzMC3MRI6mgQn-Mb1E2fgd9Z6KzFslmLvpUgHkGYVJyT3meCJ372nehXPs9ALkrYIQi2qwJ367AmGmnoloWd00r5S2C-7jSg2wdGJq2te1a5phRZvOFBkjXodTmkIAnd1ZDRKWWC1W-1A/s1600/Apparition-1-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzMC3MRI6mgQn-Mb1E2fgd9Z6KzFslmLvpUgHkGYVJyT3meCJ372nehXPs9ALkrYIQi2qwJ367AmGmnoloWd00r5S2C-7jSg2wdGJq2te1a5phRZvOFBkjXodTmkIAnd1ZDRKWWC1W-1A/w640-h360/Apparition-1-1600x900-c-default.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A clever game of hide and seek with an endearing lesson built into its pleasing simplicity and its single image: What we can and can't see, what we choose to <i>not</i> see, what is hidden from us in light and darkness, <i>that</i> is how history is allowed to repeat itself. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">51. Sanfield<br />by Kevin Jerome Everson</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8sR8yBeiQHmttL-YxGmcNnpGpkn6MR3kP6nu1NfA-adza-iuiQlxUs10L9aaOhuGYNIvryFW1NLKq6o7-BI7XYHec0F3Oi6Jrl0q1x4EfSNRuJNAaR7W_vfkklDIo4CxHzktIoetmbi0/s555/csm_debd90c6ef845fe6727b15c995fe620f_9a7a916d30.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="555" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8sR8yBeiQHmttL-YxGmcNnpGpkn6MR3kP6nu1NfA-adza-iuiQlxUs10L9aaOhuGYNIvryFW1NLKq6o7-BI7XYHec0F3Oi6Jrl0q1x4EfSNRuJNAaR7W_vfkklDIo4CxHzktIoetmbi0/w640-h346/csm_debd90c6ef845fe6727b15c995fe620f_9a7a916d30.jpg" width="640" /></a></div><span style="font-size: medium;">Kevin Everson could power cities. He's unstoppably productive and productively prolific. He's after every possible intersection of the contemporary human experience through the lens of blackness and in the way society intersects with and mistreats black people. Here we have a kind of institutional diagnostic and in traditional Everson form, there's much more beneath the helmets and inside the wings than easy answers. His hypnotizing monochromatic images harmonize with the militaristic milieu perfectly.</span><br /><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">52. Labor Of Love</span></div><div><span style="font-size: large;">by Sylvia Schedelbauer</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif9IYte4i1RKBPrhNad7y_0xdGFikwYlt9oYB1ETM_HSTLnsLLEzc9gB1uAn9hfIygODgKGNn6zZM57Z-tkhnQZdJLnhgkEXfqv3ZNbRe3JcActsDOPQmLVgbjLwBS87M3kUvn6Av1mj0/s1600/Labor_of_Love_2-1-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif9IYte4i1RKBPrhNad7y_0xdGFikwYlt9oYB1ETM_HSTLnsLLEzc9gB1uAn9hfIygODgKGNn6zZM57Z-tkhnQZdJLnhgkEXfqv3ZNbRe3JcActsDOPQmLVgbjLwBS87M3kUvn6Av1mj0/w640-h360/Labor_of_Love_2-1-1600x900-c-default.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">There may not be much more to this than hand-painted frames, pleasing colors, and exotic sounds, but uhh, well, look at the title. Anything this well-conceived and obviously hand made and delicious <i>has </i>to be the work of someone in love with the shape and capability of the filmed image. I was enraptured. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">53. I’m Thinking of Ending Things</span></div><div><span style="font-size: large;">by Charlie Kaufman</span></div><div><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2m6GyoUpGGGdKMSDdefkCtzPNsv69E8Y5ahma8y7nLVgc0r80uaWJlJ52SjFWIaJbmieKAtzxG4bxitZeZwx4hI7TPhzlFSmqa6o5GTLt1xWv9JCBJPYxo0yQsF_nLewNhp2G5S17-T8/s1800/im-thinking-of-ending-things-1.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1012" data-original-width="1800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2m6GyoUpGGGdKMSDdefkCtzPNsv69E8Y5ahma8y7nLVgc0r80uaWJlJ52SjFWIaJbmieKAtzxG4bxitZeZwx4hI7TPhzlFSmqa6o5GTLt1xWv9JCBJPYxo0yQsF_nLewNhp2G5S17-T8/w640-h360/im-thinking-of-ending-things-1.jpg" width="640" /></a><br /><span style="font-size: medium;">Kaufman's movies are always <i>basically</i> about Kaufman and while on paper it seems myopic for him to have co-opted a novel and turned it into a movie about his particular imposter syndrome as a writer/director, I accept the brazenness of the theft for a few reasons. One, he's outfitted into a marathon of a thing, a kind of <i>Mother & The Whore-</i>style nightmare of circuitous gab without any of the relief or realizations. Everyone here was <i>long</i> dead before the road trip began. Second, I don't mind Kaufman boosting someone's mannequin for his own suit because without a framework, he made <i>Anomalisa, </i>which was too ugly for me. This is admittedly pretty fucking mean, but somehow it's less cloying when Jesse Plemons and David Thewlis are aging and dying in front of our eyes, spouting reams of useless anti-platitudes in an attempt to grappling hook onto the sands of time. It's a chore, this movie, and I was happy to do it. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">54. Parts & Labour</span></div><div><span style="font-size: large;">by Julia Murray</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj00PSauulJ0b3ODlUeIqDLSDFgHnbJVJEd22EsDAL3lefwgdl1RlMWy6APa9C9uEIwRRchQMwVzmz8XhDTUKqg5R1KyNqKXzvP95MQ5_zD5167EKBYx8HpCNIudbeyv1FKgOvSz8Dpr_c/s900/946091771.webp" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="506" data-original-width="900" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj00PSauulJ0b3ODlUeIqDLSDFgHnbJVJEd22EsDAL3lefwgdl1RlMWy6APa9C9uEIwRRchQMwVzmz8XhDTUKqg5R1KyNqKXzvP95MQ5_zD5167EKBYx8HpCNIudbeyv1FKgOvSz8Dpr_c/w640-h360/946091771.webp" width="640" /></span></a></div><div><span><span style="font-size: medium;">A quick spin in the gears of cinema itself, a misfiring projector reminding us of the business of scrutinizing a frame and the mathematics that make one frame into twenty four and so on. It's the kind of old school, nuts and bolts enervation on which the avant-garde was founded, </span></span><span style="font-size: medium;">Tscherkassky and Run Run Shaw, together at last</span><span style="font-size: large;">. </span></div><div><span><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">55. Monster Hunter</span></span></div><div><span style="font-size: large;">by Paul W.S. Anderson</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xq_VKYMeLmPy7928V_sLd6DtOvONFfTc33iM4H1JlgPTUcL25aa6zI1EYEiwia5w8bD2Ei95VtXifKz6VZhPZz0yE-8x7a8c4e9ZbE1_08JD0jDTX3vHsr0-yPHBZkpKXFxmokdcNUs/s1480/monster-hunter-movie-rathalos-diablos-teaser-trailer-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="832" data-original-width="1480" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xq_VKYMeLmPy7928V_sLd6DtOvONFfTc33iM4H1JlgPTUcL25aa6zI1EYEiwia5w8bD2Ei95VtXifKz6VZhPZz0yE-8x7a8c4e9ZbE1_08JD0jDTX3vHsr0-yPHBZkpKXFxmokdcNUs/w640-h360/monster-hunter-movie-rathalos-diablos-teaser-trailer-2.jpg" width="640" /></a></div><span style="font-size: medium;">Picking up the Arthurian gauntlet thrown during <i>Resident Evil: The Final Chapter</i>, Anderson pits wife/ muse/reason for being Milla Jovavich against dragons, big bugs, thunder, lightning and Ron Perlman in this, maybe his most purely fun movie. Someone else brought up <i>Hell in the Pacific</i> to describe her chemistry with co-star Tony Jaa, but it's worth noting just how flippantly the marine infrastructure is treated. Milla once again is that one in a thousand warrior trained to kill whatever and whoever gets in her path, even as spiders and beetles lay waste to one battalion after another. It's a crunchy, crispy fast food buffet that doesn't even waste undue time with nonsense like valor and patriotism. It's true lizard brain speed chess, a garden of exquisitely sculpted CGI thrills. </span><br /><div><br /></div><div><span style="font-size: large;"><br />56. There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse</span></div><div><span style="font-size: large;">by Nicolás Zukerfeld</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1pMzs_yf5RCkD_tLGEx_RzMfwUYU9RwGQJliKcXtVhB4GxXHHw99lI3VfDA7gHdQLNhaPWQAXnQ9ZFXLq3uNhufnB6As4hT_pCfwfdHo5D3p-6_6KXSyZBvwqQ4ANi1SkDLUsVJeWWEw/s1448/Still_1-e1601034697179.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1448" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1pMzs_yf5RCkD_tLGEx_RzMfwUYU9RwGQJliKcXtVhB4GxXHHw99lI3VfDA7gHdQLNhaPWQAXnQ9ZFXLq3uNhufnB6As4hT_pCfwfdHo5D3p-6_6KXSyZBvwqQ4ANi1SkDLUsVJeWWEw/w640-h478/Still_1-e1601034697179.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">There is something to simply the notion of taking a body of work as splendid as Raoul Walsh's and laying it out like each film's ideas were one color on a palette. Zukerfeld is at once having fun with the idea of a supercut with A levels and also trying to get at something interesting about the print-the-legend nature of film scholarship (what, indeed, would the field be without hearsay and maybe?), but also he's onto something more important: it's easy to lose what we're talking about/fighting for when critics get wrapped around the umbilical cord of theory. Sometimes what we want is to watch men riding horses. Thinking about film is a many splendored thing. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">57. Cuties</span></div><div><span style="font-size: large;">by Maïmouna Doucouré</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaQ6S1sshb6Fmppt8S9ElMaOcyLUoxtrYZmiA1CfXRvLVARZCLBhHgZiS2uHIaBzCPM4erO79179VOBkoz4FDtYqFIzWfKYy_Mo3tWuDf4n8zZQH-QX6gpM4xPHzACKKiSkP-ZrWcHo_w/s1482/Screenshot-2020-09-11-at-14.43.35.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="843" data-original-width="1482" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaQ6S1sshb6Fmppt8S9ElMaOcyLUoxtrYZmiA1CfXRvLVARZCLBhHgZiS2uHIaBzCPM4erO79179VOBkoz4FDtYqFIzWfKYy_Mo3tWuDf4n8zZQH-QX6gpM4xPHzACKKiSkP-ZrWcHo_w/w640-h364/Screenshot-2020-09-11-at-14.43.35.png" width="640" /></span></a><span><br /><span style="font-size: medium;">It will never cease to frustrate me to live in a country still given to hollow and dimwitted moral panics, but this one at least gave me some hope that the torch wielding charlatans in question had watched a movie with subtitles. Progress? It hardly matters, but this movie, about the mounting pressure to grow up despite their being no room to do it and no lessons available about how to parse the countless influences found in the flesh and on the phone. Despite the wonderfully specific milieu, this threatens to become every young person's story now. This one has a tragic character, but it's heartening to see an adult take the emotions and the reference points of an impressionable child seriously. Every kid now is in danger of becoming old before they know what it means.</span><br /><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">58. The Salt of Tears</span></span></div><div><span style="font-size: large;">by Philippe Garrel</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyvTMfo9OVRxiTrWuYuFyI1nhUjDHOk4FguHQYm0BdHbx_r7F6uIwriI0KqUeCGgcVq15kC706MyIcLRh7QEwnnupMzdo_a1rI_txPEkFaQXdEu86OhjNNOV7A0PuAsP8H9XiOMn7J_8/s1600/REVIEW-The-Salt-of-Tears-1.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="794" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPyvTMfo9OVRxiTrWuYuFyI1nhUjDHOk4FguHQYm0BdHbx_r7F6uIwriI0KqUeCGgcVq15kC706MyIcLRh7QEwnnupMzdo_a1rI_txPEkFaQXdEu86OhjNNOV7A0PuAsP8H9XiOMn7J_8/w640-h318/REVIEW-The-Salt-of-Tears-1.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">If it's not too gauche to name drop, both Ben Sachs and Molly Haskell told me they were riveted by the appalling selfishness of the character at the heart of <a href="https://www.rogerebert.com/festivals/nyff-2020-night-of-the-kings-atarrabi-and-mikelats-the-salt-of-tears">Philippe Garrel's latest</a>. Take heed that that caliber of admirer has to be onto something. Only Garrel, now over 70 though clearly only made sharper with age, could paint someone so unsympathetic on paper who is <i>just</i> <i>figuring it out </i>like the rest of us and have that not be the central dynamic. He doesn't need to be redeemed in the eyes of the movie (Garrel, needless to say, has never gone for easy moralizing - love isn't easy and it isn't moral), he simply learns what happens when you don't listen to the people nearest to you. You'll always learn that you should have said or done something else too late. </span></span></div><div><span><span style="font-size: medium;"><br /></span><br /><span style="font-size: large;">59. Days / Swimming Out Til The Sea Turns Blue</span></span></div><div><span style="font-size: large;">by Tsai Ming-Liang / Jia Zhangke</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSG9wzQfGdXh2DGIqRdKyXbcEaxflx015-tBCRuvCAzCh_kK_stOGQaEANC-tOG9TTYilZQpbigIHRWiDDRCr-9qm3CJn2MyztYB2KybCRzvqrF6NzUfcbU6LoGIuq5thciiol7xlFU1g/s1600/Days-1.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSG9wzQfGdXh2DGIqRdKyXbcEaxflx015-tBCRuvCAzCh_kK_stOGQaEANC-tOG9TTYilZQpbigIHRWiDDRCr-9qm3CJn2MyztYB2KybCRzvqrF6NzUfcbU6LoGIuq5thciiol7xlFU1g/w640-h360/Days-1.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Valedictory and deeply felt works from some of the best filmmakers in the world, finding solace in the faces and bodies of the people who give our lives meaning. A festival and a brief encounter both find the directors focused and yet easy. Both are hypnotizing films, like memories of afternoons and nights we weren't there to experience. Both men always seem on the verge of retirement but how could they? How else can they transport their comforting ideas from their brains to reality?</span></span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">60. Beastie Boys Story</span></div><div><span style="font-size: large;">by Spike Jonze</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrC3OoPWW8WfIC2fOXIefmh4Xl7j1plLDmXA2ugSRqCb8QGzuJioeCLEOyvIZ3h1UTIKxucYVZm2H3YqClw0ZiHkDNr4KeYIYhG1yhMW42JlFJJJmjj6rrAeBwsBnMIoqP07em5hvRglo/s2000/beastie-boys-1-1980-2000.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrC3OoPWW8WfIC2fOXIefmh4Xl7j1plLDmXA2ugSRqCb8QGzuJioeCLEOyvIZ3h1UTIKxucYVZm2H3YqClw0ZiHkDNr4KeYIYhG1yhMW42JlFJJJmjj6rrAeBwsBnMIoqP07em5hvRglo/w640-h426/beastie-boys-1-1980-2000.jpg" width="640" /></a></div><span style="font-size: medium;">Spike Jonze kicks back (<a href="https://www.cultofmac.com/703313/beastie-boys-story-review/">grammatically speaking)</a> and lets his old friends and the copious great images of a never ending party tell their own story. </span></div><div><span><span style="font-size: medium;"><br /></span><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">61. Education</span></span></div><div><span style="font-size: large;">by Steve McQueen</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFMDfcAxCK9g8gQ5H-1EHeEr0601rEyKp9SqKsYmlWttaiImFOl4lmKw6Pu2zvAUkM8SMVcP1LQCbKniVEqKY798E8GL1LJqUUJB1XQ2sImDB9lQsN-1YM9w_SsxLQQm72zztYwrBXag/s2000/small-axe-education-review.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1332" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFMDfcAxCK9g8gQ5H-1EHeEr0601rEyKp9SqKsYmlWttaiImFOl4lmKw6Pu2zvAUkM8SMVcP1LQCbKniVEqKY798E8GL1LJqUUJB1XQ2sImDB9lQsN-1YM9w_SsxLQQm72zztYwrBXag/w640-h426/small-axe-education-review.jpg" width="640" /></span></a></div><div><span style="font-size: medium;">McQueen's least underlined work (maybe ever?) finds its purpose in the lost eyes of a boy who is compelled by the way the universe ought to work while the way the school district works ensures his continued struggles and unhappiness. It may lack the fire and the percussion of <i>Mangrove</i> but it is nevertheless potent. The look of a child crying as he confesses he just wants to learn is all the argument McQueen needs and he knows it. </span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">62. The Giverny Document (Single Channel)</span></div><div><span style="font-size: large;">by Ja'Tovia Gary</span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjK2EOrkNUCJmAmL4hCqvnGjIANOcZy0uhsXRDykvykAN47a4Dwq4foN0OcpWlb43AXF29GmKaPgtF09zAgWr78pgdILvpb2HlhUM5aMI_pmJyla8aVmVogpu-7OecAx4w-ZE85-D2GM/s2048/Screen_Shot_2019-07-12_at_8_10_49_PM.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1157" data-original-width="2048" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjK2EOrkNUCJmAmL4hCqvnGjIANOcZy0uhsXRDykvykAN47a4Dwq4foN0OcpWlb43AXF29GmKaPgtF09zAgWr78pgdILvpb2HlhUM5aMI_pmJyla8aVmVogpu-7OecAx4w-ZE85-D2GM/w640-h362/Screen_Shot_2019-07-12_at_8_10_49_PM.png" width="640" /></span></a></div><span><div><span style="font-size: medium;">One of the more unemphatically radical films of the year, planting bodies next to sites of Euro-centric fixation and worship, implicitly and </span><span style="font-size: medium;"><span>persuasively</span><span> equating modern blackness with the Renaissance's definition of beauty, treating her subject, the black woman, as a work of art, while also showing how few of them feel safe walking around in life, let alone appreciated. It's a tough film in reflection, but as it unfolds it's most generous and frequently flooring. </span></span></div><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">63. The Jesus Rolls</span></span></div><div><span style="font-size: large;">by John Turturro<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAsYIp24AoAljpEste1jbTrNWRt6rKUW03TOUVNol1x0pnfD5T_m2H-XtgWoVrVPJV75VncLtula-quok9aWgzKEjBHr47A0bPCQdmLmS7SpPKblGrY8WDgSjtSJYQRwDsnktVkPnJJCk/s640/THE-JESUS-ROLLS-Bobby-Cannavale-Susan-Sarandon-and-John-Turturro.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="426" data-original-width="640" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAsYIp24AoAljpEste1jbTrNWRt6rKUW03TOUVNol1x0pnfD5T_m2H-XtgWoVrVPJV75VncLtula-quok9aWgzKEjBHr47A0bPCQdmLmS7SpPKblGrY8WDgSjtSJYQRwDsnktVkPnJJCk/w640-h426/THE-JESUS-ROLLS-Bobby-Cannavale-Susan-Sarandon-and-John-Turturro.jpg" width="640" /></a><span><br /><span style="font-size: medium;">The danger with consensus is that if you listen to it, you miss out on the <a href="https://letterboxd.com/honorszombie/film/the-jesus-rolls/">funniest fuckin' movie </a>starring like twelve Oscar nominees and based on an antique French movie about how soldiers are rubes. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">64. Maggie’s F</span><span style="font-size: large;">arm</span></div><div><span style="font-size: large;">by James Benning</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUdAlgTUm_JhnsOJbvsHSJIzvg_wbOGhUqrJCKV82vLA3WI-hNXndZGPIKPsUEwugUDcDFumkwQ1fefG-ZCNdYItd7jFHwu5mtBnzeKT4wRhZ-_EK-jBzunTxU06NmGCBH4BjqZ-88sM/s1050/maggie-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="1050" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUdAlgTUm_JhnsOJbvsHSJIzvg_wbOGhUqrJCKV82vLA3WI-hNXndZGPIKPsUEwugUDcDFumkwQ1fefG-ZCNdYItd7jFHwu5mtBnzeKT4wRhZ-_EK-jBzunTxU06NmGCBH4BjqZ-88sM/w640-h362/maggie-1.jpg" width="640" /></a></div><span style="font-size: medium;">The reliable stillness and outward introspection of Benning is a perennial tonic against the horrors of current events and the blurry intensity of modern images. Benning will always simply stare and pull up a chair for you to join him. This is a study of the environment most like home to him in his working life and its bare dusty familiarity helps the film's images sing, albeit low and soft. The fires were near but the landscape wasn't afraid. </span><br /><span style="font-size: large;"><br /><br />65. Ema</span></div><div><span style="font-size: large;">by Pablo Larraín</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ_pYtPtAahg2SWfcqwCfUW1I3Ncsivv_ld0WoI6lNBk47dlBB4slTEw5csaXxFQKc7Udx8-eE9UQl_dhQaFxjp31_jfZdEOshL7-sTaynvsyuMVOfT4zLnoLqd9jMzvUHT9gf-h2jRxA/s2048/sala.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="858" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ_pYtPtAahg2SWfcqwCfUW1I3Ncsivv_ld0WoI6lNBk47dlBB4slTEw5csaXxFQKc7Udx8-eE9UQl_dhQaFxjp31_jfZdEOshL7-sTaynvsyuMVOfT4zLnoLqd9jMzvUHT9gf-h2jRxA/w640-h268/sala.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">I have Ben Sachs again to thank for the comparison of this film to 60s Godard, which is useful certainly, even if it isn't the one I reached for or found. Larraín's steady working habit, his flagrant stylishness, his range of subjects, all nakedly political, has made him enemies and friends as ardent, and they all seem <i>more or less </i>united on the subject of this luminescent nightmare of neon, fire, and sweat, of girl gangs, flamethrowers, and sweet, elaborate revenge. I think I love it, but I suppose I wanted a little more proof that the man who made my beloved <i>Neruda </i>hadn't been totally seduced by sensation, understandably appealing as it is. There is much here on which to chew (and the film is so sideways you will do quite a bit of anxious chewing) xand I'm perfectly capable of enjoying all of that but I also can't fight the feeling that this exploding disco ball of gesture and excess is simply one step on the road to something greater. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">66. The Calming</span></span></div><div><span style="font-size: large;">by Song Fang</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgtSIkzu9q9mYrqCLbVN8D4gJCHaj3Ljs0EYHsDbWcdW43dA29ABHrauhDgXWlsENVAXVm9Bn3ye0sU0KmTmOC5V9X0UlkCkZX3jjnsA0UveFGjIxX-yI7vglgNrcr65cMx0Oq_dEwRrw/s2048/202011963_2_ORG.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgtSIkzu9q9mYrqCLbVN8D4gJCHaj3Ljs0EYHsDbWcdW43dA29ABHrauhDgXWlsENVAXVm9Bn3ye0sU0KmTmOC5V9X0UlkCkZX3jjnsA0UveFGjIxX-yI7vglgNrcr65cMx0Oq_dEwRrw/w640-h360/202011963_2_ORG.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">It's a special joy when a slight movie reminds you of other slight works that have, regardless, stayed firmly planted in your memories. I thought of course of the travelogues of producer Jia Zhangke. I thought of the filmmaker narrative of Ying Liang's <i>A Family Tour</i>. And I thought of Chantal Akerman's haunting road movie <i>Les rendez-vous d'Anna</i>, no small comparison indeed. Together they form the stunningly soft-spoken tale of a woman whose life is meaningless encounters with the public she's meant to know as an artist. Her displacement is at the heart of her crisis, and it becomes devastating to see her struggle so quietly with her place. You want to step into frame and share the world with her. </span><br /><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">67. Relic</span></span></div><div><span style="font-size: large;">by Natalie Erika James</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCp75I8q2d0ocSkOuZMRQwryjB0tIpb2ph5Fj649ALUQrHxXohyphenhyphenlwDwvVXe9fdSNtqTpFak_Vvqxp3YgjGPCsSrlA_xNkmSJTIoh1NAejSKvIBQTp9G1AkRvw0rFDPC3h4YTX0v4EQMP8/s2048/RELIC_Still_7_rhftar.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCp75I8q2d0ocSkOuZMRQwryjB0tIpb2ph5Fj649ALUQrHxXohyphenhyphenlwDwvVXe9fdSNtqTpFak_Vvqxp3YgjGPCsSrlA_xNkmSJTIoh1NAejSKvIBQTp9G1AkRvw0rFDPC3h4YTX0v4EQMP8/w640-h360/RELIC_Still_7_rhftar.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">One of those marvelous chamber horror pieces where the ghosts and goblins are the prospect of inherited traits. Each actor here is more natural and radiant than the next and the scares and implications compete for dominance in your terrified mind. Becoming trapped in the walls of the family home is frightening enough without imagining what it portends.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">68. Ms Slavic 7</span></div><div><span style="font-size: large;">by Sofia Bohdanowicz and Deragh Campbell</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZqfSjVwH3nTms7-oruhJfEr12MIBXAzpvBGKlKYBgeqgcfXE48TBWhssrAYGtBmNc1RpchPK5F93T1cHW5JIiFilkVtzAVzuHdSGKUiVRhBApg2CsMs6Ov68VpJwcZACh2V8ewv0vE6M/s1280/image-w1280+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZqfSjVwH3nTms7-oruhJfEr12MIBXAzpvBGKlKYBgeqgcfXE48TBWhssrAYGtBmNc1RpchPK5F93T1cHW5JIiFilkVtzAVzuHdSGKUiVRhBApg2CsMs6Ov68VpJwcZACh2V8ewv0vE6M/w640-h360/image-w1280+%25281%2529.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Canada's soft spoken angsty sisters present the kind of heady examination you only ever seem to get in microbudget cinema. A close cousin to Ted Fendt's <i>Classical Period,</i> this wraps librarian's woes with family betrayal and finds a tenuous connection that grows stronger as our involvement in both the distant drama of a long dead poet and the very real and petty disillusioning squabble between cousins becomes more concrete. Celebrations of love take a back seat to issues of ownership and destiny. A lot of longing and fury for such quiet, well-behaved form.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">69. The Dead Ones</span></div><div><span style="font-size: large;">by Jeremy Kasten<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrX_Ww4HXY_HZ1GwI2tEWW0ZnDguzNAk8Q_6Jy00QO7NURbLnpcF3DyWwF32qdoKsoHzSJ4jSDM9sCGrS9gpIT3VbLAI92IdjiSDUaq-8zq5FFt-A73h7WOcbr0EnW_KmhmLFrFqEGC0A/s1600/the-dead-ones-2019-movie-image-4.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="886" data-original-width="1600" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrX_Ww4HXY_HZ1GwI2tEWW0ZnDguzNAk8Q_6Jy00QO7NURbLnpcF3DyWwF32qdoKsoHzSJ4jSDM9sCGrS9gpIT3VbLAI92IdjiSDUaq-8zq5FFt-A73h7WOcbr0EnW_KmhmLFrFqEGC0A/w640-h356/the-dead-ones-2019-movie-image-4.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Ten years in the making and worth every second of the wait, this is the sort of expressionistic, hallucingenic dare that I truly wish Americans could count on. Kasten was <i>just </i>ramping up to become one of the most singular filmmakers in this country. A couple of low budget shockers gave way to his whizzbang 3D <i>Wizard of Gore </i>remake, which had more personality than most people know exists. This was meant to follow it up but instead he did the sensible thing and made a great life for himself. Nevertheless he finally released this, looking a trifle nervous it must be said, at a time when gun violence at schools has become shamefully commonplace. This grey-green whatsit, the color of a festering wound, is all about the way we seek some clearer sense of our identity through violence and find only the dead end we hoped to outrun. A sick place needs real sick, risk-taking art, and here it is. I wish I knew Jeremy had a next act planned. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">70. Still Processing</span></div><div><span style="font-size: large;">by Sophy Romvari</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XCjUQdMah1WGIRKA4tGyDmTtMKWOKixoLTI0eQ2-WBCbRUXsq4m_lqz0Z_bG5s1UaW6WFF0iQTGYQJiKwTeT3-N4h7eb9n1mKlAEqLsLPGtBYKgY-Aq1s9ubnM1c-v6Kx0m0V_06oBU/s1500/A009_10250940_C014.mov_snapshot_00.20_%255B2019.12.04_14.54.05%255D.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="791" data-original-width="1500" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XCjUQdMah1WGIRKA4tGyDmTtMKWOKixoLTI0eQ2-WBCbRUXsq4m_lqz0Z_bG5s1UaW6WFF0iQTGYQJiKwTeT3-N4h7eb9n1mKlAEqLsLPGtBYKgY-Aq1s9ubnM1c-v6Kx0m0V_06oBU/w640-h338/A009_10250940_C014.mov_snapshot_00.20_%255B2019.12.04_14.54.05%255D.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">It's always curious to see what shape a metaphor can take. In the case of <i>Still Processing, </i>Sophy's literally taken a history of loss and painful happy memories and rendered them as objects: stills to be scanned and lingered over, things you can touch. The pain in her hand, in a box, in a scatter over a light table, there to give and take away meaning. I know only too well what it's like to have all the evidence there is of a person looking at you, motionless, forever and never again. This deliberately isn't the tidiest look at grief, at holding your pain on the subway, it's the <i>only</i> way. Because when tragedy, unthinkable loss, comes to us, it comes with sheet music only we know how to read and each of us must play it. Sophy stays one of our most public and vital short form filmmakers because there's no way to fake what she has to say, nor any but the most unshakably honest way to say it. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">71. The Ghost of Peter Sellers </span></div><div><span style="font-size: large;">by Peter Medak</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3RqcpbjZr4bFw_F7eti_l6N4CAAhV7dfTt7egfgv9oby8Emtjj-gS-7LRQxREsJolsQN4Nmco5Pv3DtQYXxwyyMNEjwD20co-AJWj8p_dj8KfOW3fFwmBhrq8eXX_6Sg0C4aP0cqFD4/s2048/merlin_173718618_4f510dcf-d7e7-40f1-95ac-b975452cda45-superJumbo.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1584" data-original-width="2048" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3RqcpbjZr4bFw_F7eti_l6N4CAAhV7dfTt7egfgv9oby8Emtjj-gS-7LRQxREsJolsQN4Nmco5Pv3DtQYXxwyyMNEjwD20co-AJWj8p_dj8KfOW3fFwmBhrq8eXX_6Sg0C4aP0cqFD4/w640-h496/merlin_173718618_4f510dcf-d7e7-40f1-95ac-b975452cda45-superJumbo.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A lovely visit from smiling ghosts, old friends and enemies made whole and equal by death and the reputation for a movie for once left tantalizingly blank. None of it matters anymore. We just came to hear some stories. Medak the giant is now a smiling old goat living out his remaining years with good company: the dead and us. I'm always happy to spend time in his company. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">72. The Load</span></div><div><span style="font-size: large;">by Ognjen Glavonić</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jkGSRa69QCTQgla-OhCIXH2sKjK7uvQ5C0Z_D3A2OqxseyY1UE6uX7sUp9s-gjNjbnucueZnAgFs9SPZ8f-YUhtZ38bYfiLTSk93sNyZpQ7M9VVdfa1C2wV5UHjLf6nvr54RtYzlmsM/s1280/theload_300dpi_01_c_tatjana_krstevski_non-aligned_films_copy_0-compressed.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8jkGSRa69QCTQgla-OhCIXH2sKjK7uvQ5C0Z_D3A2OqxseyY1UE6uX7sUp9s-gjNjbnucueZnAgFs9SPZ8f-YUhtZ38bYfiLTSk93sNyZpQ7M9VVdfa1C2wV5UHjLf6nvr54RtYzlmsM/w640-h360/theload_300dpi_01_c_tatjana_krstevski_non-aligned_films_copy_0-compressed.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A neo euro <a href="https://www.patreon.com/posts/39786951">death march</a>, charismatic as it is bleak and uncompromising, each new sight of destruction and poverty is rendered with a cool eye. You can't help but think about what made all of this possible. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">73. Pinocchio</span></div><div><span style="font-size: large;">by Matteo Garrone </span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZiI4SfZ28wbOIVm1u6rBJr_Oa25aWLTDDJZfXciG5ErCxKovemBpNOxyJXA1MWIFfgTusb4F-3yqIAOK2Qq9rD2UioiINXO5iMg3zEtVqz8vCIMDBLX9kbTs1fEuuo3cg-iOiPUqNa5E/s1200/AC13-SEP-Pinocchio.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="674" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZiI4SfZ28wbOIVm1u6rBJr_Oa25aWLTDDJZfXciG5ErCxKovemBpNOxyJXA1MWIFfgTusb4F-3yqIAOK2Qq9rD2UioiINXO5iMg3zEtVqz8vCIMDBLX9kbTs1fEuuo3cg-iOiPUqNa5E/w640-h360/AC13-SEP-Pinocchio.jpg" width="640" /></span></a></div><div><span style="font-size: medium;">Garrone's fantasy films are a too-infrequently lionized fixture of world cinema, taking what we think we know about fantasy grammar and rewriting it in squiggly calligraphy. Here not only does he return the story of the wooden puppet who wants to be a real boy back to its native Italy with its upsetting imagery intact, he gives elfin clown Roberto Benigni a deserved second crack at the story. Garrone didn't simply rewrite this story in his typically steady hand, he gave a reputation a new coat of paint. That's just <i>nice</i>. Even if the film weren't flooring to behold and amply weird and sweet, it would still be a most important work indeed. </span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">74. Bacurau</span></div><div><span style="font-size: large;">by Juliano Dornelles & Kleber Mendonça Filho</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEv5FTU4k25BEuX7E7S5298LHJbqkmez5paep6FXAFV0ASL75CbzftvuNLSKsiinzMnLWhhsttk2G2PZ0P8XqB9wfpOPGssYRWPYsCHtud0GGM5Ei4ZXPWC96EE2XsQ2U8LjvExZ59F2w/s1280/image-w1280+%25282%2529.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEv5FTU4k25BEuX7E7S5298LHJbqkmez5paep6FXAFV0ASL75CbzftvuNLSKsiinzMnLWhhsttk2G2PZ0P8XqB9wfpOPGssYRWPYsCHtud0GGM5Ei4ZXPWC96EE2XsQ2U8LjvExZ59F2w/w640-h360/image-w1280+%25282%2529.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A kind of affectless midnight movie, the totems of 80s horror hung on the wall like framed posters while the movie moves and sounds like contemporary agitprop. This became the movie of the moment because it eats the rich and diagnoses our illnesses without pulling punches. Thankfully its pleasures as a film are nearly as potent as its purpose. </span><br /><br /></span></div><div><span><br /></span></div><div><span style="font-size: large;">75. Drills</span></div><div><span style="font-size: large;">by Sarah Friedland </span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0KuLIYqladCGyDB2TyA6uZUuyklDPq9ztPazVTDBCjRQHAKhx_RMKHCDTOLF99nWI_teEYcocg_jdaAj_zmIwzVcHmjyv_GwKYvbO3ppR9GyRS1zCmGFfep33yA21MbIl4PhpYrBmOg/s2048/Drills_still_3_2020_%25C2%25A9_SarahFriedland-scaled.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0KuLIYqladCGyDB2TyA6uZUuyklDPq9ztPazVTDBCjRQHAKhx_RMKHCDTOLF99nWI_teEYcocg_jdaAj_zmIwzVcHmjyv_GwKYvbO3ppR9GyRS1zCmGFfep33yA21MbIl4PhpYrBmOg/w640-h360/Drills_still_3_2020_%25C2%25A9_SarahFriedland-scaled.jpg" width="640" /></a></div><span><span style="font-size: medium;">A mesmerizing bit of intrigue, in which ritual explores trauma and trauma has already become ritualized. A sick nation will never heal decides instead to keep building bells and whistles to alert us to what we already know: we're doomed. Friedland's head is in the right place (inches from the wounds inflicted on children for the sake of adults feeling like they have control) and her mise-en-scene is anger itself. </span><br /><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">76. Chasing Dream</span></span></div><div><span style="font-size: large;">by Johnnie To</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCiKP2n_t2PuisgC553ZmmzuRH1CviRxC4hCv8mASP6BIa1Dt7PojdrluJ5oW8-BRk-L0ooA3-BQ0iKsFMztqeju66ayTY1JC52w-nnwHqQ83zHKsE2hB-YutPK6doY6BaEMsdxHATTcc/s1280/chasing-dream.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCiKP2n_t2PuisgC553ZmmzuRH1CviRxC4hCv8mASP6BIa1Dt7PojdrluJ5oW8-BRk-L0ooA3-BQ0iKsFMztqeju66ayTY1JC52w-nnwHqQ83zHKsE2hB-YutPK6doY6BaEMsdxHATTcc/w640-h360/chasing-dream.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Pre-code panache rendered with still-wet paint <a href="https://www.patreon.com/posts/40607081">from pristine technology</a> and To at his most lithe and gymnastic. Not a dull moment or a bad scene. Sometime it's like he's painting the future before it happens.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">77. Capone</span></div><div><span style="font-size: large;">by Josh Trank</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7kjnIqRl3iJURIguOx3P79NEftrVdYgtxByTTr5WGdaRnL8GKyrXFXxYB_SrUiDj8QMMz5yIn2lupEcfDXpm8h7W1-8u2LUxY9XAmCjuVWjZiMbX64gJFji5mh7W5Rm7TM_GujxpkzcM/s1417/MV5BODYzODBlZjQtMDIyNy00ZjkwLWFhM2QtYTAyMzM0OTc1YzJhXkEyXkFqcGdeQWpnYW1i._V1_.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="797" data-original-width="1417" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7kjnIqRl3iJURIguOx3P79NEftrVdYgtxByTTr5WGdaRnL8GKyrXFXxYB_SrUiDj8QMMz5yIn2lupEcfDXpm8h7W1-8u2LUxY9XAmCjuVWjZiMbX64gJFji5mh7W5Rm7TM_GujxpkzcM/w640-h360/MV5BODYzODBlZjQtMDIyNy00ZjkwLWFhM2QtYTAyMzM0OTc1YzJhXkEyXkFqcGdeQWpnYW1i._V1_.jpg" width="640" /></span></a></div><div><span style="font-size: medium;">In which <a href="https://frame.land/framelands-favourite-cinematic-moments-of-2020/">Dorothy</a> tries like hell to get back into <a href="https://letterboxd.com/honorszombie/film/capone-2020/">Oz</a>, and finds the door shut and barred and every friend she made dead and mocking her with rictus grins. The enduring American myth pulled inside out so many times it can't be made to sit up straight anymore.</span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">78. Fireball: Visitors from Darker Worlds</span></div><div><span style="font-size: large;">by Werner Herzog & Clive Oppenheimer</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg59o3beNLKTdyXAp1uKdt_yx0q8O8jytsNQ6KeIUggpzU6kjAk9_2Hc_ODiEGdo5LCl6O76cACdTIvq1inqKyvYrpGEf6tjKv5NSJi5j6QNdhRn3yp3by7bpYGz96FzgqKslXtEJnhA98/s1400/Fireball_Photo_0112.0.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="933" data-original-width="1400" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg59o3beNLKTdyXAp1uKdt_yx0q8O8jytsNQ6KeIUggpzU6kjAk9_2Hc_ODiEGdo5LCl6O76cACdTIvq1inqKyvYrpGEf6tjKv5NSJi5j6QNdhRn3yp3by7bpYGz96FzgqKslXtEJnhA98/w640-h426/Fireball_Photo_0112.0.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;"><a href="https://www.cultofmac.com/726766/fireball-visitors-from-darker-worlds-review-apple-tv/">Herzog's mind firing</a> on all cylinders while prostrate before possibility, gazing at the heavens, empty of gods but filled with mystery and wonder. His rationality is one of the most exciting points of view in non-fiction and as he grows closer to the end of his life it becomes downright chipper spending in the glow of his curiosity and agreeability. An honorary scientist and a man who speaks the language of angry earth tracing the finger prints of alien objects, a most excellent use of one's afternoon. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">79. An American Pickle</span></div><div><span style="font-size: large;">by Brandon Trost</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioeXmww4VubYrVF70ZJhkq-jNRH7gj4b_L3-iG7sbyR-RCLCrkwX2WbsJuTZd0mnw4UzQ2hgtPEvCRGXtUod5xjK7fJo0XRXCoKgQrw27RqxIviKWY69i0WJTxwrzKVsv1efLCRI1wetM/s1500/296d8f5f9eab831055a27eaa63665bf4f1-an-american-pickle.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioeXmww4VubYrVF70ZJhkq-jNRH7gj4b_L3-iG7sbyR-RCLCrkwX2WbsJuTZd0mnw4UzQ2hgtPEvCRGXtUod5xjK7fJo0XRXCoKgQrw27RqxIviKWY69i0WJTxwrzKVsv1efLCRI1wetM/w640-h426/296d8f5f9eab831055a27eaa63665bf4f1-an-american-pickle.jpg" width="640" /></a></div><span style="font-size: medium;">A modern doppelgänger fairy tale with refreshingly few hangups about being honest about how much the present and the past still reflect one another. Trost's post-punk cinema rewrites an antique way of life by laying it over top of the too-arch pretenders. It's telling and sharp that when the 100 year old man emerges in modern Brooklyn, he's not the one with the stupid facial hair. This is a movie about the way the desire to just<i> live</i> hasn't been uncomplicated by capitalism in so many years that no one can even culturally remember a time when their people were happy, though they've hidden it in a <i>very</i> funny little comedy. </span><br /><span style="font-size: large;"><br /><br />80. Sputnik</span></div><div><span style="font-size: large;">by Egor Abramenko</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3j8R7ZspL_L_gzPYiN7WqAuVNhotwISLEuBtn3dpuipYsbBFrLOKqUEWicy8yuFikVKDG0Tzrivmf3I78AHKe2kixNnWp4r52Fzc1UDSl7KFdLh5qG7hzfO2sSN2odlPhlIy-AHZomhw/s1200/sputnik+movie+alien.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3j8R7ZspL_L_gzPYiN7WqAuVNhotwISLEuBtn3dpuipYsbBFrLOKqUEWicy8yuFikVKDG0Tzrivmf3I78AHKe2kixNnWp4r52Fzc1UDSl7KFdLh5qG7hzfO2sSN2odlPhlIy-AHZomhw/w640-h360/sputnik+movie+alien.jpg" width="640" /></span></a></div><div><span><span style="font-size: medium;"><a href="https://www.patreon.com/posts/40826563">Water-tight genre thrills</a> bathing in grim Kremlin trappings, as fun to hold your breathe during this as it is to see how the Russians approach an idea America and the UK have worked to death. </span><br /><br /></span></div><div><span><br /></span></div><div><span style="font-size: large;">81. Build The Wall</span></div><div><span style="font-size: large;">by Joe Swanberg</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBVopHRqFVmpQ5aLSd2urETIiy5mwsvhjzsD9sgdMC2WJe72alih3I9AAwh5ytjlDHasLh3_UgDH4PYHuKK2siaAIPedO7MX6Dm6M7HAKn6D30ggibc2U3h62U4xP5FI4-uv3I9LQNETc/s1872/build_the_wall_20.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1053" data-original-width="1872" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBVopHRqFVmpQ5aLSd2urETIiy5mwsvhjzsD9sgdMC2WJe72alih3I9AAwh5ytjlDHasLh3_UgDH4PYHuKK2siaAIPedO7MX6Dm6M7HAKn6D30ggibc2U3h62U4xP5FI4-uv3I9LQNETc/w640-h360/build_the_wall_20.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">I sort of suspect that Joe doesn't quite know what to do with himself anymore. He's got a prime spot on Netflix but he hasn't released a film into theatres in <i>quite</i> some time. The uncertainty nicely colors <i>Build The Wall</i>, a film all about not knowing what to do next. Two people seem certain they're getting together for sex, but neither really knows what the other's version of intimacy looks like. The newly purchased house of Swanberg lead Kent Osborne seems an interesting site for dissecting the problem of purpose - was any of the mumble core players ever supposed to be here? I rather like this study of pale, fumbling bodies feeling strange and watched in the deep greens of the forest and the grey browns of the house. </span><br /><br /></span></div><div><span><br /></span></div><div><span style="font-size: large;">82. Viena and the Fantomes</span></div><div><span style="font-size: large;">by Gerardo Naranjo</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxivHmiZ4c0utcqDt2Fwh8nRcC32DSzO03hEfilhy6aplaWEybH9KB39hH9tnZ3jCdwQx6atqvQ2QPNZF33i89SzOQixJ2IltcL_hNhYp64KsCPO4ew3aTEGa62F2Ya1uAIL7G9mk1Ar4/s1280/maxresdefault+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxivHmiZ4c0utcqDt2Fwh8nRcC32DSzO03hEfilhy6aplaWEybH9KB39hH9tnZ3jCdwQx6atqvQ2QPNZF33i89SzOQixJ2IltcL_hNhYp64KsCPO4ew3aTEGa62F2Ya1uAIL7G9mk1Ar4/w640-h360/maxresdefault+%25281%2529.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Naranjo's latest seemed almost like someone wanted it torpedoed, dead and buried, rather than properly released. The color timing was botched, the release was whisper quiet despite a cast of thousands, and there wasn't even a soundtrack release for this movie about a touring band <i>filled</i> with terrific retro shoegaze that sounds like the genuine article. I personally don't get it? Maybe it isn't the hugely ambitious follow-up fans of <i>Miss Bala</i> hoped for but I don't mind at all the director just trying to make another movie that interests him rather than betting it all on red with a new line of credit. This may ultimately just be a story about a woman who gets lost looking to live her rock and roll dream, but it's not prescriptive, it's not cliched, and it's not so ugly you forget its moments of real beauty. It's always <i>itself</i> and I liked that just fine. </span><br /><br /></span></div><div><span><br /></span></div><div><span style="font-size: large;">83. Amulet</span></div><div><span style="font-size: large;">by Romola Garai</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzHo0NtUBcrExXbRbC7nhUJ6dWsKXA9xCz8FZN9cB-IQf7VptMiA0k94zB_KmKGixcW-bouFuG1WJgTlEGvDiAnQ0x73oL0QYf4gJfQcdv9qoUJnuEMhgRBQwEWnMvDHn4bC2QtUFwYj4/s1200/Amulet1.0.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzHo0NtUBcrExXbRbC7nhUJ6dWsKXA9xCz8FZN9cB-IQf7VptMiA0k94zB_KmKGixcW-bouFuG1WJgTlEGvDiAnQ0x73oL0QYf4gJfQcdv9qoUJnuEMhgRBQwEWnMvDHn4bC2QtUFwYj4/w640-h426/Amulet1.0.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">A drunken, miserable catholic hootenanny where everyone gets punished for trying to do better and for needing to do better because they have been very, very bad. <a href="https://www.patreon.com/posts/39783545">Garai the director </a>may need a little of Garai the writer's spunk, but there's something very funny about the bait and switch of a sad arthouse movie become a bonkers 80s brit horror movie. If Norman J. Warren and Pete Walker had ever collaborated, it would likely have looked like this and real heads oughta know a hot ticket when they hear one. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">84. The Man In The Woods</span></div><div><span style="font-size: large;">by Noah Buschel</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9piHbJAof1aGYzfyXAd6A_rVXGZ4CxCRkTEb-cRnXoGx6X76QOyDSEALjAEgniMqVXhMkQDuBjS-dKiH1KwMImYq5efONLF5ZYrPapm37gTlM8CQQyPThPzz2KVb993-T-Tf-leGSTiM/s1920/174229055_the-man-in-the-woods-2020-1080p-web-dl-dd2-0-h-264-evo_01.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="802" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9piHbJAof1aGYzfyXAd6A_rVXGZ4CxCRkTEb-cRnXoGx6X76QOyDSEALjAEgniMqVXhMkQDuBjS-dKiH1KwMImYq5efONLF5ZYrPapm37gTlM8CQQyPThPzz2KVb993-T-Tf-leGSTiM/w640-h268/174229055_the-man-in-the-woods-2020-1080p-web-dl-dd2-0-h-264-evo_01.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Even Buschel at his most self-referential and cute is better than just about any other American stylist. If the script for his new one needed cutting back a hair, the compositions in this are like ice sculptures by Rodin, chilly and precise and <i>marvelous</i>. I could watch the man direct space and light all damn day. I think I like him best when he's navigating the present through that iron clad sense of talk and action, but the classic noirs aren't half-bad. And anyway who the hell else is doing them? </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">85. Guest of Honour</span></div><div><span style="font-size: large;">by Atom Egoyan</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iqCkIZaOIyFbkCaLee5yG_Etm2v-yVZdtcUpZ474pRkZVG1SdcAQ4Baf3uHzRpAD5FvgZrucGPzSqbHAyv4qsgv4DzIGpMnLmB7k6hjiPVkyoum1tKZdtrw6Yn5z-0x9G08qz4R-6-g/s1200/guest+np-1200-1200-675-675-crop-000000.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iqCkIZaOIyFbkCaLee5yG_Etm2v-yVZdtcUpZ474pRkZVG1SdcAQ4Baf3uHzRpAD5FvgZrucGPzSqbHAyv4qsgv4DzIGpMnLmB7k6hjiPVkyoum1tKZdtrw6Yn5z-0x9G08qz4R-6-g/w640-h360/guest+np-1200-1200-675-675-crop-000000.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;"><span>Egoyan is now more than ten years deep into an idiosyncratic mission to continue charting the flow of malice and ill-will.<i> </i>The machinery is the same here (a mystery of lonely men and women searching for their personal rosebud at someone else's expense) but the cogs are maybe his most exquisite since <i>The Sweet Hereafter. </i>David Thewlis here outdoes even David Thewlis in <i>I'm Thinking of Ending Things </i>as a man who has decided to let himself become the off-putting gargoyle everyone imagines him to be. He's marvelous but he's hardly the only interesting presence. Rossif Sutherland and Laysla De Oliveira playing horny mind games are every bit the cinematic equal of Thewlis' scorched earth puzzle. </span><span>The public long ago left him to his own devices which has allowed him to keep making and remaking the movie of his dreams, which I happen to love, whether it's called </span><i>Adoration, Remember, The Captive</i><span>, or </span><i>Guest of Honour.</i></span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">86. Blood Quantum</span></div><div><span style="font-size: large;">by Jeff Barnaby</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisiVX4uFDL3tTpzFofUPFY8-VvA5vCBBq9GFNtjfDMzU-ifay1fNGOJJm4Vv08jFwgCB9phMdI_DOxLfqTgtOW4RUwCSLa8eckt213QiOT0LZoqfbX_huINJDGzyL9BNwaHgTnTEmbNhA/s1500/Movies-Blood-Quantum3.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="843" data-original-width="1500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisiVX4uFDL3tTpzFofUPFY8-VvA5vCBBq9GFNtjfDMzU-ifay1fNGOJJm4Vv08jFwgCB9phMdI_DOxLfqTgtOW4RUwCSLa8eckt213QiOT0LZoqfbX_huINJDGzyL9BNwaHgTnTEmbNhA/w640-h360/Movies-Blood-Quantum3.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">An <a href="https://letterboxd.com/honorszombie/film/blood-quantum/">unhinged fable</a> of living after fables usually end. A murderers' row of indigenous talent forming a cut-throat commune after the fall of mankind makes for one of the great cinematic hang out spaces of the year. </span></span></div><div><span><span style="font-size: medium;"><br /></span><br /></span></div><div><span style="font-size: large;">87. Unhinged</span></div><div><span><span style="font-size: large;">by Derrick Borte</span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz-1N67VZR928p5o8IueUiuLpFuXsvBUPxi7Bp-ewK-YmWidVojcwLOK3ZwX2u63DDUM9OxX60ICRpoAArEKcwzOp5gb3ATeO_G0VjJ_661Ea-OWY5GCEAkl9aXozmHik2we-vuYc1lyY/s1200/unhinged-UNHINGED_00523_rgb.jpg" style="font-size: x-large; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz-1N67VZR928p5o8IueUiuLpFuXsvBUPxi7Bp-ewK-YmWidVojcwLOK3ZwX2u63DDUM9OxX60ICRpoAArEKcwzOp5gb3ATeO_G0VjJ_661Ea-OWY5GCEAkl9aXozmHik2we-vuYc1lyY/w640-h426/unhinged-UNHINGED_00523_rgb.jpg" width="640" /></a><br /><span style="font-size: medium;">The pleasures of the late Russell Crowe movie are lost on many and at those poor souls I can only shake my head. I pity them, really. How could you not love a movie in which Crowe's some kind of curdled Southern gentleman who's held onto the ideas of "happy wife, happy life" and every other cross-stitched platitude so tightly they've made him a hulking maniac with biblical delusions, as if Charles Laughton had stepped into Robert Mitchum's role in <i>Night of the Hunter</i> and then slipped on a banana peel into a time machine? There's just so much to enjoy here, from Borte's economical (in every way) direction, to the beige purgatory of the anonymous depressed location, and of course Crowe's drooling drawl and menacing small talk. Chef's kiss. </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">88. Black Water: Abyss</span></div><div><span style="font-size: large;">by Andrew Traucki</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUlXrdhaHINjfnciFs4vN8K7Xmahq0ET2kMiT7hSK714RWaIckIaZB5x_GMvJQHw8-b3et8RpJ2cy_UsL3ihapFFfNrMOCC7OuEgaD4IZx-CrjBOyZQUZhyrDnPMoaLwNQ0FQDfxZzvJo/s1200/black+water-1200-1200-675-675-crop-000000.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUlXrdhaHINjfnciFs4vN8K7Xmahq0ET2kMiT7hSK714RWaIckIaZB5x_GMvJQHw8-b3et8RpJ2cy_UsL3ihapFFfNrMOCC7OuEgaD4IZx-CrjBOyZQUZhyrDnPMoaLwNQ0FQDfxZzvJo/w640-h360/black+water-1200-1200-675-675-crop-000000.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">The scariest thing isn't the crocodile you see it's the one you can't. <a href="https://www.patreon.com/posts/40207591">Traucki's continued commitment</a> to documenting the crossroad between the all-too-real and the horrific may have reached its apex here, as each puddle of light and water may portend screaming toothy death. </span></span></div><div><span><span style="font-size: medium;"><br /></span><br /><span style="font-size: large;">89. Family Romance LLC</span></span></div><div><span style="font-size: large;">by Werner Herzog</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8BwB-dG-xpj4jC9pn1mrhPQL4YukukZszKjHDL2N-xLj32neX6v5xGYZ8yx3ia4XwjGGdwqxgHvL3AO-MpQ0YrQ50BtFqW1dNrfvedFE7d7Se0Ps5HIjRIqWC28J1vDAqOpOmV5A-s-I/s2048/51ed1f25-c19d-4a1b-a9fd-e71507937cd4.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8BwB-dG-xpj4jC9pn1mrhPQL4YukukZszKjHDL2N-xLj32neX6v5xGYZ8yx3ia4XwjGGdwqxgHvL3AO-MpQ0YrQ50BtFqW1dNrfvedFE7d7Se0Ps5HIjRIqWC28J1vDAqOpOmV5A-s-I/w640-h360/51ed1f25-c19d-4a1b-a9fd-e71507937cd4.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Herzog drops all but the <a href="https://www.patreon.com/posts/39902437">barest essence of human beings</a> at their loneliest to craft his latest fiction (which may be no such thing at all). It's good to see him wield the camera next to actors, sensing his excitement at every development, recognizing the sort of immortal truths of people in his vignettes of connection. People <i>do</i> sort of crave the same things from each other, no matter how bizarre the circumstances, and like tyranny and madness, his old hobby horses, that does seem to be forever. Enough time filming the true dereliction of order in the universe, he has eventually found somethings about people he likes. Not bad for an old hellraiser. </span></span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">90. The Human Voice</span></div><div><span style="font-size: large;">by Pedro Almodóvar</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkAtOPCKaHTAbHKa58ZTfvBbUuwLVLfstHbLWWTgCGxxG4z26CL5W5YMKFm-iRn-rqyAruxWEtQrkFwknnAja9NLQwD-N1GQ5XgnqRRyOCb0OY4ObQSZzTzcRqR0U9gSMJMliLAwQaWmA/s1200/1601047041912_the_human_voice_almodovar_tilda_swinton.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="750" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkAtOPCKaHTAbHKa58ZTfvBbUuwLVLfstHbLWWTgCGxxG4z26CL5W5YMKFm-iRn-rqyAruxWEtQrkFwknnAja9NLQwD-N1GQ5XgnqRRyOCb0OY4ObQSZzTzcRqR0U9gSMJMliLAwQaWmA/w640-h400/1601047041912_the_human_voice_almodovar_tilda_swinton.jpeg" width="640" /></span></a><span><br /><span style="font-size: medium;">Almodóvar's glittering bauble, one of the first covid movies, is a film that feels long overdue, and not simply because he should have worked with Tilda Swinton before now but it's the first time he's adapted Cocteau, a creator after his own heart. This lissome little monologue crackles with the fire and chromatic lunacy that marks the best of Almodóvar, who has a way of making all other directors look like cowards and dilettantes. Yes, we're all sort of alone, on the phone with phantom lovers, looking to burn something to feel <i>anything</i>. More than that, we want to feel seen by something as stupendous as this. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">91. May The Devil Take You Too</span></div><div><span style="font-size: large;">by Timo Tjahjanto</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpnMXQqSaQZKPZudPsqP0n8m8kbSVzHE2xWUrN1UAIIYOmhXP3eCKQfb-7SiAaQOm-nwbcBKiHf5UDWH5DC3T7oG9ktQMlOqs9PMKSrUo2o9kd3muBSaUafVsY_xGeUok-r05TFs430M/s1600/may-the-devil-take-you-too-featured.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpnMXQqSaQZKPZudPsqP0n8m8kbSVzHE2xWUrN1UAIIYOmhXP3eCKQfb-7SiAaQOm-nwbcBKiHf5UDWH5DC3T7oG9ktQMlOqs9PMKSrUo2o9kd3muBSaUafVsY_xGeUok-r05TFs430M/w640-h360/may-the-devil-take-you-too-featured.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">More purely mischevious and empathetic a haunted house than the nicely grim original entry, it's fun to have a guide whose face we recognize when the action turns to mortified flesh, screaming innocents, and gaping wounds. I think I'm hard on Timo Tjahjanto because he's <i>obviously</i> talented and knows how to shock an audience out of their seats but I don't ever want someone so motivated to stop trying to reach new heights. This is a marvelous bit of spooky skullduggery, but is it the best this guy's got in him? Certainly not. I hope he never stops trying to find the next best thing. </span></span></div><div><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">92. The Woman Who Ran<br />by Hong Sang-soo</span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7iyWqWZLlTZijbyKIIGPVwj0yjQCEfQMKGFZcTGpVszKCKQxrSs3e1cswldMUQ2GNl5mFBDgToapH7WqL5izCeQSZuApsCz0fFCJ27KsW6q0_pqwefLHE5dPMFIyudekeiLGwmVsl2k/s1600/NYFF58_The-Woman-Who-Ran-2_Kim-Minhee-and-Song-Seonmi-1-1600x900-c-default.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO7iyWqWZLlTZijbyKIIGPVwj0yjQCEfQMKGFZcTGpVszKCKQxrSs3e1cswldMUQ2GNl5mFBDgToapH7WqL5izCeQSZuApsCz0fFCJ27KsW6q0_pqwefLHE5dPMFIyudekeiLGwmVsl2k/w640-h360/NYFF58_The-Woman-Who-Ran-2_Kim-Minhee-and-Song-Seonmi-1-1600x900-c-default.jpeg" width="640" /></a></div><span style="font-size: medium;">Minor variations in Hong's playbook now stand out like key changes in power ballads and they are fun when they arrive. Hong can do this in his sleep, and I think he knows we know this, so he works harder than usual to be surprising, and release unexpected dynamic pleasures, from the comparative lack of male presence, to the sudden appearance of everyone's favourite movie cat of the year. This is just another Hong, but it's one of his most delectably oblong.</span><br /><span style="font-size: large;"><br /><br /></span></div><div><span style="font-size: large;">93. Sea Fever</span></div><div><span style="font-size: large;">by Neasa Hardiman</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPOE06OcYe45LXsslxFr5wmnn4f7DYvFyP4YrMdU95j6p3afk55dcBIVXIn-CrymlDLXAWUh5zY_IKw5BYDSNCZPtpiNEVOjUECOVZkCQlTGKBIM5VuKPp_L6T_XTAbdfE1-JxGMmkGOc/s1501/Sea_Fever_gunpowder_and_sky.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="700" data-original-width="1501" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPOE06OcYe45LXsslxFr5wmnn4f7DYvFyP4YrMdU95j6p3afk55dcBIVXIn-CrymlDLXAWUh5zY_IKw5BYDSNCZPtpiNEVOjUECOVZkCQlTGKBIM5VuKPp_L6T_XTAbdfE1-JxGMmkGOc/w640-h298/Sea_Fever_gunpowder_and_sky.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Though the playbook has to eventually run out of...well, plays, I do still love a good riff on <i>Alien</i> (there are several on this countdown, I ought to!) and I like the contours of this one <i>very</i> much. The setting at sea, the obvious low budget hidden in <i>magnificent</i> practical effects, the cast working overtime, the combination of claustrophobic high seas bad luck and cosmic indifference creating a uniquely unpleasant atmosphere. This may be one micro idea executed with maximum malevolence after another, but that's not a half-bad way to build a scary movie. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">94. Deerskin</span></div><div><span style="font-size: large;">by Quintin Dupieux</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZ5lucFNo9l01caprs_hEtZAvtPoF_gogKCeNip3gbnsUxZYrdgvBUXRSLh8-W8seMlX9NXEaxWNPWTEb6QdHJ7ydQuxhqrLpBnQmKCp2eU3ZFp4HIdp1-xTBZmN3iqo6Fi6Y07O4BQ0/s1600/RDV_Deerskin_01-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZ5lucFNo9l01caprs_hEtZAvtPoF_gogKCeNip3gbnsUxZYrdgvBUXRSLh8-W8seMlX9NXEaxWNPWTEb6QdHJ7ydQuxhqrLpBnQmKCp2eU3ZFp4HIdp1-xTBZmN3iqo6Fi6Y07O4BQ0/w640-h360/RDV_Deerskin_01-1600x900-c-default.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Dupieux hasn't exactly been busy rediscovering the purpose of the seventh art, but he's made enough boringly off-putting films to make me wonder what's prevented him from making something <i>good</i> until now. Well <i>Deerskin</i> won't answer that question but it is the good film in question and it's a doozy. A kind of post-Tarantino serial killer's notebook masquerading as a revisionist film school textbook and finally all the funnier for having nothing to say. The way this movie keeps poking walls in the rules of filmmaking only to discover they come right down is continuously engaging and hysterical. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">95. I’ve Been Afraid</span></div><div><span style="font-size: large;">by Cecilia Condit</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6IEUou0ZY273NvVxchwusJnhUoEb8Jnc4gEInvwlTPIauvJzRI854Jn5QSjuhXU0LQdgVEUKOtXPsxwg3-87sLFD3fcrdTda7yeVfDbt5LXh_uiFubWJ665A8VgnOJMTct_7x7o1rsA/s1920/IveBeenAfraid.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6IEUou0ZY273NvVxchwusJnhUoEb8Jnc4gEInvwlTPIauvJzRI854Jn5QSjuhXU0LQdgVEUKOtXPsxwg3-87sLFD3fcrdTda7yeVfDbt5LXh_uiFubWJ665A8VgnOJMTct_7x7o1rsA/w640-h360/IveBeenAfraid.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Fresh off her newfound fame as a tiktok icon, Condit returns with another 5 star self-portrait, a typically idiosyncratic portrait of a woman trapped in the center of a weird and lovely world. Her witty use of new technology highlights her strengths, as a total filmmaker, creating a kind of anthem of re-discovery that looks like a music video but is defined by a kind of everyday darkness that escapes most social media art. Inventive, fun, haunting, and <i>new</i>, this is up there with her best work.</span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">96. Her Name Was Europa</span></div><div><span style="font-size: large;">by Anja Dornieden & Juan David Gonzalez Monroy</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwqMyErqPGxjafAJZAHJ4fWZ_QMkzst3w7ZgU5hEZg5oAQpDSyOhJD1UTnhXCyOAJ28gNeqNfHtP3HIovCDUJarfXHJyWDZq9sdQchZLC83Vt9TA_faxJV7SOOV2PD0M5wjA9kHRm6kmM/s1920/still-from-the-film-her-name-was-europa-by-ojoboca-2020-her-name-was-europa-2020-directed-by-anja-dornieden-and-juan-david-gonz-lez-monroy-of-ojoboca-stirworld-200528041559.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwqMyErqPGxjafAJZAHJ4fWZ_QMkzst3w7ZgU5hEZg5oAQpDSyOhJD1UTnhXCyOAJ28gNeqNfHtP3HIovCDUJarfXHJyWDZq9sdQchZLC83Vt9TA_faxJV7SOOV2PD0M5wjA9kHRm6kmM/w640-h360/still-from-the-film-her-name-was-europa-by-ojoboca-2020-her-name-was-europa-2020-directed-by-anja-dornieden-and-juan-david-gonz-lez-monroy-of-ojoboca-stirworld-200528041559.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">What begins as a kind of sweetly ludicrous zoological curiosity becomes, as these things tend to, about its own creation. The nazis couldn't bring prehistoric cows back to life, they couldn't hunt them to the entryway of Valhalla, and thus there really <i>isn't</i> a point to be made one way or the other about the effort, except that its metaphorical in the way all Nazi totems were. They wanted to be gods, but they weren't even cows. Our filmmakers realize it too late and go revel in another grand German folly, the airport hangar Disney world they built. Even now the bones of titans litter the country. No one learned anything. No one ever will. It is perverse to vacation in a graveyard, but that doesn't mean you won't have fun. </span><br /><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">97. Beneath Us</span></div><div><span style="font-size: large;">by Max Pachman</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_F4kXN6SlussUohuK3RmRHPw2jdwXX5jeZSRpZfDNxbp1NMhcxg2Cnfkh12Hkos9UbDIQLwUB3o_9fljl3dlQPqDUWKKT3oyZA9JWLsgjwXhZfuHrBQiu0ekrVL2TscAq8WYM1yvJTDA/s1600/REVIEW-Beneath-Us-7.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="794" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_F4kXN6SlussUohuK3RmRHPw2jdwXX5jeZSRpZfDNxbp1NMhcxg2Cnfkh12Hkos9UbDIQLwUB3o_9fljl3dlQPqDUWKKT3oyZA9JWLsgjwXhZfuHrBQiu0ekrVL2TscAq8WYM1yvJTDA/w640-h318/REVIEW-Beneath-Us-7.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">While <i>His House </i>offered a kind of arthouse appropriation of Wes Craven, mixed with effulgent modern style, Max Pachman offered a sleazier and more grueling spin on <i>The People Under The Stairs</i>. It's <i>most</i> satisfying when the film takes a turn toward the outwardly satirical and we start imagining the rich reward waiting for the central villains. But they also make quite a compelling display of a new breed of macro <i>and</i> micro-aggressive moneyed ghoul. This is what we're up against now. They have everything, they didn't earn it, but they think <i>you </i>should have to. Refreshing to see the newly wealthy treated as purely and simply monstrous. </span></span><span style="font-size: large;"><br /><br /><br /></span></div><div><span style="font-size: large;">98. Luxor</span></div><div><span style="font-size: large;">by Zeina Durra</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEDuGIiJ3lmK192QyZ-GpafFwmZ0ZASyilEIx3GE0KxJqvXiR9BslQCqYYfGuIqpT2YFHtvpaPUfaP7JwGOwOOPHvH6uyIIoABNaS-aeU3-z1iXoAGrJnPV9VvYyq3sccCqBbY2nOdVmA/s1200/luxor+np-1200-1200-675-675-crop-000000.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEDuGIiJ3lmK192QyZ-GpafFwmZ0ZASyilEIx3GE0KxJqvXiR9BslQCqYYfGuIqpT2YFHtvpaPUfaP7JwGOwOOPHvH6uyIIoABNaS-aeU3-z1iXoAGrJnPV9VvYyq3sccCqBbY2nOdVmA/w640-h360/luxor+np-1200-1200-675-675-crop-000000.jpg" width="640" /></span></a><span><br /><span style="font-size: medium;">Andrea Riseborough is the face of despair, of longing, of exhaustion in your lungs and your skin, of being so <i>done</i> with the things life throws at you. During Covid she had something like nine movies come out and in each she looked more tired than the last. I <i>love</i> Andrea Riseborough. She is the actress who most conspicuously abandoned the idea of the glamourous actress. Even here, doing a kind of riff on <i>Before Midnight </i>(which was second-hand Rohmer, not a vein in whcih I think many people find success), she seems so past the notion of romantic excitement. This fling with an old flame won't awaken anything in her. It will at best distract her from what she knows: life sucks and it's nowhere near over. </span><br /><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;"><br /></span></span></div><div><span><span style="font-size: large;">99. The Wanting Mare</span></span></div><div><span style="font-size: large;">by Nicholas Ashe Bateman</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFT9wXUmXmieUXcbCd08-kk_XOv91nwT58-FQYSJ4-rTjlR-pcP2PYfg_bf2dJxa7MVccH0snIbNrDVffJ8uZMWSG_8kItsorzv2W0IKskbe-dADlmGFb8ibNut01F4wQnibz6pXRM6Ho/s1972/The-Wanting-Mare-1.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="948" data-original-width="1972" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFT9wXUmXmieUXcbCd08-kk_XOv91nwT58-FQYSJ4-rTjlR-pcP2PYfg_bf2dJxa7MVccH0snIbNrDVffJ8uZMWSG_8kItsorzv2W0IKskbe-dADlmGFb8ibNut01F4wQnibz6pXRM6Ho/w640-h308/The-Wanting-Mare-1.png" width="640" /></span></a></div><div><span style="font-size: medium;">This one's kind of cheating because I'm not sure if I <i>like</i> this movie yet but I do know they took an approach I can't help but applaud. This was obviously a purely visual exercise (I mean <i>kind of an aural one too</i> but it's more like they were looking for sounds that had the same thrust as the visuals, which doesn't mean the same thing because in the former case you're looking to reinvent the wheel and in the latter you're trying to come up with a song that scores that feeling) and as a movie trying to show you things you wouldn't ordinarily see in the American cinema in a way you don't often see <i>anywhere</i>, it's rather a thrilling piece of work. The energy, the nimbleness, I guess you could call this synth wave cinema and though I'm not convinced this more than a feature length music video, it was rewarding to look at the whole time it was on. Can't say that about <i>Waves</i>. </span><br /><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">100. My Spy</span></div><div><span style="font-size: large;">by Peter Segal</span></div><div><span style="font-size: large; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rVhHHVL4HRNGonlsxd60t92qZwKNiXzuPG45vbxh5LW8Sq6RKdC68FHr9o9EYpoiYhrcs0wTz_XO5r9iFpbWBbrDrE7beyOYruQtt3jliPTPfBtQ-N0P3-E3VQokPzeyQP_TLPW5xXE/s1800/my-spy-main.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1012" data-original-width="1800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rVhHHVL4HRNGonlsxd60t92qZwKNiXzuPG45vbxh5LW8Sq6RKdC68FHr9o9EYpoiYhrcs0wTz_XO5r9iFpbWBbrDrE7beyOYruQtt3jliPTPfBtQ-N0P3-E3VQokPzeyQP_TLPW5xXE/w640-h360/my-spy-main.jpg" width="640" /></a></span></div><div><span style="font-size: medium;">My love for Dave Bautista knows <i>few</i> limitations (Kumail 1, me 0) and while one of my wrestling fan friends guffawed a little when he was quoted as saying he wanted to make <i>real</i> movies and then a few weeks later the posters for <i>My Spy</i> started showing up on the subway, I was delighted. First of all The Rock has progressed past making <i>The Tooth Fairy</i> and <i>The Game Plan</i>, and anyway there was something <i>perfunctory</i> about them. Second of all, Bautista does seem to understand that this project, while unspeakably silly, is not beneath him. Why? Because he decided to make it. Sheer force of personality turned a movie with a mugging Ken Jeong cameo into a near-classic. That's commitment. That's Bautista. </span></div>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com4tag:blogger.com,1999:blog-8048150012419794149.post-74548754037273010882021-01-01T16:03:00.011-05:002021-03-15T10:59:44.839-04:00The 2020 Monsieur Oscars<p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Favourite Fiction Feature Film</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDLQBKllOz_7L_hqCHU_0Gx-41Q71bC-uPwdfKj0-5CiLriWIc_SIbi6mSfuVCmXdx8Nhr1sMP_eV5A89d4g2fCbSbmLolWYLTPyEMJYNjTIEhVlsPPt9p9obbhZepy7Hne5V9l0qoqg/s700/3227.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="700" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDLQBKllOz_7L_hqCHU_0Gx-41Q71bC-uPwdfKj0-5CiLriWIc_SIbi6mSfuVCmXdx8Nhr1sMP_eV5A89d4g2fCbSbmLolWYLTPyEMJYNjTIEhVlsPPt9p9obbhZepy7Hne5V9l0qoqg/w400-h240/3227.jpg" width="400" /></a></div><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. About Endlessness</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. It Must Be Heaven</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Tesla</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Lovers Rock</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. On a Magical Night</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Night of the Kings</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. His House</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Emma.</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Wolfwalkers</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Gretel & Hansel</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">11. Joan of Arc</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">12. Alone</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">13. Possessor<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">14. Saint-Narcisse</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">15. </span>Siberia</span></p><p class="p3" style="font-family: Helvetica; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><br /></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Favourite Non-Fiction Feature Film</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfj7r6v83g1O0posP8jPXhCT_On-ypnJ-2pYH5XAyJP2GUHGy-ICNc2uewlj-6q6dSKayssssswt1yu1RnUVDXDI7m9nKtv1L8wNkfw48g0ZfMR3TAcRVKhD1vcDfK5WIuZv8GK9X8fhk/s1296/city-hall-copy-1598830610-compressed.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfj7r6v83g1O0posP8jPXhCT_On-ypnJ-2pYH5XAyJP2GUHGy-ICNc2uewlj-6q6dSKayssssswt1yu1RnUVDXDI7m9nKtv1L8wNkfw48g0ZfMR3TAcRVKhD1vcDfK5WIuZv8GK9X8fhk/w400-h225/city-hall-copy-1598830610-compressed.jpg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. City Hall</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Bad Trip</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Notturno</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Dick Johnson is Dead</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Love and Death in Montmartre<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Swimming Out Til The Sea Turns Blue</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Fireball: Visitors from Darker Worlds</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Time</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Mucho Mucho Amor</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Favourite short form work</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wk7QStIaYMiDtK1NTr4_9qewXjswvq72p6ajtVhRONxBc78LZzJzqlea-UeEa2qDHoj1IqiC3GS9avWEVqdP9fCxZ4-lj2dJT6RIQFPXMWFYhsBwyMOv_WKQwLnjqYwxBKe58Cc4j1Q/s640/857424165_640.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wk7QStIaYMiDtK1NTr4_9qewXjswvq72p6ajtVhRONxBc78LZzJzqlea-UeEa2qDHoj1IqiC3GS9avWEVqdP9fCxZ4-lj2dJT6RIQFPXMWFYhsBwyMOv_WKQwLnjqYwxBKe58Cc4j1Q/w400-h300/857424165_640.jpg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. last night I dreamt that somebody loved me </span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. A letter to adolescence </span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. The Tale of Eurydice</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Look Then Below</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. A Revolt Without Images</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Episodes - Spring 2018</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Still Processing </span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. The Human Voice</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Stump the Guesser</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Drills</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><br /></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Favourite Avant-garde film</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCifQ9CK6BYflfA5yhlaR0P0marnbO8_6I9EEC-XI04SIi6ISZ-OHaqDHGeLCV2qJmzHRtKLjv0CDn3K1LPQHMZT3YHmlLYfU9pB2Zfs-wX_UahbEoN4ChKC0pPxDg5FihEdxk1zkQ48/s1600/Her-Socialist-Smile-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCifQ9CK6BYflfA5yhlaR0P0marnbO8_6I9EEC-XI04SIi6ISZ-OHaqDHGeLCV2qJmzHRtKLjv0CDn3K1LPQHMZT3YHmlLYfU9pB2Zfs-wX_UahbEoN4ChKC0pPxDg5FihEdxk1zkQ48/w400-h225/Her-Socialist-Smile-1600x900-c-default.jpg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Her Socialist Smile</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Look Then Below</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. małni – towards the ocean, towards the shore</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. The Plastic House</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. King of Sanwi</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Sanfield</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Labor of Love</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. The Giverny Document (Single Channel)</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Maggie’s Farm</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Ghost Strata</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><br /></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Achievement in Direction</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvGnWu_7GEUDZqZbiD3CI_MRNTiErlc7M_JuqIdDiMSNH2HS4YvMrtwySrJiTv8GexIXYBD7BZhPZzYgQ-QLi2WZI_STD9hqdfFfPKipnsI6I73hhFY1cmsUj4OQgWV3XT4wqL2WO-x3w/s2000/18809714-low_res-small-axe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1334" data-original-width="2000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvGnWu_7GEUDZqZbiD3CI_MRNTiErlc7M_JuqIdDiMSNH2HS4YvMrtwySrJiTv8GexIXYBD7BZhPZzYgQ-QLi2WZI_STD9hqdfFfPKipnsI6I73hhFY1cmsUj4OQgWV3XT4wqL2WO-x3w/w400-h266/18809714-low_res-small-axe.jpg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Steve McQueen - <i>Small Axe</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Oz Perkins - <i>Gretel & Hansel</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Roy Andersson - <i>About Endlessness</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Elia Suleiman -<i> It Must Be Heaven</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Amy Seimetz - <i>She Dies Tomorrow</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Eliza Hittman - <i>Never Rarely Sometimes Always</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Michael Almereyda - <i>Tesla</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Sky Hopinka - <i>małni – towards the ocean, towards the shore</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Matteo Garrone - <i>Pinocchio</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Khalik Allah - <i>IWOW - I Walk On Water</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">11. Christophe Honoré - <i>On a Magical Night</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">12. Nicholas Pesce - <i>The Grudge</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">13. Kitao Sakurai - Bad Trip</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">14. Ben Rivers - <i>Look Then Below / Ghost Strata</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">15. Philippe Lacôte - <i>Night of the Kings</i></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Favourite Original Screenplay</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsppmo1TkZ70xEBUjfu2MmRZfMUobc_Z1mOz8_VGBXjBzeYn6ydzopHJ-VbnoFuBtUi6uA83NaPIcA47Npc7WFtjYO8Hh9Mu0jcCuTBqnHTRqVo1aewCkEzACbS2hzuS8bIJ75h6Tpfiw/s1600/RDV_MagicalNight_03-1600x900-c-default.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsppmo1TkZ70xEBUjfu2MmRZfMUobc_Z1mOz8_VGBXjBzeYn6ydzopHJ-VbnoFuBtUi6uA83NaPIcA47Npc7WFtjYO8Hh9Mu0jcCuTBqnHTRqVo1aewCkEzACbS2hzuS8bIJ75h6Tpfiw/w400-h225/RDV_MagicalNight_03-1600x900-c-default.jpg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. On a Magical Night</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Lover’s Rock</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. About Endlessness</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. It Must Be Heaven</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Tesla</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Night of the Kings</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. She Dies Tomorrow</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Wolfwalkers</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. The Truth</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Another Round</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Favourite Adapted Screenplay</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHdZkE9vqUbEQgsuIlFg-dEoI8QfFtsbpEtzRHgyfG5r1TUUhfvoum_vRLmB_zW6Mb3xyW3ERhJYsi-z4j5HuFUzmyXfnR45xtWrJmRtTGLLpX1jNqOxp9rmxDpAGGAjEf_-AyCVZFSs/s700/1800.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="700" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmHdZkE9vqUbEQgsuIlFg-dEoI8QfFtsbpEtzRHgyfG5r1TUUhfvoum_vRLmB_zW6Mb3xyW3ERhJYsi-z4j5HuFUzmyXfnR45xtWrJmRtTGLLpX1jNqOxp9rmxDpAGGAjEf_-AyCVZFSs/w400-h240/1800.jpg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Malmkrog</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Her Socialist Smile<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">3. </span>Emma.</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">4. </span>Gretel & Hansel</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">5. </span>Joan of Arc</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">6. </span>Color out of Space</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">7. </span>To The Ends of the Earth</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">8. </span>The Jesus Rolls</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">9. </span>Samurai Marathon 1855</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">10. </span>Pinocchio</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Achievement in Cinematography</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifYx5-0XOeVJw6PCYfRS-gBvlLQgZ50ktqRuuBbvq2F2krM5isd1RxZEtRO_S17nlJznzPLigwXEEnXbRrsJthjgB_WyT6prqSKeSkjZc06GGIl4Z7gRoLswzkshnnMVsDu4xeUv9pELU/s2048/MV5BNjY4MDVhOTMtYTk2My00N2Q0LWExMGEtNzZkMDUyYTIwMmJiXkEyXkFqcGdeQXVyNTYyNTY4ODQ%2540._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifYx5-0XOeVJw6PCYfRS-gBvlLQgZ50ktqRuuBbvq2F2krM5isd1RxZEtRO_S17nlJznzPLigwXEEnXbRrsJthjgB_WyT6prqSKeSkjZc06GGIl4Z7gRoLswzkshnnMVsDu4xeUv9pELU/w400-h225/MV5BNjY4MDVhOTMtYTk2My00N2Q0LWExMGEtNzZkMDUyYTIwMmJiXkEyXkFqcGdeQXVyNTYyNTY4ODQ%2540._V1_.jpg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. <i>About Endlessness</i> - Gergely Pálos</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">2. <i>Tesla - </i></span><span style="font-family: Helvetica; font-size: medium;">Sean Price Williams</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. <i>Small Axe</i> - </span><span style="font-size: large;">Shabier Kirchner</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">4. </span><span style="font-family: Helvetica; font-size: large;"><i>The Grudge - </i></span><span style="font-family: Helvetica; font-size: medium;">Zack Galler</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">5. <i>Emma. - </i></span><span style="font-family: Helvetica; font-size: medium;">Christopher Blauvelt<span style="white-space: pre;"> </span></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">6. <i>Alone - </i></span><span style="font-family: Helvetica; font-size: medium;">Federico Verardi</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">7. </span><i style="font-family: Helvetica; font-size: large;">Malmkrog - </i><span style="font-family: Helvetica; font-size: medium;"><i>T</i>udor Vladimir Panduru</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">8. </span><span style="font-family: Helvetica; font-size: large;"><i>Night of the Kings</i> - </span><span style="font-family: Helvetica; font-size: medium;">Tobie Marier-Robitaille</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">9. <i>True History of the Kelly Gang - </i></span><span style="font-family: Helvetica; font-size: medium;">Ari Wegner</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"></span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">10. </span><i style="font-family: Helvetica; font-size: large;">Gretel & Hansel - </i><span style="font-family: Helvetica; font-size: medium;">Galo Olivares</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: medium;">11. </span><span style="font-family: Helvetica; font-size: large;"><i>Tommaso & </i></span><span style="font-family: Helvetica; font-size: medium;"><i>Fireball: Visitors from Darker Worlds</i></span><span style="font-family: Helvetica; font-size: large;"><i> - </i></span><span style="font-family: Helvetica; font-size: medium;">Peter Zeitlinger</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: large;">12. </span><span style="font-family: Helvetica; font-size: medium;"><i>On a Magical Night - </i>Remy Chevrin</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: large;">13. </span><i style="font-family: Helvetica; font-size: large;">Pinocchio - </i><span style="font-family: Helvetica; font-size: medium;">Nicolai Brüel</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: large;">14. </span><span style="font-family: Helvetica; font-size: medium;"><i>Notturno - </i>Gianfranco Rosi</span></p><p class="p3" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-family: Helvetica; font-size: large;">15. </span><span style="font-family: Helvetica; font-size: medium;"><i>Lingua Franca</i> - Isaac Banks</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: x-large;"><span style="text-indent: -36px;">Favourite Performance by an</span> Actress in a Lead Role</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJwSn3RojxYIIbHktlnUELFFi4JOAptuhBAqWu5UoiubcuJOB_mUnjHFuZAgxSvUhiHES_-mPMejHUKUwuWg95vp15vHsa049JXxbGTRswlVnA8nwBzNv0zJ7HxGy3AenSVfQuhH1INXM/s634/MA-RAINEY.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="634" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJwSn3RojxYIIbHktlnUELFFi4JOAptuhBAqWu5UoiubcuJOB_mUnjHFuZAgxSvUhiHES_-mPMejHUKUwuWg95vp15vHsa049JXxbGTRswlVnA8nwBzNv0zJ7HxGy3AenSVfQuhH1INXM/w400-h223/MA-RAINEY.jpg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">1. Viola Davis - <i>Ma Rainey’s Black Bottom</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Andrea Riseborough - <i>Luxor</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Jessie Buckley - <i>I’m Thinking of Ending Things</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Sidney Flanigan - <i>Never Rarely Sometimes Always</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Hong Chau - <i>Driveways</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Michelle Pfeiffer - <i>French Exit</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Lynn Collins - <i>Beneath Us</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Kate Lyn Sheil & Jane Adams - <i>She Dies Tomorrow</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">9. Julia Garner - <i>The Assistant<span class="Apple-converted-space"> </span></i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">10. Alicia Vikander - <i>The Glorias</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">11. Isabelle Fuhrman - <i>Tape</i></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: Helvetica; font-size: medium;">12. Isobel Sandoval - </span><span style="font-family: Helvetica; font-size: medium;"><i>Lingua Franca</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">13. <span style="text-indent: -36px;">Allison Janney -<i> Bad Education</i></span></span></p><p class="p1" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><span style="font-family: Helvetica; text-indent: -36px;">14. </span><span style="font-family: Helvetica;">Nana Komatsu - <i>Samurai Marathon 1855</i></span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><span style="text-indent: -36px;">15. Chiarra Mastroianni - </span><span style="text-indent: -36px;"><i>On a Magical Night</i></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: x-large;"><span style="text-indent: -36px;">Favourite Performance by an</span> Actress in a Supporting Role</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLZCMOGGMK4NEqq-TXmbqTiZiuG2xe0dlHO2Y85GfnC7pE_cDec3pLyp_suj7RqbOOxHgQCiJOtO-2_3jZ7WZKwFnuIoiP5m6MgSK2ghItJg_NydB2YAs1TIjNVJEak_1kXwaEA4LO5s/s840/download.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="840" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLZCMOGGMK4NEqq-TXmbqTiZiuG2xe0dlHO2Y85GfnC7pE_cDec3pLyp_suj7RqbOOxHgQCiJOtO-2_3jZ7WZKwFnuIoiP5m6MgSK2ghItJg_NydB2YAs1TIjNVJEak_1kXwaEA4LO5s/w400-h225/download.jpeg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Andrea Riseborough - <i>The Grudge/Possessor<span class="Apple-converted-space"> </span></i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">2. Joely Richardson - <i>Color out of Space</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">3. Thora Birch - <i>Kindred Spirits</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">4. Anna Friel - <i>Sulphur & White</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Alice Krige - <i>Gretel & Hansel</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Scout Taylor-Compton - <i>Penance Lane</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Mia Goth - <i>Emma.</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">8. Aubrey Plaza & Mary Holland - <i>Happiest Season</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Toni Collette - <i>I’m Thinking of Ending Things</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Candice Bergen - <i>Let Them All Talk</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">11. Michelle Rodriguez - <i>She Dies Tomorrow<span class="Apple-converted-space"> </span></i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">12. Gong Li - <i>Mulan</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">13. Jurnee Smollet-Bell - <i>Birds of Prey</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">14. Talia Ryder - <i>Never Rarely Sometimes Always</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">15. Geraldine Viswanathan - <i>Bad Education</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">16. Judy Greer - <i>Buffaloed </i></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;">17. Catherine Deneuve - <i>The Truth </i></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;">18. Mira Sorvino - <span style="text-indent: -36px;"><i>The Expecting</i></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;">19. Audrey Tatou - <span style="text-indent: -36px;"><i>The Jesus Rolls</i></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;">20. Sonia Braga - <span style="text-indent: -36px;"><i>Bacurau</i></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><span style="text-indent: -36px;"><br /></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><span style="text-indent: -36px;"><br /></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><span style="text-indent: -36px;"><br /></span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: x-large;">Favourite Performance by an Actor in a Lead Role</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ymNDX2-2w-3tnRxHv9v-r6VNlAzJryZmrps8xQgo_V-DxrmuZbXnPTpQ-BdwYCu_nRNzf70CyyOGr_ZOHwTJF7QEJxinw3eHJgGUEVDQPBpu45cq4Q03GmNql93bINNmmTLRMKTHecM/s1433/hl5ctwpw_wide-a4c925b88e9316ff43a2a02a31066a3ba81b7a67.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="1433" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_ymNDX2-2w-3tnRxHv9v-r6VNlAzJryZmrps8xQgo_V-DxrmuZbXnPTpQ-BdwYCu_nRNzf70CyyOGr_ZOHwTJF7QEJxinw3eHJgGUEVDQPBpu45cq4Q03GmNql93bINNmmTLRMKTHecM/w400-h225/hl5ctwpw_wide-a4c925b88e9316ff43a2a02a31066a3ba81b7a67.jpeg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">1. Brian Dennehy - <i>Driveways</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">2. David Thewlis - <i>Guest of Honour</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">3. Clarke Peters & Delroy Lindo - <i>Da 5 Bloods</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">4. Chadwick Boseman - <i>Ma Rainey’s Black Bottom</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">5. Jesse Plemons - <i>I’m Thinking of Ending Things</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">6. Seth Rogen - <i>An American Pickle</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">7. Tzi Ma - <i>Tigertail</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">8. Rob Morgan - <i>Bull</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">9. Willem Dafoe - <i>Tommaso</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">10. Dave Bautista - <i>My Spy</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">11. Scott Adkins - <i>Debt Collectors/Seized<span class="Apple-converted-space"> </span></i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">12. Michael Jai White - <i>Welcome to Sudden Death</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">13. Stephen Lang - <i>VFW</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">14. Ethan Hawke - <i>The <span style="text-indent: -36px;">Good Lord Bird</span></i></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: large;">15. Jean Dujardin - </span><span style="font-size: large; text-indent: -36px;"><i>Deerskin</i></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: x-large;"><span style="text-indent: -36px;">Favourite Performance by an</span> Actor in a Supporting Role</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ySL3FHoR5aJoERy0MRcbRk85JMfWW9d4T4-GSlBiKhpLIJrq2rd1oq5_cgeV1v0XYeRfC_Lg_2sJtM9ASknn2Mhm8BR6cRhJAPf0c66dWKfyvyZxCFNUqqw2e0o99FBPAv10S1UsK3s/s1200/EevZ-tZWoAAJ5d1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="818" data-original-width="1200" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ySL3FHoR5aJoERy0MRcbRk85JMfWW9d4T4-GSlBiKhpLIJrq2rd1oq5_cgeV1v0XYeRfC_Lg_2sJtM9ASknn2Mhm8BR6cRhJAPf0c66dWKfyvyZxCFNUqqw2e0o99FBPAv10S1UsK3s/w400-h272/EevZ-tZWoAAJ5d1.png" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">1. David Thewlis - <i>I’m Thinking of Ending Things</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">2. Nicolas Hoult - <i>True History of the Kelly Gang</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">3. Richard Brake - <i>Tremors: Shrieker Island / The Rhythm Section</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">4. Tom Burke - <i>Mank</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">5. Bill Nighy - <i>Emma.</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">6. <span style="text-indent: -36px;">Roberto Benigni - <i>Pinocchio</i></span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">7. Jerry Adler - <i>Driveways</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">8. Robert Pattinson - <i>Waiting for the Barbarians / The Devil All The Time / Tenet</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">9. Tunde Adebimpe - <i>She Dies Tomorrow<span class="Apple-converted-space"> </span></i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">10. Matthew Macfadyen - <i>The Assistant<span class="Apple-converted-space"> </span></i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">11. Will Patton - <i>Hammer / Radio Flash</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">12. Samuel L. Jackson - <i>The Banker</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">13. Nicolas Cage - <i>Jiu Jitsu/The Croods: A New Age</i></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">14. Tzi Ma - <i>Mulan</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">15. Bill Camp - <i>The Queen’s Gambit</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">16. David Straithairn - <i>Nomadland</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">17. William Jackson Harper & Sam Waterston - <i>The Man In The Woods</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">18. William Sadler - <i>VFW</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">19. Denis Lavant - <i>Night of the Kings</i></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">20. Frankie R. Faison & John Cho - <span style="text-indent: -36px;">T<i>he Grudge</i></span></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span><span style="font-size: x-large;"><span style="text-indent: -36px;">Favourite Performance by an</span> Ensemble</span><span class="Apple-converted-space" style="font-size: x-large;"> </span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr34U8OZXYjQrUxN-wRv2aKLRssOML9M7bTAAvJT1I4HiDGVakzgBYCqiNL2Ufax6aYoNtC3HL2rFm-VDrRsX2zISf0_6c59A0VvUxXNhtVQkt038ubAL9bdWkF1qqwOCG_Czslek2ijo/s1200/bloody-nose-empty-pockets-movie-review-2020.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr34U8OZXYjQrUxN-wRv2aKLRssOML9M7bTAAvJT1I4HiDGVakzgBYCqiNL2Ufax6aYoNtC3HL2rFm-VDrRsX2zISf0_6c59A0VvUxXNhtVQkt038ubAL9bdWkF1qqwOCG_Czslek2ijo/w400-h166/bloody-nose-empty-pockets-movie-review-2020.jpg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">1. Bloody Nose, Empty Pockets</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">2. Lovers Rock</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">3. Lingua Franca</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">4. Malmkrog</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">5. She Dies Tomorrow</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">6. Possessor</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">7. The Truth</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">8. About Endlessness</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">9. Da 5 Bloods</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">10. Night of the Kings</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: x-large;">Favourite Original Score</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo8WEeRd7zgVqmrTthIYEkwscdPlWgGhv6vSoVW1nUqgdy3yERwnkj2FWFmp8inAJ-aovI-yV4ReQ-RuvfJlT2e-tl0ru12NfKqgTjwtcfACvnmg3DwpC6JhL4AaDDMIvJfXVUYAqzVjY/s1673/color-out-of-space.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="1673" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo8WEeRd7zgVqmrTthIYEkwscdPlWgGhv6vSoVW1nUqgdy3yERwnkj2FWFmp8inAJ-aovI-yV4ReQ-RuvfJlT2e-tl0ru12NfKqgTjwtcfACvnmg3DwpC6JhL4AaDDMIvJfXVUYAqzVjY/w400-h191/color-out-of-space.jpg" width="400" /></a></div><p></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">1. Color out of Space</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">2. True History of the Kelly Gang</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Gretel & Hansel</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="text-indent: -36px;"><span style="font-size: medium;">4. małni – towards the ocean, towards the shore</span></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: medium;">5. Emma.</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Never Rarely Sometimes Always</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Samurai Marathon 1855</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Joan of Arc</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Tesla</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Wolfwalkers</span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p2" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span style="font-size: medium;"><br /></span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-size: x-large;">Achievement in Production Design</span></p><p class="p1" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVs0auW8rL_2xmrKZLCN4TqkDp30LHbDVMUDlGjQyvBCbcX7yCsagTCKphUrwkbNTzYWVJYJBKZ-d2NpOXIHJXrpU4-dpvn7vh8wwdkHNMbBhInkIGl7jXO4ChtvVe-6xALSp9LTSgG2A/s275/download+%25281%2529.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVs0auW8rL_2xmrKZLCN4TqkDp30LHbDVMUDlGjQyvBCbcX7yCsagTCKphUrwkbNTzYWVJYJBKZ-d2NpOXIHJXrpU4-dpvn7vh8wwdkHNMbBhInkIGl7jXO4ChtvVe-6xALSp9LTSgG2A/w400-h266/download+%25281%2529.jpeg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Gretel & Hansel</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Emma.</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Pinocchio</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Mank</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Lover’s Rock</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. About Endlessness</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. On a Magical Night</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Da 5 Bloods</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Joan of Arc</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. His House</span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Achievement in Costume Design</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtqAxTkaDCiLq2pjDqpKFHjGAHxAqUOnrOrjjzswMCnyGwV0IbqC91NJVGWlcDnC8zLC_kIpw44Icw92ZWWgGZzPcTNX6aS-K5lzgRXdViRKaKCzZ__Gra-XPTsNhr0W_yKZks5kcl9kI/s708/Lovers-Rock-Small-Axe-750x400-1-e1600371864433.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="399" data-original-width="708" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtqAxTkaDCiLq2pjDqpKFHjGAHxAqUOnrOrjjzswMCnyGwV0IbqC91NJVGWlcDnC8zLC_kIpw44Icw92ZWWgGZzPcTNX6aS-K5lzgRXdViRKaKCzZ__Gra-XPTsNhr0W_yKZks5kcl9kI/w400-h225/Lovers-Rock-Small-Axe-750x400-1-e1600371864433.jpeg" width="400" /></a></div><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Lover’s Rock</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Mank</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Malmkrog</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Emma.</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Pinocchio</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. The Turning</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Joan of Arc</span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;">8. Saint-Narcisse</span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;">9. The Dead Ones</span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;">10. The Jesus Rolls</span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Achievement in Art Direction</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdbnIamFW0gbhx8QsWPpbxmqZVxOHWsAj6TBiMZgOMligW3gklHJJIJrHnBjkFk0CAtS-_fOi3xD2pcvwwMrvMvVCzs8OtOilBTaNuEb-d6xk7aqV7bgBVsUuOYNtlwabkocVdcaKfjFs/s1000/wolfwalkers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdbnIamFW0gbhx8QsWPpbxmqZVxOHWsAj6TBiMZgOMligW3gklHJJIJrHnBjkFk0CAtS-_fOi3xD2pcvwwMrvMvVCzs8OtOilBTaNuEb-d6xk7aqV7bgBVsUuOYNtlwabkocVdcaKfjFs/w400-h225/wolfwalkers.jpg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Wolfwalkers</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. Possessor<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Malmkrog</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span>4. </span><span>Mank</span></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Joan of Arc</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. About Endlessness</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Pinocchio</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Gretel & Hansel</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. The Grudge</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Emma.</span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p4" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; min-height: 14px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Achievement in Editing</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddks2RQY_Kk659fpx3KrSGukzD3qhdyOEwWW0wmXFFww-cnTHzRZpHK4ufX7BflwdtbA0MIFNsrstIBjVUyVCe_nDuEx_yv06ckWKp9q_HHFxaYCwl2q5jcRLMtMRHKb3eVn4e3tkoW4/s646/Tesla-2020.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="646" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjddks2RQY_Kk659fpx3KrSGukzD3qhdyOEwWW0wmXFFww-cnTHzRZpHK4ufX7BflwdtbA0MIFNsrstIBjVUyVCe_nDuEx_yv06ckWKp9q_HHFxaYCwl2q5jcRLMtMRHKb3eVn4e3tkoW4/w400-h208/Tesla-2020.jpg" width="400" /></a></div><p></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. Tesla</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. True History of the Kelly Gang</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Mank</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Lovers Rock</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. She Dies Tomorrow<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span class="Apple-converted-space">6. </span>City Hall</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. Joan of Arc</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">8. Alone</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Night of the Kings</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. His House</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><br /></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: x-large;">Achievement in Visual Effects </span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPGsz3RlTyoWxb2ulCe2_H0TAvpmbgq2Q7UyOWSC520nQ4GzGB5bs6Q5BmPHruTEYwl_656oC1shSdbBGUv00f1AY8OCSC-pMU9hxt7uBYrDwBscZ8Zx9VRS89aWNQynazipM5QBTJvW8/s2048/MV5BYzAwMTNhZWItM2NiMy00YjYyLTllNjQtMzg2MTE3Y2I0ZTlkXkEyXkFqcGdeQXZ3ZXNsZXk%2540._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPGsz3RlTyoWxb2ulCe2_H0TAvpmbgq2Q7UyOWSC520nQ4GzGB5bs6Q5BmPHruTEYwl_656oC1shSdbBGUv00f1AY8OCSC-pMU9hxt7uBYrDwBscZ8Zx9VRS89aWNQynazipM5QBTJvW8/w400-h225/MV5BYzAwMTNhZWItM2NiMy00YjYyLTllNjQtMzg2MTE3Y2I0ZTlkXkEyXkFqcGdeQXZ3ZXNsZXk%2540._V1_.jpg" width="400" /></a></div><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">1. His House</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">2. On a Magical Night</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">3. Gretel & Hansel</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">4. Possessor<span class="Apple-converted-space"> </span></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">5. Color out of Space</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">6. Stump the Guesser</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">7. The Dead Ones</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;"><span>8. </span><span>Pinocchio</span></span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">9. Greenland</span></p><p class="p3" style="font-family: Helvetica; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px 0px 0px 36px; text-indent: -36px;"><span style="font-size: medium;">10. Mortal </span></p>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-65829737495122642482020-02-21T15:57:00.003-05:002020-02-21T15:59:38.448-05:00The 2019 Monsieur Oscars<span style="font-size: x-large;">Favourite Dramatic Feature</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTy3119TkRym5ZcgsfcOzN4lCHYLCgaUsMwIPENu1IZBWeGWFr2toYzF8SCsUrU2OcUtflSQ0eVWcB-xZxcLHcVxEOB1KtB1tA4kLLKjHRQyCXSx0UldUUgqYR_gNIZ40yuKddhcOHfXk/s1600/2018_44_film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="709" data-original-width="1417" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTy3119TkRym5ZcgsfcOzN4lCHYLCgaUsMwIPENu1IZBWeGWFr2toYzF8SCsUrU2OcUtflSQ0eVWcB-xZxcLHcVxEOB1KtB1tA4kLLKjHRQyCXSx0UldUUgqYR_gNIZ40yuKddhcOHfXk/s640/2018_44_film.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Peterloo</span><br />
<span style="font-size: large;">2. The Souvenir</span><br />
<span style="font-size: large;">3. A Hidden Life</span><br />
<span style="font-size: large;">4. Deadwood</span><br />
<span style="font-size: large;">5. First Cow</span><br />
<span style="font-size: large;">6. The Irishman</span><br />
<span style="font-size: large;">7. Uncut Gems</span><br />
<span style="font-size: large;">8. 3 From Hell</span><br />
<span style="font-size: large;">9. Fourteen</span><br />
<span style="font-size: large;">10. “I Do Not Care If We Go Down In History As Barbarians”</span><br />
<span style="font-size: large;">11. Killing</span><br />
<span style="font-size: large;">12. Sunset</span><br />
<span style="font-size: large;">13. Once Upon a Time… in Hollywood</span><br />
<span style="font-size: large;">14. Portrait of a Lady on Fire</span><br />
<span style="font-size: large;">15. Atlantique</span><br />
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Favourite Non-Fiction Feature</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZBu6JjuGu_nJ3dNG39p5Fz8W3OSCf96mVB58CcmNIIfUBv-q4MEwimqcJ5OeOsZ6hmOkR8fPtx9mHpRnZd1z5_oBq7xbvDvDJxclXOctTgPZFDk4liO6DvVzvjawQHyPAXFPpob8pB10/s1600/VardaByAgnes_11-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZBu6JjuGu_nJ3dNG39p5Fz8W3OSCf96mVB58CcmNIIfUBv-q4MEwimqcJ5OeOsZ6hmOkR8fPtx9mHpRnZd1z5_oBq7xbvDvDJxclXOctTgPZFDk4liO6DvVzvjawQHyPAXFPpob8pB10/s640/VardaByAgnes_11-1600x900-c-default.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Varda By Agnès</span><br />
<span style="font-size: large;">2. Absence</span><br />
<span style="font-size: large;">3. </span><span style="font-size: large;">A Story From Africa</span><br />
<span style="font-size: large;">4. </span><span style="font-size: large;">Homecoming</span><br />
<span style="font-size: large;">5. </span><span style="font-size: large;">La Ciudad Oculta</span><br />
<span style="font-size: large;">6. </span><span style="font-size: large;">Up The Mountain</span><br />
<span style="font-size: large;">7. </span><span style="font-size: large;">Chinese Portrait</span><br />
<span style="font-size: large;">8. </span><span style="font-size: large;">Rolling Thunder Revue: A Bob Dylan Story</span><br />
<span style="font-size: large;">9. Amazing Grace</span><br />
<span style="font-size: large;">10. Vision Portraits</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Favourite Short Film</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIB8MXMUB_f5pKFOOep5HsCvD7dSrpeIrM7SR_ls335YJAC3hG96Bs-TAyUi-sVqEfVd5PZ68DogpjafAlQybbQi6-SwwU_ga_f6qKaxo2ndInBbBJAvXocgX0a41Z4wTTrFS-eLTjx8/s1600/T_1280.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1280" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIB8MXMUB_f5pKFOOep5HsCvD7dSrpeIrM7SR_ls335YJAC3hG96Bs-TAyUi-sVqEfVd5PZ68DogpjafAlQybbQi6-SwwU_ga_f6qKaxo2ndInBbBJAvXocgX0a41Z4wTTrFS-eLTjx8/s640/T_1280.png" width="640" /></a></div>
<span style="font-size: large;">1. T</span><br />
<span style="font-size: large;">2. Hampton</span><br />
<span style="font-size: large;">3. </span><span style="font-size: large;">A Story From Africa</span><br />
<span style="font-size: large;">4. </span><span style="font-size: large;">“The Healer”</span><br />
<span style="font-size: large;">5. Joan Mitchell, Departures</span><br />
<span style="font-size: large;">6. Practice</span><br />
<span style="font-size: large;">7. Nowhere, Nobody</span><br />
<span style="font-size: large;">8. Agya</span><br />
<span style="font-size: large;">9. Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">10. Re//Connections</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Favourite Performance by a Director</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCO0nlr6sIQrJxS7g8TYKbWowDVbWaF4sA447CY87eu4fGVHR_eJ9ZZTIroLY897VHedJ5jXsjIfvVIoxCOxwF5ZZOIYFJS9fPUmympgNL7OQwR5pkM6cTvV7K1cOaC2_Y3gWG1vUXguI/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCO0nlr6sIQrJxS7g8TYKbWowDVbWaF4sA447CY87eu4fGVHR_eJ9ZZTIroLY897VHedJ5jXsjIfvVIoxCOxwF5ZZOIYFJS9fPUmympgNL7OQwR5pkM6cTvV7K1cOaC2_Y3gWG1vUXguI/s640/maxresdefault.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Mike Leigh - Peterloo</span><br />
<span style="font-size: large;">2. Joanna Hogg - The Souvenir</span><br />
<span style="font-size: large;">3. Terrence Malick - </span><span style="font-size: large;">A Hidden Life</span><br />
<span style="font-size: large;">4. Martin Scorsese - </span><span style="font-size: large;">The Irishman</span><br />
<span style="font-size: large;">5. Radu Jude - </span><span style="font-size: large;">“I Do Not Care If We Go down In History As Barbarians”</span><br />
<div>
<span style="font-size: large;">6. Kelly Reichardt - </span><span style="font-size: large;">First Cow</span></div>
<div>
<span style="font-size: large;">7. Pedro Costa - </span><span style="font-size: large;">Vitalina Varela</span></div>
<div>
<span style="font-size: large;">8. Josh & Benny Safdie - </span><span style="font-size: large;">Uncut Gems</span></div>
<div>
<span style="font-size: large;">9. Quentin Tarantino - </span><span style="font-size: large;">Once Upon A Time...In Hollywood</span></div>
<div>
<span style="font-size: large;">10. M. Night Shyamalan - </span><span style="font-size: large;">Glass</span></div>
<div>
<span style="font-size: large;">11. Rob Zombie - 3 From Hell</span></div>
<span style="font-size: large;">12. Steven Soderbergh - High Flying Bird</span><br />
<span style="font-size: large;">13. Shin'ya Tsukamoto - Killing</span><br />
<span style="font-size: large;">14. Jacqueline Lentzou - Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">15. Jordan Peele - Us</span><br />
<span style="font-size: large;">16. Tilman Singer - Luz</span><br />
<span style="font-size: large;">17. Agnès Varda - Varda By Agnes </span><br />
<span style="font-size: large;">18. Aaron Schimberg - </span><span style="font-size: large;">Chained For Life</span><br />
<span style="font-size: large;">19. T - Keisha Rae Witherspoon</span><br />
<span style="font-size: large;">20. Alexandre Aja - Crawl</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Favourite Performance by an Actress in a Lead Role</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuDJs2ul_iHbDRjQ_jiJthXmRhhHm_jUcFuMNbrIrK3m4HQeprTAzFXh7q0Q3Ph98eVFY4cTO6eiIxZPjNboLsqwiPGcCyq1426cQ8jWCGvAt7u0DDEHMW85k6QZYxGQmu3XEJ4CVegE/s1600/10162635c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuDJs2ul_iHbDRjQ_jiJthXmRhhHm_jUcFuMNbrIrK3m4HQeprTAzFXh7q0Q3Ph98eVFY4cTO6eiIxZPjNboLsqwiPGcCyq1426cQ8jWCGvAt7u0DDEHMW85k6QZYxGQmu3XEJ4CVegE/s640/10162635c.jpg" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">Lupita Nyong'o - Us</span><br />
<span style="font-size: large;">2. Tallie Medel & Norma Kuhling - Fourteen</span><br />
<span style="font-size: large;">3. Jessica Rothe - Happy Death 2U</span><br />
<span style="font-size: large;">4. Maeve Higgins - Extra Ordinary</span><br />
<span style="font-size: large;">5. Marianne Jean-Baptiste & Hayley Squires - In Fabric</span><br />
<span style="font-size: large;">6. Katy Erin - Millenium Bugs</span><br />
<span style="font-size: large;">7. </span><span style="font-size: large;">Maya Erskine - Plus One</span><br />
<span style="font-size: large;">8. Golshifteh Farahani - Girls of the Sun</span><br />
<span style="font-size: large;">9. Sheri Moon Zombie - 3 From Hell</span><br />
<span style="font-size: large;">10. Florence Pugh - Fighting With My Family</span><br />
<span style="font-size: large;">11. Kaya Scodelario - Crawl</span><br />
<span style="font-size: large;">12. Tanaya Beatty - Through Black Spruce</span><br />
<span style="font-size: large;">13. Debbie Honeywood - Sorry We Missed You</span><br />
<span style="font-size: large;">14. Honor Swinton-Byrne - The Souvenir</span><br />
<span style="font-size: large;">15. Jess Weixler - Chained For Life</span><br />
<span style="font-size: large;">16. Constance Wu - Hustlers</span><br />
<span style="font-size: large;">17. Vitelina Varela - Vitelina Varela</span><br />
<span style="font-size: large;">18. Haley Lu Richardson - The Chaperone</span><br />
<span style="font-size: large;">19. Veronica Ngo - Furie</span><br />
<span style="font-size: large;">20. Cate Blanchett - Where'd You Go, Bernadette?</span><br />
<span style="font-size: large;">21. </span><span style="font-size: large;">Naomi Watts - The Wolf Hour</span><br />
<span style="font-size: large;">22. Felicity Jones - The Aeronauts</span><br />
<span style="font-size: large;">23. Mackenzie Davis - Terminator: Dark Fate</span><br />
<span style="font-size: large;">24. Cynthia Erivo - Harriet</span><br />
<span style="font-size: large;">25. Beyoncé - Homecoming</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Favourite Performance by an Actor in a Leading Role</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis425nLoAOCnRaxqOwyTNVqJpN-cxoM6M3p5R2geGOfnLV7gHCI_X-ACx2CeRXS5pY1AyPWq8er4rUhOL2NlsScTLlOV3w8QwMJBN5cdG6XvBboB5B79ZeveCp8t97NS2LEx8G-TAgg9w/s1600/maxresdefault+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis425nLoAOCnRaxqOwyTNVqJpN-cxoM6M3p5R2geGOfnLV7gHCI_X-ACx2CeRXS5pY1AyPWq8er4rUhOL2NlsScTLlOV3w8QwMJBN5cdG6XvBboB5B79ZeveCp8t97NS2LEx8G-TAgg9w/s640/maxresdefault+%25281%2529.jpg" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">Paul Walter Hauser - Richard Jewell</span><br />
<span style="font-size: large;">2. Bill Moseley & Richard Brake - 3 From Hell</span><br />
<span style="font-size: large;">3. Adam Sandler - Uncut Gems</span><br />
<span style="font-size: large;">4. </span><span style="font-size: large;">Brad Pitt - Once Upon a Time…in Hollywood</span><br />
<div>
<span style="font-size: large;">5. </span><span style="font-size: large;">André Holland</span><span style="font-size: large;"> - High Flying Bird</span></div>
<span style="font-size: large;">6. </span><span style="font-size: large;">Tom Burke - The Souvenir</span><br />
<span style="font-size: large;">7. </span><span style="font-size: large;">Barry Pepper - Crawl</span><br />
<span style="font-size: large;">8. </span><span style="font-size: large;">Richard Brake - Perfect Skin</span><br />
<span style="font-size: large;">9. </span><span style="font-size: large;">Adam Pearson - Chained For Life</span><br />
<span style="font-size: large;">10. Eddie Murphy - Dolemite Is My NAme</span><br />
<span style="font-size: large;">11. </span><span style="font-size: large;">Marc Maron - Sword of Trust</span><br />
<span style="font-size: large;">12. Timothy Olyphant & Ian MacShane - Deadwood</span><br />
<span style="font-size: large;">13. Ventura - Vitalina Varela</span><br />
<span style="font-size: large;">14. </span><span style="font-size: large;">August Diehl - A Hidden Life</span><br />
<span style="font-size: large;">15. Matt Smith - Mapplethorpe</span><br />
<span style="font-size: large;">16. Mel Gibson - Dragged Across Concrete</span><br />
<span style="font-size: large;">17. Brandon Oakes - Through Black Spruce</span><br />
<span style="font-size: large;">18. Matthew McConaughey - The Beach Bum</span><br />
<span style="font-size: large;">19. Joaquin Cosio - Beelzebuth</span><br />
<span style="font-size: large;">20. Sean Williams Scott - Bloodline</span><br />
<span style="font-size: large;">21. Song Kang-Ho - Parasite </span><br />
<span style="font-size: large;">22. Armie Hammer - Wounds</span><br />
<span style="font-size: large;">23. Robert Pattinson & Willem Dafoe - The Lighthouse</span><br />
<span style="font-size: large;">24. Jake Gyllenhaal - Velvet Buzzsaw</span><br />
<span style="font-size: large;">25. Nicolas Cage - A Score To Settle</span><br />
<span style="font-size: large;"><br /></span>
<br />
<span style="font-size: x-large;">Favourite Performance by an Actor in a Supporting Role</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1SPgw8O_T-J1b2RmypBW6m5vc_EMeuitmgUqZ0dQ6nqJpO6FwkZgYpv0a0c87UJ42stvYHBg8_xYOq234QIe3hHQqLaTg1kJsuXtjnc1_PTHXD9pTA9nomANzgxNf4H_TJfhpNsukGok/s1600/i-trapped-the-devil.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1440" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1SPgw8O_T-J1b2RmypBW6m5vc_EMeuitmgUqZ0dQ6nqJpO6FwkZgYpv0a0c87UJ42stvYHBg8_xYOq234QIe3hHQqLaTg1kJsuXtjnc1_PTHXD9pTA9nomANzgxNf4H_TJfhpNsukGok/s640/i-trapped-the-devil.jpeg" width="640" /></a></div>
<span style="font-size: large;">1. Chris Sullivan - I Trapped The Devil</span><br />
<span style="font-size: large;">2. Jeffrey Donavan - Villains</span><br />
<span style="font-size: large;">3. Bill Duke - High Flying Bird</span><br />
<span style="font-size: large;">4. Eric Bogosian - Uncut Gems</span><br />
<span style="font-size: large;">5. Sam Riley - Happy New Year, Colin Burstead</span><br />
<span style="font-size: large;">6. Samuel L. Jackson - Glass</span><br />
<span style="font-size: large;">7. Chris Cooper - Little Women</span><br />
<span style="font-size: large;">8. Michael Nyquist & Franz Rogowski - A Hidden Life</span><br />
<span style="font-size: large;">9. Dean Norris - Scary Stories To Tell In The Dark</span><br />
<span style="font-size: large;">10. Dave Bautista - Master Z: Yp Man Legacy</span><br />
<span style="font-size: large;">11. Lance Reddick & James Badge Dale - Little Woods</span><br />
<span style="font-size: large;">12. Sam Rockwell - Richard Jewell</span><br />
<span style="font-size: large;">13. Richard Brake - Feedback</span><br />
<span style="font-size: large;">14. Pancho Moler, Austin Stoker & Sid Haig - 3 From Hell</span><br />
<span style="font-size: large;">15. Richard Dreyfuss - Daughter of the Wolf</span><br />
<span style="font-size: large;">16. Clint James - Mine 9</span><br />
<span style="font-size: large;">17. Wesley Snipes - Dolemite Is My Name</span><br />
<span style="font-size: large;">18. </span><span style="font-size: large;">Clarence Williams III - American Nightmares</span><br />
<span style="font-size: large;">19. Ian McKellen - All is True</span><br />
<span style="font-size: large;">20. </span><span style="font-size: large;">Laurence Fishburne - Where'd You Go, Bernadette?</span><br />
<span style="font-size: large;">21. </span><span style="font-size: large;">Walton Goggins & </span><span style="font-size: large;">Jim Gaffigan - Them That Follow</span><br />
<span style="font-size: large;">22. Rutger Hauer - The Sonata</span><br />
<span style="font-size: large;">23. Graham Greene - Through Black Spruce</span><br />
<span style="font-size: large;">24. Emory Cohen - The Wolf Hour</span><br />
<span style="font-size: large;">25. Joe Pesci & Jesse Plemmons - The Irishman</span><br />
<span style="font-size: large;">26. Michael C. Hall - In The Shadow of the Moon</span><br />
<span style="font-size: large;">27. Jun Kunimura - Midway</span><br />
<span style="font-size: large;">28. Nick Nolte - Angel Has Fallen</span><br />
<span style="font-size: large;">29. </span><span style="font-size: large;">Ray Liotta - Marriage Story</span><br />
<span style="font-size: large;">30. Dayton Callie - Deadwood</span><br />
<br />
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Favourite Performance by an Actress in a Supporting Role</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99kBQiE8qr_cYzFqAUUhshC2vhJIC96EMwLV-IY7CPWrevy0dXjL4-Icggty58jUN4JwDuWbQTUicV-5TrKngd_7pp_pLeLYqhhSwgd-EMt2WWj40630-JXtciwcF_0DoIuxEWCj9vuI/s1600/8534498.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="842" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99kBQiE8qr_cYzFqAUUhshC2vhJIC96EMwLV-IY7CPWrevy0dXjL4-Icggty58jUN4JwDuWbQTUicV-5TrKngd_7pp_pLeLYqhhSwgd-EMt2WWj40630-JXtciwcF_0DoIuxEWCj9vuI/s640/8534498.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Jennifer Lopez - Hustlers</span><br />
<span style="font-size: large;">2. Jennifer Carpenter - Dragged Across Concrete</span><br />
<span style="font-size: large;">3. Zazie Beets - High Flying Bird</span><br />
<span style="font-size: large;">4. Hayley Squires - Happy New Year, Colin Burstead</span><br />
<span style="font-size: large;">5. Anya Taylor-Joy - Glass</span><br />
<span style="font-size: large;">6. Florence Pugh - Little Women </span><br />
<span style="font-size: large;">7. Marianne Rendon - Mapplethorpe</span><br />
<span style="font-size: large;">8. Julia Fox - Uncut Gems</span><br />
<span style="font-size: large;">9. Kathy Bates & Olivia Wilde - Richard Jewell</span><br />
<span style="font-size: large;">10. Michelle Yeoh - Master Z: Ip Man Legacy</span><br />
<span style="font-size: large;">11. Barbara Crampton - Culture Shock</span><br />
<span style="font-size: large;">12. Kyra Sedgwick - Villains</span><br />
<span style="font-size: large;">13. Tilda Swinton - The Souvenir</span><br />
<span style="font-size: large;">14. Eva Green - Dumbo</span><br />
<span style="font-size: large;">15. Margaret Qualley - Once Upon a Time…in Hollywood</span><br />
<span style="font-size: large;">16. Claudia O’Doherty - Extra Ordinary</span><br />
<span style="font-size: large;">17. Julie Hagerty, Merrit Wever, & Martha Kelly - Marriage Story</span><br />
<span style="font-size: large;">18. Dale Dickey - Bloodline</span><br />
<span style="font-size: large;">19. Tantoo Cardinal - Through Black Spruce</span><br />
<span style="font-size: large;">20. Jennifer Ehle - The Wolf Hour</span><br />
<span style="font-size: large;">21. Geri Jewell - Deadwood</span><br />
<span style="font-size: large;">22. Lily Gladstone - First Cow</span><br />
<span style="font-size: large;">23. Billie Lourd - Booksmart</span><br />
<span style="font-size: large;">24. Linda Hamilton - Terminator: Dark Fate</span><br />
<span style="font-size: large;">25. So-Dam Park - Parasite</span><br />
<span style="font-size: large;">26. Carice Van Houten - Domino</span><br />
<span style="font-size: large;">27. Jamie Lee Curtis - Knives Out</span><br />
<span style="font-size: large;">29. Pollyanna McIntosh & Nora Jane Noone - Darlin' </span><br />
<span style="font-size: large;">30. Cristina Lindberg - Black Circle</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Performance by an Ensemble</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYo1J-yTHBq-TnKvEUxS2SyGOG3e-Pg6By7C9ObKZC_9Pi616pN3hdGwZvVarnJI5sttMn3dSHQ7aemFO9F50gw98TjPILRDELsyyV1mD1C4-RcNk_tEi1QCn4xXX3ZreDZT_LUJNfhes/s1600/ti_ks_070.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYo1J-yTHBq-TnKvEUxS2SyGOG3e-Pg6By7C9ObKZC_9Pi616pN3hdGwZvVarnJI5sttMn3dSHQ7aemFO9F50gw98TjPILRDELsyyV1mD1C4-RcNk_tEi1QCn4xXX3ZreDZT_LUJNfhes/s640/ti_ks_070.jpg" width="640" /></a></div>
<span style="font-size: large;">1. The Irishman</span><br />
<span style="font-size: large;">2. Charlie Says</span><br />
<span style="font-size: large;">3. Once Upon a Time…in Hollywood</span><br />
<span style="font-size: large;">4. Uncut Gems</span><br />
<span style="font-size: large;">5. Depraved</span><br />
<span style="font-size: large;">6. Parasite</span><br />
<span style="font-size: large;">7. Knives Out</span><br />
<span style="font-size: large;">8. </span><span style="font-size: large;">3 From Hell</span><br />
<span style="font-size: large;">9. Hustlers</span><br />
<span style="font-size: large;">10. Uncut Gems</span><br />
<span style="font-size: large;">11. First Cow</span><br />
<span style="font-size: large;">12. A Hidden Life</span><br />
<span style="font-size: large;">13. In Fabric</span><br />
<span style="font-size: large;">14. Vitalina Varela</span><br />
<span style="font-size: large;">15. </span><span style="font-size: large;">It Chapter Two</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Achievement in Cinematography</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQVelg8WnXlZ5v1L6eCq3ZyYVniah4IloRg64r7Jnr255nm1iiGWe_ojpGHFRScGKY3-MLH6GCMpQtGkIyteSh9CA-vYrA2VgUuLvuSrOA26FuEbpBgzKUYRGe3WnbdIc4DBYU9po3CDY/s1600/vlcsnap-2019-10-11-20h01m18s135-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQVelg8WnXlZ5v1L6eCq3ZyYVniah4IloRg64r7Jnr255nm1iiGWe_ojpGHFRScGKY3-MLH6GCMpQtGkIyteSh9CA-vYrA2VgUuLvuSrOA26FuEbpBgzKUYRGe3WnbdIc4DBYU9po3CDY/s640/vlcsnap-2019-10-11-20h01m18s135-1.png" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">Vitalina Varela</span><br />
<span style="font-size: large;">2. </span><span style="font-size: large;">A Hidden Life</span><br />
<span style="font-size: large;">3. Chained For Life</span><br />
<span style="font-size: large;">4. Liberté</span><br />
<span style="font-size: large;">5. Glass</span><br />
<span style="font-size: large;">6. Peterloo</span><br />
<span style="font-size: large;">7. Absence</span><br />
<span style="font-size: large;">8. Uncut Gems</span><br />
<span style="font-size: large;">9. </span><span style="font-size: large;">High Flying Bird</span><br />
<span style="font-size: large;">10. The Irishman</span><br />
<span style="font-size: large;">11. Midway</span><br />
<span style="font-size: large;">12. The Current War</span><br />
<span style="font-size: large;">13. </span><span style="font-size: large;">Crawl</span><br />
<span style="font-size: large;">14. Luz</span><br />
<span style="font-size: large;">15. Atlantique </span><br />
<span style="font-size: large;">16. Depraved</span><br />
<span style="font-size: large;">17. The Mountain</span><br />
<span style="font-size: large;">18. T</span><br />
<span style="font-size: large;">19. Us</span><br />
<span style="font-size: large;">20. La Ciudad Oculto</span><br />
<br />
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Favourite Original Screenplay</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiopSzDeuMFW73XNAcYdrBQyrpz4cJAakvOHX9UbUeIFmPY4qaOhiyg3JUEKw8O8wpwiN0JCcjbkAzhfyiu0PFlqOwry5RMfINpfnCmwrYnNv0q07nL8ZugA_ue-jL6TDxuC8AsLyKdRBA/s1600/barbarians3-h_2018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiopSzDeuMFW73XNAcYdrBQyrpz4cJAakvOHX9UbUeIFmPY4qaOhiyg3JUEKw8O8wpwiN0JCcjbkAzhfyiu0PFlqOwry5RMfINpfnCmwrYnNv0q07nL8ZugA_ue-jL6TDxuC8AsLyKdRBA/s640/barbarians3-h_2018.jpg" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">“I Do Not Care If We Go down In History As Barbarians”</span><br />
<span style="font-size: large;">2. Uncut Gems</span><br />
<span style="font-size: large;">3. </span><span style="font-size: large;">The Day Shall Come</span><br />
<span style="font-size: large;">4. High Flying Bird</span><br />
<span style="font-size: large;">5. </span><span style="font-size: large;">Deadwood</span><br />
<span style="font-size: large;">6. Once Upon a Time…in Hollywood</span><br />
<span style="font-size: large;">7. 3 From Hell</span><br />
<span style="font-size: large;">8. </span><span style="font-size: large;">Peterloo</span><br />
<span style="font-size: large;">9. Parasite</span><br />
<span style="font-size: large;">10. </span><span style="font-size: large;">Fourteen</span><br />
<span style="font-size: large;">11. In Fabric</span><br />
<span style="font-size: large;">12. </span><span style="font-size: large;">The Traitor</span><br />
<span style="font-size: large;">13. </span><span style="font-size: large;">Chained For Life</span><br />
<span style="font-size: large;">14. Dolemite Is My Name</span><span style="font-size: large;"></span><br />
<span style="font-size: large;">15. Vitalina Varela</span><br />
<span style="font-size: large;">16. Extra Ordinary</span><br />
<span style="font-size: large;">17. The Souvenir</span><br />
<span style="font-size: large;">18. Sunset</span><br />
<span style="font-size: large;">19. Portrait of a Lady on Fire</span><br />
<span style="font-size: large;">20. Atlantique</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Favourite Adapted Screenplay</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnqXMSfngDOdqb1dzpz8Ych53bsulCFaUVlPQ7wgq7MMchgAomY0QbLm3H29KPiGub2U2wanpBRcqlFsUiSVDIrqsOvx_Y51aU2kHyJdIdQtHdBnGfr_i9pkm_9FzraY9oJEruLoxfRo/s1600/first-cow-1200-1200-675-675-crop-000000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipnqXMSfngDOdqb1dzpz8Ych53bsulCFaUVlPQ7wgq7MMchgAomY0QbLm3H29KPiGub2U2wanpBRcqlFsUiSVDIrqsOvx_Y51aU2kHyJdIdQtHdBnGfr_i9pkm_9FzraY9oJEruLoxfRo/s640/first-cow-1200-1200-675-675-crop-000000.jpg" width="640" /></a></div>
<span style="font-size: large;">1. First Cow</span><br />
<span style="font-size: large;">2. The Irishman</span><br />
<span style="font-size: large;">3. Depraved</span><br />
<span style="font-size: large;">4. Ad Astra</span><br />
<span style="font-size: large;">5. Hustlers</span><br />
<span style="font-size: large;">6. It Chapter Two</span><br />
<span style="font-size: large;">7. Dark Waters</span><br />
<span style="font-size: large;">8. Charlie Says</span><br />
<span style="font-size: large;">9. Scary Stories to Tell In The Dark</span><br />
<span style="font-size: large;">10. Wounds</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Achievement in Film Editing</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq9Ev112SDsqFa4n8LtYnta4sINH31Hy7stHMmFvXA0kJ5hTenYjwLana124NZjO4R1T7URfUPEekS4o-bh-Dz_RW1TQ8vivr_kareAtYaGw1bOcpfIPurJsY-a1A2bkuJ5NCiUE91XaI/s1600/merlin_165534831_f98ad7a7-772a-4da3-95ca-9f9eaa4ba50d-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq9Ev112SDsqFa4n8LtYnta4sINH31Hy7stHMmFvXA0kJ5hTenYjwLana124NZjO4R1T7URfUPEekS4o-bh-Dz_RW1TQ8vivr_kareAtYaGw1bOcpfIPurJsY-a1A2bkuJ5NCiUE91XaI/s640/merlin_165534831_f98ad7a7-772a-4da3-95ca-9f9eaa4ba50d-superJumbo.jpg" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">A Hidden Life</span><br />
<span style="font-size: large;">2. T</span><br />
<span style="font-size: large;">3. The Souvenir </span><br />
<span style="font-size: large;">4. Hustlers</span><br />
<span style="font-size: large;">5. Depraved</span><br />
<span style="font-size: large;">6. Uncut Gems</span><br />
<span style="font-size: large;">7. The Irishman</span><br />
<span style="font-size: large;">8. Glass</span><br />
<span style="font-size: large;">9. </span><span style="font-size: large;">Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">10. The Souvenir</span><br />
<span style="font-size: large;">11. Midway</span><br />
<span style="font-size: large;">12. Us</span><br />
<span style="font-size: large;">13. Parasite</span><br />
<span style="font-size: large;">14. 3 From Hell</span><br />
<span style="font-size: large;">15. In Fabric</span><br />
<span style="font-size: large;">16. Crawl</span><br />
<span style="font-size: large;">17. </span><span style="font-size: large;">Absence</span><br />
<span style="font-size: large;">18. “I Do Not Care If We Go down In History As Barbarians”</span><br />
<span style="font-size: large;">19. The Traitor</span><br />
<span style="font-size: large;">20. Wounds</span><br />
<br />
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Achievement in Production Design</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivlZQVP2h51h6oyQu8JBHKNSmaINZojiQCo4ClKPcRX49Y0fT5J-L6S1L-jyx9J3ywjNLYkq6E04Wzavn5OEMhIxCjH1tBuArsQT7VcCJOO5djmY3lIMzPCU2hfzfcdioHLiYImvYl6ug/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivlZQVP2h51h6oyQu8JBHKNSmaINZojiQCo4ClKPcRX49Y0fT5J-L6S1L-jyx9J3ywjNLYkq6E04Wzavn5OEMhIxCjH1tBuArsQT7VcCJOO5djmY3lIMzPCU2hfzfcdioHLiYImvYl6ug/s640/image.jpeg" width="640" /></a></div>
<span style="font-size: large;">1. Deadwood</span><br />
<span style="font-size: large;">2. The Mountain</span><br />
<span style="font-size: large;">3. Dumbo</span><br />
<span style="font-size: large;">4. Uncut Gems</span><br />
<span style="font-size: large;">5. The Beach Bum</span><br />
<span style="font-size: large;">6. Midway</span><br />
<span style="font-size: large;">7. The Current War</span><br />
<span style="font-size: large;">8. A Hidden Life</span><br />
<span style="font-size: large;">9. </span><span style="font-size: large;">The Irishman</span><br />
<span style="font-size: large;">10. </span><span style="font-size: large;">Liberté</span><br />
<span style="font-size: large;">11. First Cow</span><br />
<span style="font-size: large;">12. Little Women</span><br />
<span style="font-size: large;">13. </span><span style="font-size: large;">Chained For Life</span><br />
<span style="font-size: large;">14. In Fabric</span><br />
<span style="font-size: large;">15. 3 From Hell</span><br />
<span style="font-size: large;">16. Culture Shock</span><br />
<span style="font-size: large;">17. Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">18. Once Upon a Time…in Hollywood</span><br />
<span style="font-size: large;">19. </span><span style="font-size: large;">Crawl</span><br />
<span style="font-size: large;">20. Pain & Glory</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Achievement in Costume Design</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii-iUURCzOy6hB6TqO4iwUzYEktUKg0-_QZZPX-V9r0tNBstD13cv3GWO_XPExhFZRvoKxcd6cGcxUVFXpVQWNKyuAr7kor7qeNQHy6Gt-jlAyg7S21_1XV9S3ID96k_lUUyrmtxhm74k/s1600/202009263_1_RWD_1380.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1035" data-original-width="1380" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii-iUURCzOy6hB6TqO4iwUzYEktUKg0-_QZZPX-V9r0tNBstD13cv3GWO_XPExhFZRvoKxcd6cGcxUVFXpVQWNKyuAr7kor7qeNQHy6Gt-jlAyg7S21_1XV9S3ID96k_lUUyrmtxhm74k/s640/202009263_1_RWD_1380.jpg" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">T</span><br />
<span style="font-size: large;">2. </span><span style="font-size: large;">The Mountain</span><br />
<span style="font-size: large;">3. Dumbo</span><br />
<span style="font-size: large;">4. </span><span style="font-size: large;">The Irishman</span><br />
<span style="font-size: large;">5. </span><span style="font-size: large;">In Fabric</span><br />
<span style="font-size: large;">6. Harriet </span><br />
<span style="font-size: large;">7. </span><span style="font-size: large;">Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">8. Little Women</span><br />
<span style="font-size: large;">9. Uncut Gems</span><br />
<span style="font-size: large;">10. </span><span style="font-size: large;">The Moneychanger</span><br />
<span style="font-size: large;">11. A Hidden Life</span><br />
<span style="font-size: large;">12. The Current War</span><br />
<span style="font-size: large;">13. First Cow</span><br />
<span style="font-size: large;">14. Once Upon a Time…in Hollywood</span><br />
<span style="font-size: large;">15. Deadwood</span><br />
<span style="font-size: large;">16. </span><span style="font-size: large;">Us</span><br />
<span style="font-size: large;">17. Pain & Glory</span><br />
<span style="font-size: large;">18. Peterloo</span><br />
<span style="font-size: large;">19. </span><span style="font-size: large;">Killing</span><br />
<span style="font-size: large;">20. </span><span style="font-size: large;">Hustlers</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Ac</span><span style="font-size: x-large;">hievement in Art Direction</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6C_1fjtkllGARs3mTKce-CP9Y7baKN5UPiIkpajAxQftwPCnByHExnQouBxIvciET6VWICjAr1b0xNHrKCZzvYlIjPIaTw-qOZXQvuNkW9kkGIJqLDinUL1ycuPGHiZmi6RzVOPkABNc/s1600/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6C_1fjtkllGARs3mTKce-CP9Y7baKN5UPiIkpajAxQftwPCnByHExnQouBxIvciET6VWICjAr1b0xNHrKCZzvYlIjPIaTw-qOZXQvuNkW9kkGIJqLDinUL1ycuPGHiZmi6RzVOPkABNc/s640/image.jpg" width="640" /></a></div>
<span style="font-size: large;">1. In Fabric</span><br />
<span style="font-size: large;">2. The Mountain</span><br />
<span style="font-size: large;">3. Dumbo</span><br />
<span style="font-size: large;">4. Luz</span><br />
<span style="font-size: large;">5. Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">6. Vitalina Varela</span><br />
<span style="font-size: large;">7. T</span><br />
<span style="font-size: large;">8. </span><span style="font-size: large;">Chained For Life</span><br />
<span style="font-size: large;">9. A Hidden Life</span><br />
<span style="font-size: large;">10. Little Women</span><br />
<span style="font-size: large;">11. First Cow</span><br />
<span style="font-size: large;">12. 3 From Hell</span><br />
<span style="font-size: large;">13. The Moneychanger</span><br />
<span style="font-size: large;">14. Liberté</span><br />
<span style="font-size: large;">15. Pain & Glory</span><br />
<span style="font-size: large;">16. Culture Shock</span><br />
<span style="font-size: large;">17. Crawl</span><br />
<span style="font-size: large;">18. Us</span><br />
<span style="font-size: large;">19. </span><span style="font-size: large;">The Current War</span><br />
<span style="font-size: large;">20. Depraved</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Favourite Original Score</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin6HSd0z-aOUvWUBblppIS4-Okfw98yh6qw6wv2iDBMBtQRHj9jfC_bqhfF7R5vOOF5EFxe24sLmEHpngWjzwpU8bljgAwzjXybMB7Hwt7DoQgH9quuur481g9u844fPNDSVxMW-PEaRQ/s1600/uncut_gems_0105033_C.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="942" data-original-width="1600" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin6HSd0z-aOUvWUBblppIS4-Okfw98yh6qw6wv2iDBMBtQRHj9jfC_bqhfF7R5vOOF5EFxe24sLmEHpngWjzwpU8bljgAwzjXybMB7Hwt7DoQgH9quuur481g9u844fPNDSVxMW-PEaRQ/s640/uncut_gems_0105033_C.jpg" width="640" /></a></div>
<span style="font-size: large;">1. </span><span style="font-size: large;">Uncut Gems</span><br />
<span style="font-size: large;">2. In Fabric</span><br />
<span style="font-size: large;">3. </span><span style="font-size: large;">Depraved</span><br />
<span style="font-size: large;">4. 3 From Hell</span><br />
<span style="font-size: large;">5. </span><span style="font-size: large;">Us</span><br />
<span style="font-size: large;">6. The Mountain</span><br />
<span style="font-size: large;">7. </span><span style="font-size: large;">Little Women</span><br />
<span style="font-size: large;">8. </span><span style="font-size: large;">The King</span><br />
<span style="font-size: large;">9. Crawl</span><br />
<span style="font-size: large;">10. First Cow</span><br />
<span style="font-size: large;">11. Bloodline</span><br />
<span style="font-size: large;">12. Midway</span><br />
<span style="font-size: large;">13. Luz</span><br />
<span style="font-size: large;">14. </span><span style="font-size: large;">A Hidden Life</span><br />
<span style="font-size: large;">15. A Story From Africa</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Achievement in Visual Effects</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgaEimtPGN5-fjIvXUoVaSa3HDbc0hvIHjin76FU0IUYnV7AXNj3n2jnrwfZYi-g2xOEPIfvMKmHKWc3RnbedPqV2SgAJm84Rj31qApj5q-Nxv-IaSDTsRmyL2V2GhAt7WU2RewnkBzgU/s1600/midway-movies-he-bg-dsktp-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgaEimtPGN5-fjIvXUoVaSa3HDbc0hvIHjin76FU0IUYnV7AXNj3n2jnrwfZYi-g2xOEPIfvMKmHKWc3RnbedPqV2SgAJm84Rj31qApj5q-Nxv-IaSDTsRmyL2V2GhAt7WU2RewnkBzgU/s640/midway-movies-he-bg-dsktp-01.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Midway</span><br />
<span style="font-size: large;">2. Crawl</span><br />
<span style="font-size: large;">3. Dumbo</span><br />
<span style="font-size: large;">4. The King</span><br />
<span style="font-size: large;">5. It Chapter Two</span><br />
<span style="font-size: large;">6. Godzilla King of the Monsters</span><br />
<span style="font-size: large;">7. Warning: Do Not Play</span><br />
<span style="font-size: large;">8. The Irishman</span><br />
<span style="font-size: large;">9. Luz</span><br />
<span style="font-size: large;">10. The Aeronauts</span><br />
<span style="font-size: large;">11. Terminator: Dark Fate</span><br />
<span style="font-size: large;">12. Wounds</span><br />
<span style="font-size: large;">13. Ad Astra</span><br />
<span style="font-size: large;">14. Warning: Do Not Play</span><br />
<span style="font-size: large;">15. Glass</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Achievement in Make-up effects</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUNpJ4MrYuWM6BLA5VffHNdJJUKjuXESM7kwbKN3LYUhddcoc4U8sOmL2D4Ewn4vc1hmV3YAHFdzJVBR6YHqNrwat_jW1Xj8-8nSD9YHirhPjb44jimVDaTTrn_PE7hV3LQyEz9RkH8w/s1600/dragged-across-concrete-gallery-08-1920x1221.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1018" data-original-width="1600" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUNpJ4MrYuWM6BLA5VffHNdJJUKjuXESM7kwbKN3LYUhddcoc4U8sOmL2D4Ewn4vc1hmV3YAHFdzJVBR6YHqNrwat_jW1Xj8-8nSD9YHirhPjb44jimVDaTTrn_PE7hV3LQyEz9RkH8w/s640/dragged-across-concrete-gallery-08-1920x1221.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Dragged Across Concrete</span><br />
<span style="font-size: large;">2. Crawl</span><br />
<span style="font-size: large;">3. Dumbo</span><br />
<span style="font-size: large;">4. Midway</span><br />
<span style="font-size: large;">5. Depraved</span><br />
<span style="font-size: large;">6. 3 From Hell</span><br />
<span style="font-size: large;">7. The King</span><br />
<span style="font-size: large;">8. Us</span><br />
<span style="font-size: large;">9. The Irishman</span><br />
<span style="font-size: large;">10. Itsy Bitsy</span><br />
<span style="font-size: large;">11. Killing</span><br />
<span style="font-size: large;">12. Atlantique</span><br />
<span style="font-size: large;">13. Warning: Do Not Play</span><br />
<span style="font-size: large;">14. Hustlers</span><br />
<span style="font-size: large;">15. It Chapter 2</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Achievement in Sound Design</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhseodP_5vlfP_6B16wAbAZIBSRW91lVdH12Q7kyDomybGYmywg8VV6ee5-D4l4_SA6G4bRyoD1WX9wNl_8Lhr0vdL_9xEVIcpcCfLwN9VYhLc_mzOJ5cAzERho5A4HA6IHN9K_cJBKeI8/s1600/12f2358b-4185-4679-89ff-254e1a355e8e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhseodP_5vlfP_6B16wAbAZIBSRW91lVdH12Q7kyDomybGYmywg8VV6ee5-D4l4_SA6G4bRyoD1WX9wNl_8Lhr0vdL_9xEVIcpcCfLwN9VYhLc_mzOJ5cAzERho5A4HA6IHN9K_cJBKeI8/s640/12f2358b-4185-4679-89ff-254e1a355e8e.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Absence</span><br />
<span style="font-size: large;">2. Depraved</span><br />
<span style="font-size: large;">3. Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">4. Glass</span><br />
<span style="font-size: large;">5. I Trapped The Devil</span><br />
<span style="font-size: large;">6. A Hidden Life</span><br />
<span style="font-size: large;">7. Vitalina Varela</span><br />
<span style="font-size: large;">8. The King</span><br />
<span style="font-size: large;">9. Killing</span><br />
<span style="font-size: large;">10. In Fabric</span><br />
<span style="font-size: large;">11. Luz</span><br />
<span style="font-size: large;">12. Midway</span><br />
<span style="font-size: large;">13. The Wolf Hour</span><br />
<span style="font-size: large;">14. Uncut Gems</span><br />
<span style="font-size: large;">15. Sunset</span>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-27320394338420203592020-01-09T19:46:00.000-05:002020-02-28T11:53:17.523-05:00My Favourite Films of 2019<div class="separator" style="clear: both; text-align: left;">
<span style="font-size: large;">1.<span style="white-space: pre;"> </span>Peterloo</span></div>
<span style="font-size: large;">by Mike Leigh</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkYA2U2N3q45LbwIRu0Hlelkd_uTWkidPhwlxcmVSk3svTAjabBofohOHOeCcw2M3jT35NVR9S9em4-iGnzqlS51khSHWax4YHpjk4iVZBWUtSVeMXNMDRHcMf4jVL1IpM4bhtBKo5VEA/s1600/Peterloo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="691" data-original-width="1280" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkYA2U2N3q45LbwIRu0Hlelkd_uTWkidPhwlxcmVSk3svTAjabBofohOHOeCcw2M3jT35NVR9S9em4-iGnzqlS51khSHWax4YHpjk4iVZBWUtSVeMXNMDRHcMf4jVL1IpM4bhtBKo5VEA/s640/Peterloo.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/mzs/the-unloved-part-69-peterloo">Mike Leigh's life</a> was spent making films about us and for us, whether we appreciated them or not. The servants in wealthy houses, the struggling newlyweds on welfare, mothers too poor to have children, people living in caravans housed between a dozen others in a cramped trailer park. Working class people; those are Mike Leigh's people. He's looked after us in his fiction. He cared what happened to us, looked back in history at the moments where a wealthy ruling class's morality got the rest of us killed. <i>Peterloo</i> is the definitive moment, England's point of no return - the moment it became fully what it was always going to be. The poor organize, the drunken pigs swoop in to kill them with sabers. It sounds too cruel to be real. It happened. It happens still. <i>Peterloo</i> is Mike Leigh's richest film for a spell, filming union meetings like religious paintings, deifying the working class, showing us, with an awful dearth of romance or safety, the eagerness with which judges condemned them, politicians signed their death warrants, and police beat them to death. The way of the world has always been thus, and Mike Leigh's always reminded us, because he loves us despite our wretched impulses and predictable moral failings. <i>Peterloo</i> may be his last film, and it's almost certainly his best. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">2.<span style="white-space: pre;"> </span>The Souvenir</span><br />
<span style="font-size: large;">by Joanna Hogg</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj76XXt6j2V1LGydp0j59SDMeSDMMeiWlMN4NhtZcO_d4xWQ3nuLzPlDoDc7I29cg9TemkMCEKG7PywhCUmHwGUeVYa4q6sLtAKgXoXy8N3HZeUvoox-JWU5QtFoO_UUB6BzvOKxfQ1MLg/s1600/souvenir2019.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj76XXt6j2V1LGydp0j59SDMeSDMMeiWlMN4NhtZcO_d4xWQ3nuLzPlDoDc7I29cg9TemkMCEKG7PywhCUmHwGUeVYa4q6sLtAKgXoXy8N3HZeUvoox-JWU5QtFoO_UUB6BzvOKxfQ1MLg/s640/souvenir2019.webp" width="640" /></span></a><br />
<span style="font-size: large;">Joanna Hogg has become who she is by being honest about the interactions of an incredibly specific group of unhappy people. Wealthy, respectable types who have made peace with their discontent. They sold their truth for equilibrium and spend their days looking for the receipt. She’s finally turned her exacting gaze (she has a contemporary sculptor’s harsh geometry and imperative diction) on herself, recalling her own beginnings as an artist during a time of even greater moral cowardice than the one we’re in now. Tom Burke plays the kind of self-assured rich guy that Honor Swinton-Byrne’s Hogg stand-in is meant to be happy to settle for. He’s cultured and erudite and inoffensively handsome. Everything is just a little beneath him, including the addiction that comes to consume his whole life, the way he consumes hers. The awful dependence that emerges from behind Hogg’s diamond perfect image of their semi-ironic domesticity is meant to be shocking. The perfection of their lives is a lie, and not even placing it in front of mirrors, of being honest, of saying it all, will prevent the car crash. Hogg let’s herself become more overtly emotional, and the film she tried to give to her young self to say it was ok to make these mistakes, that love is a car crash, it’s not always someone’s fault , is like shattered glass in the heart. </span><br />
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<span style="font-size: large;">3.<span style="white-space: pre;"> </span>A Hidden Life</span><br />
<span style="font-size: large;">by Terrence Malick</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYv3aWAIrmHe1o1toaxfucpKHMX8htyogOPOQaRZLpnN98O9DSSUboqTh7QOiYVj1BepSu4eULCArkzIYrFzWW6IdEyUAmBjr1674cxOHv7-GfSmL8MQMthAu8V0Yjdlx-0c3DrwLSr6I/s1600/Screen-Shot-2019-08-13-at-10.10.17-AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="704" data-original-width="1122" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYv3aWAIrmHe1o1toaxfucpKHMX8htyogOPOQaRZLpnN98O9DSSUboqTh7QOiYVj1BepSu4eULCArkzIYrFzWW6IdEyUAmBjr1674cxOHv7-GfSmL8MQMthAu8V0Yjdlx-0c3DrwLSr6I/s640/Screen-Shot-2019-08-13-at-10.10.17-AM.png" width="640" /></span></a><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Malick closed his comeback decade with a return to what he’s ‘known for’. Of course by returning to another time he’s reflecting our world more than the one he captured in his run from 2011-2016. While<i> Knight of Cups</i> takes place now, its reference points are firmly pre-American.<i> A Hidden Life</i> takes its cues from art and literature directly around the Second World War, from the films of Bresson and Borzage to the writing of Adorno. All to place one man in heaven and then watch him fall into hell. That is how it feels before tragedy, national or otherwise. Malick takes pains to show the idyllic life of Germany before it fell prey to a heinous outlook but then as his hero looks around he sees that prejudice has always been alive where he laid his head, he just couldn’t or wouldn’t see it. He wonders what degree you must go to prove you aren’t your neighbor when flags start waving. America hasn’t had this quandary in any real way in the last half century, not really, but Malick sees us going back there. What does god want from us? To earn the image we were created in. To earn the bodies able to work the land, to earn the minds capable of refusing a policy of hate, to earn the lives we alone are given to live. There may have been better ways to do so than to give them up when history demanded you abandon your will for the tide, but Franz Jägerstätter looked long inside of himself and found no other gesture that wouldn’t make him hypocrite while millions died. And if they would die for this same argument he did not agree with then he would die with them, uselessly perhaps, but they “were all equal now.” Malick, like Ford, hides his radicalism in the poetry of bloodshed (not so well that you can’t find it) but he’s always been the man who reads us best. People asked for more than a decade why he couldn’t stop repeating his vision of paradise - free people frolicking in fields of wheat. Because it’s so often ripped from us. Why wouldn’t you want to imagine your understanding of a people at one with nature, at one with the planet, with their fellow man, with themselves? It’s a fantasy as great as any epic novel’s because history will take you to hell sure enough. Paradise could be anywhere, even republican America or pre-Nazi Germany, if every man had seen it. But all they saw was a problem that needed solving through the deaths of the undesired. Malick still sees what we could have been, what we could still be. Maybe that makes him naive but I’ll never tire of fleeting visions of perfection. It makes me think we still have a chance. </span><br />
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<span style="font-size: large;">4.<span style="white-space: pre;"> </span>Deadwood</span><br />
<span style="font-size: large;">by Daniel Minahan</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX6-woQSu49S7ghectHhgmJaFnMl0gEKvgzdRwIMAQb96FMO8mswg-agsbKejrV-1DP2xZr5LL1UA4bPnnCGhA5_P1qf3jpiurGaMOm4RhS9ZBLEtf9YsYdN9r2OrCgTLEYJw3-DlaBpk/s1600/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX6-woQSu49S7ghectHhgmJaFnMl0gEKvgzdRwIMAQb96FMO8mswg-agsbKejrV-1DP2xZr5LL1UA4bPnnCGhA5_P1qf3jpiurGaMOm4RhS9ZBLEtf9YsYdN9r2OrCgTLEYJw3-DlaBpk/s640/image.jpg" width="640" /></span></a><br />
<span style="font-size: large;">What may turn out to be David Milch's final produced work during his lifetime. Fitting, if probably unexpected for him, that <a href="https://www.patreon.com/posts/32881987"><i>Deadwood</i> would become his epitaph</a>. He worked for nearly 30 years in television but <i>Deadwood</i> looms largest. His candle-lit western <i>I, Claudius, </i>or maybe Plato's <i>Republic</i>, took the romance out of the frontier, only to rebuild it from scratch in the mud in unexpected ways. When it was cancelled it went out on the best and most agreeably hopeless fashion, fans learned to live with it. The movie was more than we could have hoped for. It's uncanny and strange, a living wake, a parade in celebration of mortality's ravages. Life takes and takes and takes, but the essential character of men and women, of the Deadwood they built, remains. With Roherian grace, Minahan and Milch show their towns folk bargaining with the outside for more time, and local godfather Al Swearengen trades his life for his town's, but only metaphorically. Milch never believed in obvious gestures, even though by wrapping his saga in a bow, he's finally given us one. </span><br />
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<span style="font-size: large;">5.<span style="white-space: pre;"> </span>Varda By Agnès</span><br />
<span style="font-size: large;">by Agnès Varda</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcWXFX6CbmJNRdHoKGKg1HEePQMuUca-pYQ6SocioEtH9BC2KXY8o12655EV6b1oywKq8p9F5MeOV2M9XQ0CBe6mm2tRT1Yl2CMLE6wDRt-ioutcMmDSwGg8zu8u_W-qBcWGFhKIjLK0/s1600/VardaByAgnes_08-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRcWXFX6CbmJNRdHoKGKg1HEePQMuUca-pYQ6SocioEtH9BC2KXY8o12655EV6b1oywKq8p9F5MeOV2M9XQ0CBe6mm2tRT1Yl2CMLE6wDRt-ioutcMmDSwGg8zu8u_W-qBcWGFhKIjLK0/s640/VardaByAgnes_08-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;">When I met </span><span style="font-size: large;">Agnès </span><span style="font-size: large;">Varda, she was at once enormous and so, so small. The woman who invented modern French cinema’s romantic poetry, the thoughtful and empathetic foil to Godard, the woman who clutched Jacques Demy’s hand while he died, the woman who photographed Castro and the Black Panthers, who made damn sure feminism and film would stay married til death did they part, who took a camera to an island and created a working life from a dying relationship like Rossellini’s heir, there she was on a chair, too tired to speak English. I did my best to be kind to her fatigue, and let her go when she let me know our time was up. Very few people would see her again. She knew she only had so much in her so she gathered her films, her friends and her ghosts and she sat one last time for a lecture about her life. Future generations are going to need her roadmap when we forget where we came from, what the cinematic landscape was like before she helped chisel a place for herself. The pioneer with the ever changing hair and a mise-en-scene like a bear hug, she gave us a parting gift: a little more time with her. It’s good for the soul and it’s good for posterity and it’s great for the history of this medium. Without la Varda, the best of our moment in time in unthinkable. </span><br />
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<span style="font-size: large;">6.<span style="white-space: pre;"> </span>T</span><br />
<span style="font-size: large;">by Keisha Rae Witherspoon</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPPOplPYXb7CKUQcG6IrKrKx-4sB7jTjKatndgyd7ZGvU93z6uwCx32Syi0tXtRYm19mzZcXIU2katYBtLsrY6thpuEZCi5i7CWYkRgreM_9MdjHyh9KopdMZqyHDuUOg0j2VkklySJg/s1600/T_1280.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1280" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPPOplPYXb7CKUQcG6IrKrKx-4sB7jTjKatndgyd7ZGvU93z6uwCx32Syi0tXtRYm19mzZcXIU2katYBtLsrY6thpuEZCi5i7CWYkRgreM_9MdjHyh9KopdMZqyHDuUOg0j2VkklySJg/s640/T_1280.png" width="640" /></span></a><br />
<span style="font-size: large;"><a href="http://frame.land/blackstar-doing-the-right-thing/">A gathering</a> of bereaved souls who know more than we could ever. The loss of their homes, their patterns, their cores, has rendered them smarter than anyone should ever have to be. They dress for a celebration of the dead, aware we'll never know why they do it. "There's no punchline, bitch!" Just sorrow, just us living in the weeds of the departed. The arrival of a talent so huge they don't have words to describe her yet. </span><br />
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<span style="font-size: large;">7.<span style="white-space: pre;"> </span>First Cow</span><br />
<span style="font-size: large;">by Kelly Reichardt</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJEAVqXdoydsVbB4gr55Sp6Ap62y-HLeneG7l0kckkm16QuKnjaSRCO_MeO687F5QXgm7oRqweTwyLBga4QrN3DHEYNona5l1YufXmSjAfSKwkjN6F0r-xdYAGQv3NVd5XWYVY95jfgX4/s1600/6NP3rnM4uia3cdr2Fqk6JihnjvdRMa.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJEAVqXdoydsVbB4gr55Sp6Ap62y-HLeneG7l0kckkm16QuKnjaSRCO_MeO687F5QXgm7oRqweTwyLBga4QrN3DHEYNona5l1YufXmSjAfSKwkjN6F0r-xdYAGQv3NVd5XWYVY95jfgX4/s640/6NP3rnM4uia3cdr2Fqk6JihnjvdRMa.png" width="640" /></span></a><br />
<span style="font-size: large;">Kelly Reichardt opens her <a href="https://www.rogerebert.com/festivals-and-awards/nyff-2019-first-cow-fire-will-come-endless-night-martin-eden">latest western</a> with a nod to Peter Hutton and then quickly segues into the world of Robert Altman. Her cinema is one of transpositions and border crossings, of fences separating us and single gestures defining us. To bridge the gap between the doggedly narrative and the experimental is a task at which very few ever succeed. Experimental flourishes very rarely find their way into mainstream entertainments in forms you'd recognize but Reichardt has succeeded where others fail because she answers to the emotional, and sometimes a shot of a boat crossing a stream or a train tearing through a tranquil field is the surest way to place your heart where it needs to be for the yarn that follows. Here she stays true to the silence of her early work even as her story veers almost into buddy movie territory. Two men and a cow, a friendship born and fueled at night stealing from the wealthiest man in the county. The lovely words of thanks spoken to an animal who can only intuit their kind tone. This is a film that speaks to our capacity for good even as we descend into criminality. It's got a pre-code mentality in that regard: a criminal's just a man who wants to eat. Reichardt's rogue's gallery gets two of its finest dreamers here, a scheming capitalist and his only friend, a good-natured cook who lights up when people like his art. That genuine feeling is all over this film, each new scene as heart-warming as the last, even if the essential hostility of the past never ebbs. </span><br />
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<span style="font-size: large;">8.<span style="white-space: pre;"> </span>The Irishman</span><br />
<span style="font-size: large;">by Martin Scorsese</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5MFpvoDDoV4zrKbK1RZ1qBSnFoCtHNUDtdQUiYuv7yH7w3hkzLcWXvAZxAkqRgKw8ETuOF_qDwVTNllgTfy3-Ke9BgLg3K36h8a1A9DcqgnYZwikEbQ-agA1jR4xoPQZrzCZdsDy-wSQ/s1600/The-Irishman-1600x900-c-default.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5MFpvoDDoV4zrKbK1RZ1qBSnFoCtHNUDtdQUiYuv7yH7w3hkzLcWXvAZxAkqRgKw8ETuOF_qDwVTNllgTfy3-Ke9BgLg3K36h8a1A9DcqgnYZwikEbQ-agA1jR4xoPQZrzCZdsDy-wSQ/s640/The-Irishman-1600x900-c-default.jpeg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/the-irishman-2019/">A farewell to arms</a>, the end of a genre, the end of every life that seemed so full of sin. The invincibility of the winningly amoral comes to a screeching halt. </span><br />
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<span style="font-size: large;">9.<span style="white-space: pre;"> </span>Uncut Gems</span><br />
<span style="font-size: large;">by Josh & Benny Safdie</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRpdySadlxy0GCqdaxSgE5E6s6YJD0s6newqPcd9ZdrX0ponpymRQwGvpelGPz5CZ2_7XnLjFTSKWcncJ_V3xmgmtnVp9EDqvNCLfHmFvShAv4n4ax2aVAYWYb7Hbz8cQDsxTCxwKrt-I/s1600/Screen-Shot-2019-12-09-at-12.17.36-AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="844" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRpdySadlxy0GCqdaxSgE5E6s6YJD0s6newqPcd9ZdrX0ponpymRQwGvpelGPz5CZ2_7XnLjFTSKWcncJ_V3xmgmtnVp9EDqvNCLfHmFvShAv4n4ax2aVAYWYb7Hbz8cQDsxTCxwKrt-I/s640/Screen-Shot-2019-12-09-at-12.17.36-AM.png" width="640" /></span></a><br />
<span style="font-size: large;">The Safdies structure movies like binges. You want to stop, you want them to stop, but you can’t, you’ve come this far, you’ll take the next bite, drink the next shot, it’s right there what’s the worst that could happen. So much. So, so much could happen. Uncut Gems is the ne plus ultra Safdie anxiety attack, cinema at 10,000 BPM, an unrelenting bad time good time. You can’t even wallow in the surfeit of poor behavior and worse judgment, because the next awful move is already underway. Adam Sandler, playing up his worst tics and manners into a kind of living corpse trudging through life until he can get spat on again and love every second of the embarrassment, is magnetic. Every chewed up syllable and screamed excuse growing even more ingratiating when they should be tiresome. The movie, like its climactic basketball game, keeps surprising you until you’re in a beatific stupor. And then the last turn. Just magic. Awful, awful magic. </span><br />
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<span style="font-size: large;">10.<span style="white-space: pre;"> </span>3 From Hell</span><br />
<span style="font-size: large;">by Rob Zombie</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Op18RWFGDnLUgW2aSkwYlkjGxglxMfY_X26xQnEIvlixK31CX03N92vIy9RI0KQ0rI6bQhNTbWu6h6FcPmMN_PSuQUruttE_obZv36allQnwy5TxUjiYAiFWSf9PcSRhzPOkQiWKTrQ/s1600/rob-zombie-3-from-hell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Op18RWFGDnLUgW2aSkwYlkjGxglxMfY_X26xQnEIvlixK31CX03N92vIy9RI0KQ0rI6bQhNTbWu6h6FcPmMN_PSuQUruttE_obZv36allQnwy5TxUjiYAiFWSf9PcSRhzPOkQiWKTrQ/s640/rob-zombie-3-from-hell.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Never have I been so thrilled to spend time in the <a href="https://www.rogerebert.com/reviews/3-from-hell-2019">company of bastards</a>. Zombie's grammar's gotten stronger as his budgets have gotten smaller, and his way of looking at the world - 70s nihilism filtered through 00s moral provocations - becomes like a brick-and-mortar business in a sleek, corporate world. He even road-showed it like he was Kroger Babb. <i>3 From Hell </i>may as well be John Ford today with how factory tooled so much genre in America has become. He sets his killers loose on vigilantes, corrupt cops, assassins, and old vendettas, and they're strong enough to survive but their number is about to come up. Zombie's images have become like home to me, comforting in their specificity, monstrousness and occasional naïveté. He still so plainly takes utter joy in constructing his carnage, and I'll always take just as much joy reveling in it. </span><br />
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<span style="font-size: large;">11.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Fourteen</span><br />
<span style="font-size: large;">by Dan Sallitt</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3rkADpObRpSCXSCCQa_mcVq0eQnAMyBHS-sUAgpwmOBAccLZ43Q7xmPKFo87DFOoiW2gdA9PRjRAAQ5XiBH2yc9WgB6y0wG2Hbiz5fkEQqNgY6uHr1M0dE6hd-hUTHg_5HogFgcWVk30/s1600/201912641_1_RWD_1380-e1549617784304.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="859" data-original-width="1359" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3rkADpObRpSCXSCCQa_mcVq0eQnAMyBHS-sUAgpwmOBAccLZ43Q7xmPKFo87DFOoiW2gdA9PRjRAAQ5XiBH2yc9WgB6y0wG2Hbiz5fkEQqNgY6uHr1M0dE6hd-hUTHg_5HogFgcWVk30/s640/201912641_1_RWD_1380-e1549617784304.jpg" width="640" /></span></a><br />
<span style="font-size: large;">I recognize my word on this one only counts for so much because I’m in the credits three times but see it for yourself. Dan’s most skillful balancing act yet. Like <i>Unspeakable Act </i>it relies on hindsight on the destination to re-contextualize the journey but a film that heads to a place that ruins you the way this ruined me, what else can you call it but deftness, soul, skill, artistry, genius. Watching Dan direct has the same kind of awe-inspiring effect of watching a great sculptor. You watch him pull a face from marble, clearly aware of the design in his head, still unable to believe he’s going to create a masterpiece from the series of little manipulations he insists upon. And between takes he’ll talk Alan Rudolph or Tom Cruise or <i>Casablanca</i> like he was at a party. And a year later here’s his latest, and it’s even more heart-rending snd deeply felt than the last one. Dan I don’t know how you do it but don’t ever stop doing it. </span><br />
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<span style="font-size: large;">12.</span><span style="font-size: large; white-space: pre;"> </span><span style="font-size: large;">“I Do Not Care If We Go Down In History As Barbarians”</span><br />
<span style="font-size: large;">by Radu Jude</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_Klh2D92ymToxRdg4N37jem78fq_4A7FfsI-9nSPTzpDA94kGe32Eke67MiM-TXGowb2MXbFwglOCsVW_t2OxHsPa1z7Bmt0wXpCkW_nPGQaKm3zkq8DFj45kFrnt-5ZB9shil7B-sU/s1600/idc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ_Klh2D92ymToxRdg4N37jem78fq_4A7FfsI-9nSPTzpDA94kGe32Eke67MiM-TXGowb2MXbFwglOCsVW_t2OxHsPa1z7Bmt0wXpCkW_nPGQaKm3zkq8DFj45kFrnt-5ZB9shil7B-sU/s640/idc.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Jude’s gnostic rumination on art’s place in society that rejects truth for legend. “My character is an atheist, I am not.” The Meta text even refutes his premise, that no body beholden to the invisible can ever get around to being accountable for itself. Jude’s proven himself one of cinema’s great aesthetic chameleons, a shapeshifting new waver who will pick the methodology best suited to his new tale of ancient dead ends and mass graves on which the present is built. A thesis film about a thesis film, a slippery formal dare. </span><br />
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<span style="font-size: large;">13.<span style="white-space: pre;"> </span>Killing</span><br />
<span style="font-size: large;">by Shin'ya Tsukamoto</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTnRHdVWKyWTx8cR-kO4Wgl8TgZv9PvGmVLh6c1LA6vxda0vGwMeQD4nhfMNsJNPzdG9bJkommpYYL4GXJZkF1hR7w6WqixwinKmRlm6w3g013VlM6zSRn7up2dfx39KghcArLrZMCH7Q/s1600/1288667_zanshinya_tsukamoto_119682.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="755" data-original-width="1134" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTnRHdVWKyWTx8cR-kO4Wgl8TgZv9PvGmVLh6c1LA6vxda0vGwMeQD4nhfMNsJNPzdG9bJkommpYYL4GXJZkF1hR7w6WqixwinKmRlm6w3g013VlM6zSRn7up2dfx39KghcArLrZMCH7Q/s640/1288667_zanshinya_tsukamoto_119682.jpeg" width="640" /></span></a></div>
<span style="font-size: large;">Tsukamoto’s final work of a decade of reinventing himself as a tragedian, <i>Killing</i> is supposed to be hard work and it is but it’s also got an engine like a race car. The premise is simple, <i>The Red Badge of Courage </i>by way of Peckinpah - what feels like unAmerican fatalism to deconstruct Japanese honor. An old samurai sees potential comrades in young men but when push comes to shove neither is up to the task of stopping bad men from taking advantage of good people. The awful things gangs of powerful bullies can wreak on folks ill-equipped to protect themselves must happen or else how would we learn the real efficacy of violence? Being a skilled warrior as Tsukamoto’s blustery ronin obviously is means he got that way at he expense of many lives. A legend is only told because he left bodies behind him. Valor as sociopathy, heroism as not just a lonely pursuit but an absolutely insane one. The Iron Man of the cinema questions a century or more of nationalist folktales and movies. </span><br />
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<span style="font-size: large;">14.<span style="white-space: pre;"> </span>Sunset</span><br />
<span style="font-size: large;">by László Nemes</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizXM28BVvH5uBTN70aJPdW47OZzllq_AP6TjYi-qjC8JvBvTiWlV0sW8715OxDlYW3R4c8KqxkapAkKp0oxg0lh3an3F23BheNRD-ju_GFPDfAmQOogHdEyJauZEYfAnSXEweZ2aQOaDI/s1600/sunset-2018-1200-1200-675-675-crop-000000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizXM28BVvH5uBTN70aJPdW47OZzllq_AP6TjYi-qjC8JvBvTiWlV0sW8715OxDlYW3R4c8KqxkapAkKp0oxg0lh3an3F23BheNRD-ju_GFPDfAmQOogHdEyJauZEYfAnSXEweZ2aQOaDI/s640/sunset-2018-1200-1200-675-675-crop-000000.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="http://frame.land/film-comment-selects-a-modest-gift/">Nemes' cinema</a> has been introduced to us as one of pointing out the inherent weaknesses of trying to tell the stories of the dead. The perspective will be limited because of what we know and can reproduce faithfully. So he's chosen a method of giving us that limited perspective literally, sticking close to the face of our point of view character as if we were launched back in time. Nemes is in some ways paralyzed even as breathless as his camera's pace can be at times, following, always following, as someone fails to take stock of the unfolding intrigue before it can happen. The dye of violence and revolution has been cast. In making us aware that history cannot be changed, Nemes also captures what it feels like to watch the present happen in all caps, completely powerless to effect change on events just <i>over...there</i>. By shallowing the focus and queering the specifics, he strands us in a throng of allegiances and a sweltering fog of violence. It's all happening right in front of us and we can do absolutely nothing.</span><br />
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<span style="font-size: large;">15.<span style="white-space: pre;"> </span>Hampton</span><br />
<span style="font-size: large;">by Kevin Jerome Everson & Claudrena N. Harold</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQGHwCpg-hUvW9YmIZ4TwYCEky0pmAHxK7JxUu1HPaNvAUZV43vCYToLSCthU0D7iZ0r9I8oDBr3V0azZDix4BRde1wuS5jS7retrCvCvySiyb1-8ttXdmQo5rtCt5R4xzCZ6Z7Mr8-Rg/s1600/Hampton_2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1280" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQGHwCpg-hUvW9YmIZ4TwYCEky0pmAHxK7JxUu1HPaNvAUZV43vCYToLSCthU0D7iZ0r9I8oDBr3V0azZDix4BRde1wuS5jS7retrCvCvySiyb1-8ttXdmQo5rtCt5R4xzCZ6Z7Mr8-Rg/s640/Hampton_2019.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="http://frame.land/blackstar-doing-the-right-thing/">A few minutes</a> of practice, smiling faces at work, making beauty where there is only silence. Everson's been one of the busiest filmmakers in the world lately, creating something like a hundred films this decade alone. I don't claim to have seen nearly enough of them to be able to come up with words to describe his enormous impact or his multifaceted identity, but I can say that I'm frequently speechless when they end. <i>Hampton </i>strikes me as a foray into a realm of the perfectly artificial, which he doesn't usually visit. The loving composition, the faces, very aware of the camera, yet even more aware of their duty to the art they practice. Stirring and hopeful, a present for our tired eyes and wearier interior. </span><br />
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<span style="font-size: large;">16.<span style="white-space: pre;"> </span>Once Upon a Time… in Hollywood</span><br />
<span style="font-size: large;">by Quentin Tarantino</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGJeofsOoltBsAxJ7Owr2-7tW1FsXLDnX4Pbf6_P-EXj5W3p5HPj9GFkoH-C6b0JI2_8s57uFJBf5QPWEmfG3RMT8Y8EdYD75EgwpNW0MdMv9MdISVBb4wtwCLRchyphenhyphenw8xXXeFDxINOTQ8/s1600/onceuponatime3.0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGJeofsOoltBsAxJ7Owr2-7tW1FsXLDnX4Pbf6_P-EXj5W3p5HPj9GFkoH-C6b0JI2_8s57uFJBf5QPWEmfG3RMT8Y8EdYD75EgwpNW0MdMv9MdISVBb4wtwCLRchyphenhyphenw8xXXeFDxINOTQ8/s640/onceuponatime3.0.jpeg" width="640" /></span></a><br />
<span style="font-size: large;">It’s not always wise to judge a film based in anyway by the conversations it inspires, whether by content or volume, but a half year after its premiere this still has folks’ hackles up. It’s understandable, it looks misogynist from the outside and on the inside it kills women for fun. It looks conservative but it also prolongs there hippie movement in its imagination by killing its most famous escapees. Two decades of increasingly intolerable revisionist Fantasia from Tarantino made me cringe for months ahead of this one, but It’s no good being afraid of a film so I went and saw it. And yeah the provocations endure the way everyone says but it’s also Tarantino’s best work. He stops writing over his direction, which was always his first and best virtue. He stops telling us things we don’t need to know. He stops insisting we’re watching great work, he just gives us some. Maybe it’s because I’m used to his films telling me exactly what to think but it was a delight to be encouraged to make up my mind about the vast array of troubled people on screen. I think Tarantino making the film asking that some guilty men be forgiven their trespasses is pretty transparent but man did he pick the right pace to sell me the idea. This film about the sun going down on problematic guys just meanders from one encounter to the next, an episodic picaresque for guys who used to live charmed lives and now just kinda live. Tarantino finally relaxing his grip on his text and letting the space and time soak in, transporting us to the end of the line for the Hollywood he so wished he’d been a part of and his own version of it. I’ll take the bad with the good now because the good is transcendent and fun. A work that feels as charming as it is watching Brad Pitt watch TV. The little things, the making of dinner, the repair of an antennae, the changing of a tire, a cinema finally of small processes. It only took years of impersonating himself but he found himself again.</span><br />
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<span style="font-size: large;">17. </span><span style="font-size: large;">Absence</span><br />
<span style="font-size: large;">by Ekta Mittal</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEW7yHKQHIBMCFtMFGxBIMbkpeby-bP4Xwtm6cQs3e9nhv_5FfBvY73SQ6rU6eUopllr3mRnHDhZ6VVl7URwu_EAvUWi30KEOjsloK5qWyyOGgSvgJbm37TEDv5NevycAdv4zJRbqny7w/s1600/06_181119_123202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEW7yHKQHIBMCFtMFGxBIMbkpeby-bP4Xwtm6cQs3e9nhv_5FfBvY73SQ6rU6eUopllr3mRnHDhZ6VVl7URwu_EAvUWi30KEOjsloK5qWyyOGgSvgJbm37TEDv5NevycAdv4zJRbqny7w/s640/06_181119_123202.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Mittal's unabashedly <a href="http://frame.land/film-comment-selects-a-modest-gift/">emotional experimentations</a> works as an in-country riposte to Robert Gardner's famed look at Indian urban life. Mittal actually speaks to native Indians, and understands their pain and the lack in their lives. Her film is a marvel of intuitive montage and unmoored, arresting symbolism, one of the best experimental features of the decade - fleeting and mournful, homegrown existential meanderings, intimate secrets of those left behind by migration, yes, but also just by the sheer vastness of capital. Communities transformed into small things, defined by faces smiling to keep from frowning. The wide world rendered only by the night sky that city and country must share, unthinkable as it may seem. </span><br />
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<span style="font-size: large;">18. <span style="white-space: pre;"> </span>Portrait of a Lady on Fire</span><br />
<span style="font-size: large;">by Céline Sciamma</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6OWJu13tdfh_xC8kdRbiH7MguQSYNkk-pdAqiT5vwF3syIXRykyBhA22f3D8HZROI5dItkw1Yt2dGFOwsdrJTQ5hRu0rlosJ0AjVt5XmYnLRTXC6VatX1EnbEYOnjGLM51nAODhcjpc4/s1600/13-portrait_of_a_lady_on_fire-noemie_merlant_adele_haenel_c_lilies_films-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="970" data-original-width="1600" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6OWJu13tdfh_xC8kdRbiH7MguQSYNkk-pdAqiT5vwF3syIXRykyBhA22f3D8HZROI5dItkw1Yt2dGFOwsdrJTQ5hRu0rlosJ0AjVt5XmYnLRTXC6VatX1EnbEYOnjGLM51nAODhcjpc4/s640/13-portrait_of_a_lady_on_fire-noemie_merlant_adele_haenel_c_lilies_films-02.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Doomed romance is a hard thing to commit to without any irony or further distancing mechanisms in 2019. The stories have been told, we know how they end. And by setting this one in the past you run the risk of throwing modern sensibilities into the past. I went in with high hopes anyway. I love Sciamma’s work, love her care with her characters, love that she doesn’t put anything between us and them and her. We’re all in these medium close ups together. Get on board or don’t - this is the story. It’s about being trapped by time in a future you have had written for you. Sue me, I was hooked. Sciamma’s images don’t intellectualize the conflict of her young heroes, they don’t have to. The simplicity of having a goodly sun of experience denied does the trick. Just being women means life there will be question marks that will never turn to exclamation points. And if they do, the price tag for the conversion is steep. <i>Portrait</i> is her sequel to <i>Water Lillies</i> in which Adele Haenel awakens something in another girl she has never known and doesn’t understand much better when she just as quickly gets ripped out of her life. Better to know and live without her or try and pay for it the rest of your life. You’ll know where you stand when the summer movement of the “Four Seasons” plays for the second time. If you answer Haenel’s tears with your own, or you simply watch as Sciamma creates a new anguished face for a new generation of lost souls right there with Marie Falconetti, Nicole Kidman in <i>Birth</i>, or Antoine Doinel. </span><br />
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<span style="font-size: large;">19. Atlantique</span><br />
<span style="font-size: large;">by Mati Diop</span><br />
<span style="font-size: large; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitftrFDGazkHG4TSvSXSuKRcApXPU374NtnqZYzNGPNjNuHL2DBoDLOETpqp-v32Tuwhq5B1umrWhGBEfdCQRl3IA8ah1gK4TlyI3LX8aSx-JbT2YvVzjTQZi2WPR9gNJmam_819ELI_A/s1600/6c-atlantics---c-les-films-du-bal_wide-d4c9cbc5dc82b4c680358898b56348de58233b4b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="786" data-original-width="1400" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitftrFDGazkHG4TSvSXSuKRcApXPU374NtnqZYzNGPNjNuHL2DBoDLOETpqp-v32Tuwhq5B1umrWhGBEfdCQRl3IA8ah1gK4TlyI3LX8aSx-JbT2YvVzjTQZi2WPR9gNJmam_819ELI_A/s640/6c-atlantics---c-les-films-du-bal_wide-d4c9cbc5dc82b4c680358898b56348de58233b4b.jpg" width="640" /></a></span><br />
<span style="font-size: large;">It's never a good idea to let awards write a review for you, but <i>Atlantique</i> now stands as a testament to more than its host of wandering spirits. It stands as a memorial to the work of black women completely ignored by racist bodies who look to keep work like this, which follows no Western narrative patterns or forms, from receiving accolade or attention. That critics the world over couldn't look at this and see the performances, hear the music, see what Diop wasn't saying as clearly as what she was. Diop wends her way down a path of absences and subliminal queues from worlds beyond ours, speaking only to whomever will listen. Senegalese cinema has one of the most rewarding bodies of work and without cribbing a note from any of it, she's re-introduced the world to the artistic tradition from which she sprung. This sleek and sexy nearly-noir sees the dead everywhere because the rest of the world has closed its eyes. </span><br />
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<span style="font-size: large;">20. </span><span style="font-size: large;">Depraved</span><br />
<span style="font-size: large;">by Larry Fessenden</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwVNd0PuDas1fl_fNXEV46rmRbnsRffcBc3ZO7aGRH_sxBBM_Vt2IdMkfCsVGY8VFC5L4YcIRlAxDL971tFK7Atefd3HoxKb4r7_mpdBvQnimFuaBU82RDvNHR_Gxko1n-K1YtC_Pr_Rs/s1600/MV5BN2MwYzljZjUtM2Y3MC00MWI3LTk0NmEtMjA0MjNkNjc1OWZlXkEyXkFqcGdeQWFybm8%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwVNd0PuDas1fl_fNXEV46rmRbnsRffcBc3ZO7aGRH_sxBBM_Vt2IdMkfCsVGY8VFC5L4YcIRlAxDL971tFK7Atefd3HoxKb4r7_mpdBvQnimFuaBU82RDvNHR_Gxko1n-K1YtC_Pr_Rs/s640/MV5BN2MwYzljZjUtM2Y3MC00MWI3LTk0NmEtMjA0MjNkNjc1OWZlXkEyXkFqcGdeQWFybm8%2540._V1_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">It was immediately obvious when the film started that this was Larry Fessenden's passion project, the movie he waited a decade plus to make because he wanted to get it just right. He makes new fables, dredging up the soil of Americana and finding the many hungry ghosts lying in wait all over our forgotten places. He's been obsessed with what we killed when we developed the natural world for cities and vacation towns, what's still hiding where we can't see it. <i>Depraved </i>is his first story in which the monster is made in real time in front of us. We see every mistake being made like we're watching an absent father raise a child. It's among his best pieces of work for this reason. Every mistake, every part of his mad doctor that makes him human also steadfastly refuses to make him god. Pictorially effulgent, with a powerful sound design guiding us through this moral tale, this is Larry at the height of his powers, using every tool in his kit, following every stylistic whim, making the glorious tragedy he always had in him. </span><br />
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<span style="font-size: large;">21. Ad Astra</span><br />
<span style="font-size: large;">by James Gray</span><br />
<span style="font-size: large; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlLce2l8kERlVh5izjdSfkgo0A4EwpPxUt71ZiAegzpnoOhcp6gOQyDiCDtOfknLk2KLG3BbwgrQ00PvxfldOR6LNULH5n6HEuPjmTMxBPBxFncjffMWIY13uehReRJPWzbEOpplyFRh8/s1600/190605152543-brad-pitt-ad-astra-full-169.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlLce2l8kERlVh5izjdSfkgo0A4EwpPxUt71ZiAegzpnoOhcp6gOQyDiCDtOfknLk2KLG3BbwgrQ00PvxfldOR6LNULH5n6HEuPjmTMxBPBxFncjffMWIY13uehReRJPWzbEOpplyFRh8/s640/190605152543-brad-pitt-ad-astra-full-169.jpg" width="640" /></a></span><br />
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<span style="font-size: large;">The truly sad part <a href="https://letterboxd.com/honorszombie/film/ad-astra-2019/">about <i>Ad Astra</i></a>, beyond the man losing his father and the wonder of life with him, is that he keeps trying to experience the end of the universe with some measure of humility, to allow himself to reckon with what love really and truly means to him but everywhere he looks is the trash of humanity floating around him. Gray (accurately?) predicts that when we do make it to the infinite, we'll bring the utter crassness of life on earth with us. Try having a tearful moment of understanding, of turning your father from hero to man, with the sounds of Moon TV in your ear. Even in space his father watches old movies because the crushing silence was too much. We can't be alone because we aren't built to be alone, but together we create an awful racket. He retreats back to the womb of commercialist excess and resources easily held hostage. The movie keeps threatening to complicate Brad Pitt's journey but it's always almost too easy. The further he goes from home, the more aware he is that he can't ever leave. </span></div>
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<span style="font-size: large;">22.<span style="white-space: pre;"> </span>Chained for Life</span><br />
<span style="font-size: large;">by Aaron Schimberg</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsk8UX96_hWgVUl1cllhYbJA40AEvyWw53AlSV2ui_6g2z9gvp12zYX0yYktVWX8YGkpwhetNwPnX8oRloai-rTk-3cicZ5NXtjK3mdtSmQ38eCA5juFU1zj7xbsbWF0MkitLczUBMz90/s1600/maxresdefault+%25286%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsk8UX96_hWgVUl1cllhYbJA40AEvyWw53AlSV2ui_6g2z9gvp12zYX0yYktVWX8YGkpwhetNwPnX8oRloai-rTk-3cicZ5NXtjK3mdtSmQ38eCA5juFU1zj7xbsbWF0MkitLczUBMz90/s640/maxresdefault+%25286%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A word for Jess Weixler: to some of us she showed up with a fully formed comedic persona in <i>Teeth, </i>and rather than pursue the easy path of continuing to make raucous splatter comedies, she kept her nose to the grindstone and took interesting parts in no budget dramas until the big budget parts reflected her persona and respected what she was capable of providing. Here she's performing a balancing act akin to walking on a tightrope with both arms full of dishes stacked up on top of each other. She's funny and bewildered as an actress at one locus of a complicated film set. </span><span style="font-size: large;">Schimberg's <i>Day For Night</i> update doubles down on the sexualized confusion of a film set and doesn't reach for the poetry of creation - it's the oddity of the machine that most interests him. The things we <i>think</i> we're looking for versus the stuff that tends to wind up on film. Weixler and co-lead </span><span style="font-size: large;">Adam Pearson have delectable chemistry as everything around them goes from falsehood to reality and back again in the blink of an eye, or the change of an angle. Maybe sadly, maybe not, a one of a kind film. </span><br />
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<span style="font-size: large;">23.<span style="white-space: pre;"> </span>Homecoming</span><br />
<span style="font-size: large;">by Beyoncé & Ed Burke</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb7DrmxZ6kIylPjOF3RAij4oMCskyk-VI2Wmow2xiFuOlq8Dswp991gc-lHN5nM1FwfiW_rvaz6cmo7oGQ9mJMGlo14G1K7ZcXONdP7e-jYt0FMQqG284vvuWxpTMqFWG8HpSRNzjEG4s/s1600/image+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb7DrmxZ6kIylPjOF3RAij4oMCskyk-VI2Wmow2xiFuOlq8Dswp991gc-lHN5nM1FwfiW_rvaz6cmo7oGQ9mJMGlo14G1K7ZcXONdP7e-jYt0FMQqG284vvuWxpTMqFWG8HpSRNzjEG4s/s640/image+%25281%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">In the current era the most important thing a performer can do is know how to present themselves to an audience, because it is work that never ends. The days of rigidly controlling what the public knows about you are over. Now half of an artists life (especially one as ubiquitous and monolithic as </span><span style="font-size: large;">Beyoncé</span><span style="font-size: large;">) is bending facts to fit a narrative in real time, as if repairing a rocket ship in mid-flight. </span><span style="font-size: large;">Beyoncé, like a politician or religious leader, means everything to all people, and so she must choose her words carefully when addressing an adoring public that consists of billions. <i>Homecoming</i> is a rephrasing of a performance most of the world saw happening live and it still feels brand new. Her outfit changes play like stunning theatrics, her dancing figure seems a thousand feet tall. Perhaps the most savvy and wonderful device in the whole package is rephrasing this as a portrait of her roots and her community. The show, beamed from another dimension on the live feed, now plays like the calculated act of love it always was. Like a sequel to Stanley Nelson's </span><span style="font-size: large;"><i>Tell Them We Are Rising</i>, this is a story of bringing the whole neighborhood with you when you've got the means to make yourself better. It's the counter-myth to the American bootstraps lie. When you've made it to the top, you turn around and offer a hand. That's why </span><span style="font-size: large;">Beyoncé's always going to be more important to the public's moral health than whosever in the oval office. She can change any setback into another limb on her tree, and it's never going to stop growing. </span><br />
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<span style="font-size: large;">24.<span style="white-space: pre;"> </span>A Story From Africa</span><br />
<span style="font-size: large;">by Billy Woodberry</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg78Q5MGv88zc-EDTQBTgnqugBQ4Oy6lbhCuf86XAZ5IeJ1Y5AXlZueHyeajTR1mm3-Vp_fNKNFjRYXgySwVw_xtnVlbY985Jcj9yNTiyFJqCBCdQ-zHvWrCPYpDUlm0KW-JMuB8casCLc/s1600/download.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="168" data-original-width="300" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg78Q5MGv88zc-EDTQBTgnqugBQ4Oy6lbhCuf86XAZ5IeJ1Y5AXlZueHyeajTR1mm3-Vp_fNKNFjRYXgySwVw_xtnVlbY985Jcj9yNTiyFJqCBCdQ-zHvWrCPYpDUlm0KW-JMuB8casCLc/s640/download.jpeg" width="640" /></span></a><br />
<span style="font-size: large;">Billy Woodberry’s stunning photo montage and the haunting score by Antonio de Sousa Dias slow a blunted coup to its essence, like examining lightning in segments. His new film, one of a tragically small body of work, details Identity turned lame by circumstance. A man’s dignity forged in betrayal won’t keep a spirit afloat, and once your blood, the people who once looked after you, have turned on you, what have you left? A welcome visitation from a benighted time, a tale of lessons never learned. </span><br />
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<span style="font-size: large;">25.<span style="white-space: pre;"> </span>Warning: Do Not Play</span><br />
<span style="font-size: large;">by Kim Jin-Won</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5ICqgYgRcfkUOpjBcTDweD0aVsiqcB_PyIhk9ElL57dXqqafMW2PGRIaQeWBF-JlcrYGvUE2O_qfr_GuRLX3SDP7zN-avLKKQtZvc7y2s0wrWIxwm0mLFAhYqu-5oOIf-6dp3gKMuu8/s1600/od7Usf1uU4WSTVl7dUIL5smEk0U.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5ICqgYgRcfkUOpjBcTDweD0aVsiqcB_PyIhk9ElL57dXqqafMW2PGRIaQeWBF-JlcrYGvUE2O_qfr_GuRLX3SDP7zN-avLKKQtZvc7y2s0wrWIxwm0mLFAhYqu-5oOIf-6dp3gKMuu8/s640/od7Usf1uU4WSTVl7dUIL5smEk0U.jpg" width="640" /></span></a><br />
<span style="font-size: large;">It was more than ten years ago that I saw Kim Jin-Won's <i>The Butcher</i>. He had reached into the viscera of the current moment of political horror - torture porn on one hook, found footage on another - and made the finest statement on the headlong death drive animating media at the time. People were racing each other to the most depressing statement on a world intent on destroying itself. <i>The Butcher</i> was like a crocodile (see below) in that it had nothing much on its mind, it was just going to kill some people and show you. I felt like Ash in Alien: "I admire its purity." A tight 75 minutes of gory adrenaline as a man we don't know runs for his life after we see what it is he's running from. Remarkable. So naturally no one gave its director a dime to make his next movie until this goddamned year. Worth the wait, for once. This gorgeous ghost story (think Takashi Shimizu by way of the hotel room in <i>Vertigo</i>) is replete with many splendored tableaux of both modernist homes and grotesque, forgotten hovels, stalked by a terrifying entity. It's also a movie about why we become obsessed with film, about what comforts horror movies, specifically, can provide us at our lowest (having spent a year nestling into horror movies when tragedy struck this was the film that best captured my mindset). I thought when next I saw from Kim would be abject and loud and painful. It turns out he was waiting to give me the thing I needed when I needed it most. </span><br />
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<span style="font-size: large;">26.<span style="white-space: pre;"> </span>Crawl</span><br />
<span style="font-size: large;">By Alexandre Aja</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgldB1UT_tMrSUFxmgAC2rRHXVC0kDGyd01m_c_nZ6u5SL4qriWNCE8DbR2AjnGtaqZna9hWXZoW8vbyUo04hs_FA7Xov2mJKAOp2_YziF2NPBmJF0_6vi72ro0wA6XnE8aPKyiuMZ-O_o/s1600/2b059ea44c8cbea37eec31d21eb679ef.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgldB1UT_tMrSUFxmgAC2rRHXVC0kDGyd01m_c_nZ6u5SL4qriWNCE8DbR2AjnGtaqZna9hWXZoW8vbyUo04hs_FA7Xov2mJKAOp2_YziF2NPBmJF0_6vi72ro0wA6XnE8aPKyiuMZ-O_o/s640/2b059ea44c8cbea37eec31d21eb679ef.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/balder-and-dash/the-pain-needs-to-mean-something-on-horror-and-grief">The movie</a> that saved me this year. When I needed blissful distraction and obvious artifice, when I needed considered direction on a small scale, something short of perfect but more than awesome. Determination from behind sleepy eyes; it isn't that the fight for survival here requires more than the two characters are used to giving. It's that surviving is the only option, so that's what they'll do. Can't tell you what it felt like to write that last sentence. <i>Crawl</i> is an apt title because when life steals from you what it had assured you you'd always have, that's how it feels to move on. </span><br />
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<span style="font-size: large;">27.<span style="white-space: pre;"> </span>Domino</span><br />
<span style="font-size: large;">by Brian De Palma</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJkvqzMXznTgB60PgfW-_Clvzrl0RY49HiZmAJAdm-lj9AQex4YzlhnCczlDNTzTbmVZM1gx2LA0-KYR4I3JLhFaXv_uoCFbwxLw6B0poyGaR77qHQ8FJcu0JT9Aiiq5aaeZ9t1UhvOs/s1600/maxresdefault+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJkvqzMXznTgB60PgfW-_Clvzrl0RY49HiZmAJAdm-lj9AQex4YzlhnCczlDNTzTbmVZM1gx2LA0-KYR4I3JLhFaXv_uoCFbwxLw6B0poyGaR77qHQ8FJcu0JT9Aiiq5aaeZ9t1UhvOs/s640/maxresdefault+%25282%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">De Palma, like the equally problematic Bertolucci before him, has basically lost the use of his legs. This may mean he's done directing after the compromised <i>Domino</i>, or it may mean his next work is even more fatalistic and acidic. I hope he's not done despite the fact that it took decades of combatting him mentally to make peace with him as an artist. <i>Domino</i> is one of those things for which I'm a little hard pressed to precisely define my affection. Yes, I know it was taken from him by producers who gave him a ton of shit for doing exactly the thing they ostensibly hired him to do. Yes, I know he made it for a fraction of what he used to work for. Yes, I'm aware the limitations manifest all over the canvas in ways big and small. Yes, I know the film makes hay out of mass shootings in 2019, and De Palma still seems incurably sore about the way film culture treated him. I just don't care. This thing is so beautiful at times I wanted to weep, and for the man to use what may turn out to be his last soapbox to once more point us to the fundamental equation of what makes something 'cinematic,' by quoting someone else, for once it seems beautiful to me and not a little underhanded. Dying, stuck to a chair, the best years of his life behind him, he wanted to make <i>Vertigo</i> one last time. </span><span style="font-size: large;"><br /></span><br />
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<span style="font-size: large;">28.<span style="white-space: pre;"> </span>Parasite</span><br />
<span style="font-size: large;">by Bong Joon-Ho</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi478oCqldROdxo4dS1Wz0RtVqV4LgE0XfCmkOqlopCO73Je3L0FdeWexesfM7LZTY-11nlJKJJKNlCRRpZku2I9E7gqzk65_nnlHkwwGxo_JcfVnB01-nY1sgGu7NZu6KpEBa2lA2jppE/s1600/image-w1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi478oCqldROdxo4dS1Wz0RtVqV4LgE0XfCmkOqlopCO73Je3L0FdeWexesfM7LZTY-11nlJKJJKNlCRRpZku2I9E7gqzk65_nnlHkwwGxo_JcfVnB01-nY1sgGu7NZu6KpEBa2lA2jppE/s640/image-w1280.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Bong taps into the same state-of-the-union paranoia that animated <i>Burning</i> and goes immediately for the jugular. Class prejudice strapped to a brick and thrown through the screen in traditionally gonzo Bong style, the film shows the savviest of the starving weening their way into the lives of the unforgivably moneyed. So why aren't they always so prosperous, if they're so smart? Because the system is a system for a reason, and no amount of brains can outwit it. Revved-up but sleepless determination turned into the engine of unraveled perfection. The rich may always be rich, but they're not immortal, even if their position is. </span><br />
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<span style="font-size: large;">29.<span style="white-space: pre;"> </span>Knives Out</span><br />
<span style="font-size: large;">by Rian Johnson</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0b2ACEHFsj46TIpQMnQqMp8LIsEi4Xj6rHyrWIb3GWMD9adgenrFU0FJtIa1MMXHLwNFW_eFySYDc3a_pXz2RuSFdxZQG1lfMjMxFzZqyGLw3j-orG3CDP7_LVBnfby5-zOqEqGyGo8/s1600/ko-1920x1080-pagebgs-desktoplandscape-01-50opac.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW0b2ACEHFsj46TIpQMnQqMp8LIsEi4Xj6rHyrWIb3GWMD9adgenrFU0FJtIa1MMXHLwNFW_eFySYDc3a_pXz2RuSFdxZQG1lfMjMxFzZqyGLw3j-orG3CDP7_LVBnfby5-zOqEqGyGo8/s640/ko-1920x1080-pagebgs-desktoplandscape-01-50opac.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Johnson may spend a little too much time on twitter for his own good, but he's also the only person to use a whole map of hatreds and petty grudges to chart one of the most precise mysteries in years. Like a clock with a faulty gear, the murder mystery at the heart of this love letter to Agatha Christie keeps telling the right time to the wrong people as Johnson reminds us repeatedly in increasingly upsetting ways that no matter what shade of white you are, you're guilty of something. </span><br />
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<span style="font-size: large;">30.<span style="white-space: pre;"> </span>Hustlers</span><br />
<span style="font-size: large;">by Lorene Scafaria</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNFtF7vIukTCWnEYl_q8584G1GOtcMb49eqtjk38t30RUubTuxte5_QSZ0NaPYSCHAXRQu1mMo0Ng51oLXM6AHuQhgDn7fSUd5yBIpsfartPdioB9taWgM7hLphkHgeteZq6P3v6Hx1io/s1600/Hustlers-772352984-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNFtF7vIukTCWnEYl_q8584G1GOtcMb49eqtjk38t30RUubTuxte5_QSZ0NaPYSCHAXRQu1mMo0Ng51oLXM6AHuQhgDn7fSUd5yBIpsfartPdioB9taWgM7hLphkHgeteZq6P3v6Hx1io/s640/Hustlers-772352984-large.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Scafaria's cutthroat economics lesson is so snappy and easy that when the bodies start appearing you're almost disappointed, even if this was the only place it could lead. Most of us lived through the recession and know what it did to a lot of people, even if the financial sector never suffered or even fucking apologized. This is the story of women who wanted just a glimpse of what it felt like to stay rich and never have to say sorry for the lives they ruined along the way - a burlesque of criminal masculine entitlement with better outfits and deeper scars. Every party ends, and the women here couldn't imagine everyone would get to go home, so they turned on each other, finally believing they'd never actually get to live like the hideously amoral men they conned. American tragedy as the three hours between going to bed drunk and waking up hungover. </span><br />
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<span style="font-size: large;">31.<span style="white-space: pre;"> </span>Pain and Glory</span><br />
<span style="font-size: large;">by Pedro Almodóvar</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hmDGGbsHFoTKjwn9ZtfpL4vevNVuqjAWi0WToVPaxMT-AMKWuRH0AxRZip3VJOqXALVBi90UBsM0mvHrURvVLHDY8KZNHNY7uykHB5mXBipZlSAwuty5K6yqmNaZAMjxQcGyn7yhQUs/s1600/maxresdefault+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hmDGGbsHFoTKjwn9ZtfpL4vevNVuqjAWi0WToVPaxMT-AMKWuRH0AxRZip3VJOqXALVBi90UBsM0mvHrURvVLHDY8KZNHNY7uykHB5mXBipZlSAwuty5K6yqmNaZAMjxQcGyn7yhQUs/s640/maxresdefault+%25283%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Even Almodóvar's crises are prettier than the rest of ours. His surrogate (gorgeous Antonio Banderas, looking more human maybe, but still godlike) tries hard drugs, loses sleep, loses his mother, loses his friends, loses his muse, but his life remains beautiful, because that's what truly matters to </span><span style="font-size: large;">Almodóvar. We may die, we may cough and sputter and lose everything, but we will never let life (or our apartments) become ugly. Sue me, but I think that's wonderful. It's a tale as old as Sirk, Powell and Stahl. </span><br />
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<span style="font-size: large;">32.<span style="white-space: pre;"> </span>It Chapter Two</span><br />
<span style="font-size: large;">by Andrés Muschietti</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQFAHMbYsIwbYK2ovsersRh2Rty6tk4T9_mHa3w8kWAnQYcQje48ieo1AeUTydQUBHisthnxpAqT140IkAx1gYkGmVpmpPinBklONZQfv0U2zXI3u0-1S40raD7jc_bMH8wrUp6Fz5VFk/s1600/18439348_web1_W-movie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="853" data-original-width="1280" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQFAHMbYsIwbYK2ovsersRh2Rty6tk4T9_mHa3w8kWAnQYcQje48ieo1AeUTydQUBHisthnxpAqT140IkAx1gYkGmVpmpPinBklONZQfv0U2zXI3u0-1S40raD7jc_bMH8wrUp6Fz5VFk/s640/18439348_web1_W-movie.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Following the new-teen-classic adaptation of the earlier portions of the book it was a joy to see <a href="https://www.rogerebert.com/balder-and-dash/im-not-friends-with-her-anymore-on-the-poignancy-of-it-chapter-two">Muschietti indulge his wildest</a> Moctezuma/Plaza Spanish horror impulses. A film that leaks its emotions like a shot fish tank, and scares you with clowns jumping out of the dark, and the thought that you wasted your life being afraid. </span><br />
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<span style="font-size: large;">33.<span style="white-space: pre;"> </span>Luz</span><br />
<span style="font-size: large;">by Tilman Singer</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyVQV-KA2e7AiG-rxr6Ter88-d4taBdUp90tMKDZcfjLjCs5lHhMPRJr7wc7Jk3A48AjIhAREJYc832wEIlSJSbxKZIvcRbfSvQY_DDcvZXbBu8cyS29TPUD9-1fbtFuAQuZTFrhLCPY/s1600/LuzTilmanSinger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="1000" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyVQV-KA2e7AiG-rxr6Ter88-d4taBdUp90tMKDZcfjLjCs5lHhMPRJr7wc7Jk3A48AjIhAREJYc832wEIlSJSbxKZIvcRbfSvQY_DDcvZXbBu8cyS29TPUD9-1fbtFuAQuZTFrhLCPY/s640/LuzTilmanSinger.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://www.patreon.com/posts/30364783">An exorcism</a> for forgotten cities, lost time, and antique means of expression and myth-making. </span><br />
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<span style="font-size: large;">34.<span style="white-space: pre;"> </span>Donbass</span><br />
<span style="font-size: large;">by Sergei Loznitsa</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFbstolsGECiJ34f6hy_TW9Y-e8o9OZsoUWfv3peZJfZ4sG98uzemWsuOztP7uWw4Rc_hFz1aS8-EnA2YPclzp3W15qBzylfZ2_OFUT-XBk1BZRsqaajc3ULPrR6VAONDzQXqQmoo3GBE/s1600/MV5BOWM4OWYyZGUtZGI0Ni00YzlkLTkzNzQtNDU1NzUwYjEzMTZiXkEyXkFqcGdeQXVyODU3NzIwNDI%2540._V1_SX1777_CR0%252C0%252C1777%252C999_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFbstolsGECiJ34f6hy_TW9Y-e8o9OZsoUWfv3peZJfZ4sG98uzemWsuOztP7uWw4Rc_hFz1aS8-EnA2YPclzp3W15qBzylfZ2_OFUT-XBk1BZRsqaajc3ULPrR6VAONDzQXqQmoo3GBE/s640/MV5BOWM4OWYyZGUtZGI0Ni00YzlkLTkzNzQtNDU1NzUwYjEzMTZiXkEyXkFqcGdeQXVyODU3NzIwNDI%2540._V1_SX1777_CR0%252C0%252C1777%252C999_AL_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Like a crowdsourced <i>Paisan</i>, this nightmare trip through a dying region keeps changing the name of the game, trying to let outsiders know what it feels like to live at the mercy of the randomness of war and political turmoil. America only just got a glimpse of what Ukraine lives with, we’ll never know what it feels like to not have distractions and comfort, to be displaced. The film changes locations and focuses with the death or abandonment of whomever was just front and center. The antic rhythm and hopscotch structure is nail biting; truly anything could happen. The more Loznitsa makes documentaries and found footage docs, the more he learns how to mock the texture of unfolding tragedy, and this wild sprawling road movie will stand as a document of the absurdity of the lives we ignore while our own government fucks around and lets the world come to this.</span><br />
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<span style="font-size: large;">35.<span style="white-space: pre;"> </span>Glass</span><br />
<span style="font-size: large;">by M. Night Shyamalan</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCo4DxOYhAR8Sg-anvg68zTQFgRqBcnmusFNFJsR6VhrFnmQCxhY2idfEfDe42OpNQN4w0nSf-1ceoXKE3kOxJk-UqfwFsZ6Qoy4apR5t1HhKqnJvc4Omd_aj1itrCzvsWe_6YOpF5Prs/s1600/5732_d031_00447r_cmyk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCo4DxOYhAR8Sg-anvg68zTQFgRqBcnmusFNFJsR6VhrFnmQCxhY2idfEfDe42OpNQN4w0nSf-1ceoXKE3kOxJk-UqfwFsZ6Qoy4apR5t1HhKqnJvc4Omd_aj1itrCzvsWe_6YOpF5Prs/s640/5732_d031_00447r_cmyk.jpg" width="640" /></a></div>
<span style="font-size: large;">Bless Shyamalan for trying to put the superhero thing to bed, but not even one of America's top formalists could manage such a...superhuman task. Anyway, his mobile camera gets its strongest workout here, whipping around the contained environment to simulate the imprisonment of potential (something of a pet theme for the underrated madman since he started getting bad reviews; and honestly good on him for tackling the thing head on, he's always deserved better than the critical body and the public at large has given back to him. They made him abandon romanticism, for which I'll never forgive America). <i>Glass</i> shatters all hope for the Übermensch to save us from disorder. Power is in the hands of all of us now. For better or worse. </span><br />
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<span style="font-size: large;">36.<span style="white-space: pre;"> </span>The Traitor</span><br />
<span style="font-size: large;">by Marco Bellocchio</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglOzvSJXGAYHLKAhnIybaLORtBEzypuWF6qwSfcsm9PZ5n_2dTeGYuE_WlJzGWNbWpJOayDRPUDmOgvTFCnYzyD2CudGU3EijEM2j1ARIx7uWxiw0zugF-j8dPhshMnR_W2eRnQbnppqc/s1600/NYFF57_MainSlate_TheTraitor_01-1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglOzvSJXGAYHLKAhnIybaLORtBEzypuWF6qwSfcsm9PZ5n_2dTeGYuE_WlJzGWNbWpJOayDRPUDmOgvTFCnYzyD2CudGU3EijEM2j1ARIx7uWxiw0zugF-j8dPhshMnR_W2eRnQbnppqc/s640/NYFF57_MainSlate_TheTraitor_01-1-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Giving Scorsese and <i>The Irishman</i> stiff competition, 80 year old Marco Bellocchio released his most caffeinated treatise on treachery, the overstuffed and luxuriant <i>The Traitor</i>, which traces Italian organized crime and its mirror image in the Italian government from the late 70s to the present day. The deliberately insubstantial character of the digital image he proffers meant to evoke the ignoble lives these would-be-princes don't realize they're living. An early nod to Welles speaks to the valley of difference between the glamour of crime on film and the shoddy and dingy real thing. The symbols of prosperity back then in all-too-clear digital look especially hollow and ugly, as if we were staring at them from behind the observation glass of the mid-film trial sequences. <i>This</i>, the film says at every turn, is what these men died for. What a hilarious waste, what a dreadful bargain. </span><br />
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<span style="font-size: large;">37.<span style="white-space: pre;"> </span>Girls of the Sun</span><br />
<span style="font-size: large;">by Eva Husson</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4uKGlM2w0fAH-vHYvjfIA6pumu9rO1B0KOZ3unhyphenhyphenEoEUMoVpsaBDBPn2GZ9iHfTSpTPNDgbQkxbE_PsMvsFpxMXCi3JcbTZSIMNgP0RBAqCW0cndU2a7z9P5ox-6iXM35uIy_us76KYg/s1600/merlin_152986263_266a6d1b-e95d-429a-bd09-83b0ba5c8b78-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="671" data-original-width="1600" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4uKGlM2w0fAH-vHYvjfIA6pumu9rO1B0KOZ3unhyphenhyphenEoEUMoVpsaBDBPn2GZ9iHfTSpTPNDgbQkxbE_PsMvsFpxMXCi3JcbTZSIMNgP0RBAqCW0cndU2a7z9P5ox-6iXM35uIy_us76KYg/s640/merlin_152986263_266a6d1b-e95d-429a-bd09-83b0ba5c8b78-superJumbo.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A new <i>Apocalypse Now</i> for wars that the First World is encouraged to misunderstand. If we don't get what's at stake, how much could we care really? An ashen Golshifteh Farahani, the unhappy warrior, her movie star radiance ripped out of her like her hope, on the war path, beset by smoke and darkness, not knowing where the enemy is anymore, knowing her small contingent can't possibly turn the tide. The hallucinogenic quality is left behind, the scars are too fresh. The war still wages and it's not clear the right people will win. They never seem to, anymore. </span><br />
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<span style="font-size: large;">38.<span style="white-space: pre;"> </span>Midway</span><br />
<span style="font-size: large;">by Roland Emmerich</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQ2l0_p2Jgdojfs3Ln924oKf4XMD0DXR-XnX8q9gKoM1JVqVUEcgarIfPedCjvo0TJsBKFEE_dQClBNXLyrEAmefSkxi_D5cNPOovJ2iIvhnqNaNc9vMHiMo471Bdnf9-EnIuZaLSEuE/s1600/Midway-2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQ2l0_p2Jgdojfs3Ln924oKf4XMD0DXR-XnX8q9gKoM1JVqVUEcgarIfPedCjvo0TJsBKFEE_dQClBNXLyrEAmefSkxi_D5cNPOovJ2iIvhnqNaNc9vMHiMo471Bdnf9-EnIuZaLSEuE/s640/Midway-2019.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Emmerich has become my pet vulgarian, possessed as he is of a grammatical strategy only a few of us seem keyed into. <i>Midway</i> is a return to the high flying theatrics of his early work by way of his late digital sketching. It's the film he's been building to for the last twenty years - technology finally able to make sitting in the seat of a combat plane both harrowingly real and magnificently artificial. The teeth gritting pilots diving towards submarines are his best action sequences, full stop, and he's been no slouch before now. The sweaty romantic melodrama also firmly in his wheelhouse is admirably relegated to the sidelines (making this a corrective to <i>Pearl Harbor</i> in all the right ways). This is an old school epic in its construction - a new famous face shows up, does his bit, and then vanishes. All business except for the fireworks. </span><br />
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<span style="font-size: large;">39.<span style="white-space: pre;"> </span>Dark Waters</span><br />
<span style="font-size: large;">by Todd Haynes</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDHH5UqfsyjwyuPXsNp50629isTxuunSkQubpll0QOAN85NphHJoWKV7BKsPTmFqQEASNCC8mg98ir1qbF5E7ODnF9gfWPNro76cSMDEaLL6fi-A2Q2AFRNLwsHKpvVcn1METmZbufHfI/s1600/film_darkwaters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="801" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDHH5UqfsyjwyuPXsNp50629isTxuunSkQubpll0QOAN85NphHJoWKV7BKsPTmFqQEASNCC8mg98ir1qbF5E7ODnF9gfWPNro76cSMDEaLL6fi-A2Q2AFRNLwsHKpvVcn1METmZbufHfI/s640/film_darkwaters.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Haynes refuses the resplendent kitsch glamour of his best work to tell the story of the secret ingredient to all of his work - the slow poisoning of the American public by corporations. All his heroes either exist outside of supply and demand or they're dependent on it - the heroines of <i>Safe </i>and <i>Mildred Pierce </i>flip-sides of the same coin. The pots and pans, the toxins and chemicals, the dresses and wallpaper, everything made by companies who don't care if we live or die. Dead would be easier, then there'd be no lawsuit. Mark Ruffalo plays the anti-Dylan of <i>I'm Not There</i>, a man driven by realizing too late he's lead his people into a trap and now needs to extricate them. Unlike Dylan, who had to shapeshift to escape scrutiny or detection, Ruffalo faces both and tries to bring this to light to an unwilling and scared public. The tall-tale here was that millionaires were looking out for us. </span><br />
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<span style="font-size: large;">40.<span style="white-space: pre;"> </span>La Ciudad Oculta</span><br />
<span style="font-size: large;">by Víctor Moreno</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVtkas_Z1-i7W3MGz5xTBcfKJwybwzxXFNv2GczjDr6b0DaVnxWuIqzNKI0KnmSKdXpgjG_vtPqVdcg30hmoLhTnfEicMi0xHR6TLHMCTNUBcHhEVL7jWXl4YuyuZJdvIfNc409Dp84F0/s1600/La%252520ciudad%252520oculta%2525204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="823" data-original-width="1600" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVtkas_Z1-i7W3MGz5xTBcfKJwybwzxXFNv2GczjDr6b0DaVnxWuIqzNKI0KnmSKdXpgjG_vtPqVdcg30hmoLhTnfEicMi0xHR6TLHMCTNUBcHhEVL7jWXl4YuyuZJdvIfNc409Dp84F0/s640/La%252520ciudad%252520oculta%2525204.jpg" width="640" /></span></a><br />
<span style="font-size: large;">An endoscopy of the <a href="http://frame.land/film-comment-selects-a-modest-gift/">great cities</a> that listens keenly to the great yawning nothing below us. A purer sensorial abandonment you may never feel than to watch this in total darkness. To quote <i>Lincoln</i>, you cannot help but be "aware of your aloneness," to know this work persists where no one can see or hear it. A labor movie, a public works movie, and an alienating drift worthy of Ballard. </span><br />
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<span style="font-size: large;">41.<span style="white-space: pre;"> </span>Extra Ordinary</span><br />
<span style="font-size: large;">by Mike Ahern & Enda Loughman</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTuL78-S1G3RryPlfBdJL2VBOt4yp09Qlfcfe4DLCYJ0YoXgTxeI-FEkfL9favHN0OcXHo6VFkFhi_2nyiyrBg_Ui9LCW7UlNG0kDdhAm95QniVsviuZIG187fuuPLg0BNO-hbgjkDp7I/s1600/MV5BMTdjODRlOTQtZTgyZi00MDEwLWExMzAtMDBkZWM2YjRkZDg3XkEyXkFqcGdeQXVyODEwMTc2ODQ%2540._V1_SX1777_CR0%252C0%252C1777%252C737_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="664" data-original-width="1600" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTuL78-S1G3RryPlfBdJL2VBOt4yp09Qlfcfe4DLCYJ0YoXgTxeI-FEkfL9favHN0OcXHo6VFkFhi_2nyiyrBg_Ui9LCW7UlNG0kDdhAm95QniVsviuZIG187fuuPLg0BNO-hbgjkDp7I/s640/MV5BMTdjODRlOTQtZTgyZi00MDEwLWExMzAtMDBkZWM2YjRkZDg3XkEyXkFqcGdeQXVyODEwMTc2ODQ%2540._V1_SX1777_CR0%252C0%252C1777%252C737_AL_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">The funniest out-and-out comedy I watched this year, <i><a href="https://www.rogerebert.com/festivals-and-awards/preview-of-film-at-lincoln-centers-horror-festival-scary-movies-xii">Extra Ordinary</a></i> has uniquely Irish warmth to its pitch black humor. The death of loved ones is where it starts and it gets weirder and more vicious from there, but you wouldn't know it from the goofy laughter spilling out of you. Maeve Higgins is who I wish Rebel Wilson was. </span><br />
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<span style="font-size: large;">42.<span style="white-space: pre;"> </span>The Mountain</span><br />
<span style="font-size: large;">by Rick Alverson</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje_C7AVSwaKVnFN7suF2Bo_8JAd9A4kqxQ-MB-ggFmagLA7T0WL1evcJmeye4DUpb18gDJJYpSyI1pO37j-uec8OYf-1vmErtnLLAavze8g5N2atNFS8OyxDRbwkIbno5F_kNtsMqxAho/s1600/The-Mountain.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="811" data-original-width="1077" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje_C7AVSwaKVnFN7suF2Bo_8JAd9A4kqxQ-MB-ggFmagLA7T0WL1evcJmeye4DUpb18gDJJYpSyI1pO37j-uec8OYf-1vmErtnLLAavze8g5N2atNFS8OyxDRbwkIbno5F_kNtsMqxAho/s640/The-Mountain.png" width="640" /></span></a><br />
<span style="font-size: large;"><a href="http://frame.land/three-from-bamcinemafest/">Alverson finally starts</a> trying to trace back his arrested men, the first stream eventually poisoned with irony like the blood of a dead animal flowing down through history. The lumpen sad boy all but screams at the hostile world for it to make sense and every further glimpse he gets into the backrooms and offices where adults live and prey on children, the further he wishes himself free of consciousness. Surrendering your sanity isn't even possible, because there are still nothing but dead ends and impossible goals ahead of you. There is always a mountain to climb and you will never be strong enough to climb it. </span><br />
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<span style="font-size: large;">43.<span style="white-space: pre;"> </span>Happy Death Day 2U</span><br />
<span style="font-size: large;">by Christopher Landon</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrS0yD2CG9Cv1A2kwYztZrxn8uc_VvS4UdB0iBPEGUrCUS3gEDqcbaw8omivkKo3ZBuHuW3dv4JoRBc083YjDmvFO43xiGScNRdHC4gUGhBO2VF6vFIuI8kh0OVa7KMz2TqYb9y-6fUZQ/s1600/2507_D016_00053_RV2_CROP-e1549983823656.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="765" data-original-width="1200" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrS0yD2CG9Cv1A2kwYztZrxn8uc_VvS4UdB0iBPEGUrCUS3gEDqcbaw8omivkKo3ZBuHuW3dv4JoRBc083YjDmvFO43xiGScNRdHC4gUGhBO2VF6vFIuI8kh0OVa7KMz2TqYb9y-6fUZQ/s640/2507_D016_00053_RV2_CROP-e1549983823656.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Jessica Rothe's been a useful figure the last few years because she has proved that no amount of clear talent (she's funny! She plays scared realistically! She sells a crush! She credibly expresses frustration and sadness about her broken family) can get the wider world to take genre films seriously. If they did she'd have a mantel full of gold and a full answering machine. Rothe returns for an even more heartbreaking go around as the woman forced to relive her own murder to stop a killer. The film gets nuttier this time around with its 80s sci-fi vibes (<i>Weird Science</i> or <i>Zapped!</i> are the obvious touchstones) which means that Rothe somehow getting <i>more</i> empathetic is something special. Everything around her grows loud and she gets quiet and dependably gutting. In a better world, she'd be everywhere, but I guess there is something to knowing something the rest of the world doesn't. </span><br />
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<span style="font-size: large;">44.<span style="white-space: pre;"> </span>Darlin’</span><br />
<span style="font-size: large;">by Pollyanna McIntosh</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYB2dIJbVphKUb1W-1Ni86806ouKxBl_MoVXdiGHZO-afgHn1e3KX0ioiAkTF8VmBjTuh8jowy9Ncx3URLBLh8lr0Yd5B7KLtMeo-i9bll7ygW5M7EmBGvEW_ysDmlKt37FJ1gtOZFAM/s1600/MV5BMWJjN2YwYjAtNmYxMy00YTFhLWEzNjAtYWFjY2VkYjUwZjc5XkEyXkFqcGdeQXVyNDE5MTU2MDE%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="626" data-original-width="1280" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzYB2dIJbVphKUb1W-1Ni86806ouKxBl_MoVXdiGHZO-afgHn1e3KX0ioiAkTF8VmBjTuh8jowy9Ncx3URLBLh8lr0Yd5B7KLtMeo-i9bll7ygW5M7EmBGvEW_ysDmlKt37FJ1gtOZFAM/s640/MV5BMWJjN2YwYjAtNmYxMy00YTFhLWEzNjAtYWFjY2VkYjUwZjc5XkEyXkFqcGdeQXVyNDE5MTU2MDE%2540._V1_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">My favourite story from behind the scenes this year was Pollyanna McIntosh deciding she wasn't done with the story of <i>The Woman.</i> She played the title character in Lucky Mckee's deeply disturbing horror fable in 2011 and then 8 years later brought her back to life exactly where we left her. Rather than simply rehashing the old plot points she turned the story into a mid-career Luis Buñuel film, like <i>Viridiana</i> or<i> El</i>. On one side of the story is the woman living in a homeless encampment, on the other is her daughter, forced into religious education. The twain meet in a bloody, erotically and symbolically charged clash. The film quietly swallows all its institutional foes and slyly hints at the diseased world that produced the madness we see on screen. Anchoring everything is McIntosh's typically incredible work on screen, and her newly reliable work off it. </span><br />
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<span style="font-size: large;">45.<span style="white-space: pre;"> </span>Vitalina Varela</span><br />
<span style="font-size: large;">by Pedro Costa</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwq2ximQwLDu2cqBo2b2xLR5pSofH5_fF7VXZYWJnYs3DEmcUx_nWeJv9djnPFPJxWPsIDPcF8e_QyKOGqZMokhy3FzSl7h2TlfybnHFdxmELFVVdUU2MmHGCKJaB5XneeItUmL4k_66g/s1600/NYFF57_MainSlate_VitalinaVarela_02-1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwq2ximQwLDu2cqBo2b2xLR5pSofH5_fF7VXZYWJnYs3DEmcUx_nWeJv9djnPFPJxWPsIDPcF8e_QyKOGqZMokhy3FzSl7h2TlfybnHFdxmELFVVdUU2MmHGCKJaB5XneeItUmL4k_66g/s640/NYFF57_MainSlate_VitalinaVarela_02-1-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/festivals-and-awards/nyff-2019-the-wild-goose-lake-vitalina-varela-libert%C3%A9-beanplole">Costa's idea of melodrama</a>, of a Barbara Stanwyck weepie, interrupted by the echoing chasms of Murnau and Dreyer, in full bloom. Faces in rapturous darkness, the screaming silence of god, and the endless scrutiny of a community who watched as you lost everything. Nothing at all has changed since <i>City Girl</i>. </span><br />
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<span style="font-size: large;">46.<span style="white-space: pre;"> </span>Us</span><br />
<span style="font-size: large;">by Jordan Peele</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIT0cWjR0JCZRVHc51YC9Yl7cerX_tm6QKkTs7gIEJ0A-3hZiEDX9jr9L_weab__p6ldIk1Tb5y0MbX9NszrpMwyGcrSxVkJM62Kq_kp7PU_faW0Ys7Y5cs9zgEP4d-yySGpDu69xn6Yk/s1600/us4.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIT0cWjR0JCZRVHc51YC9Yl7cerX_tm6QKkTs7gIEJ0A-3hZiEDX9jr9L_weab__p6ldIk1Tb5y0MbX9NszrpMwyGcrSxVkJM62Kq_kp7PU_faW0Ys7Y5cs9zgEP4d-yySGpDu69xn6Yk/s640/us4.0.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="http://punkeinfilm.blogspot.com/2019/08/brettney-and-i-us.html">A Jean Rollin movie</a> with Sergio Martino's colour palette. The film about performance that turns everyone who reacts to it into a sort of a performer as they try to explain why it didn't work for them; an extremely savvy move on Peele's part. A sort of cracked mirror up to 'the discourse' with no patience for those who feint at progressivism, because to believe anything and not act is just dancing in a cave. </span><br />
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<span style="font-size: large;">47.<span style="white-space: pre;"> </span>High Flying Bird</span><br />
<span style="font-size: large;">by Steven Soderbergh</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWVu_jVb369qlgJ4zI1C-oGbikyFr7ZlYGhF6kCiG_OTQr3-ez3dU4hITEvwbVgj6NQFQwiJhNFKKv-Ed4T2uoNFeZ0ppf0squCu5Lv4Z3kYLt0EQKC37qttgv2pod1Si17-fKOPZB-A/s1600/image+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWVu_jVb369qlgJ4zI1C-oGbikyFr7ZlYGhF6kCiG_OTQr3-ez3dU4hITEvwbVgj6NQFQwiJhNFKKv-Ed4T2uoNFeZ0ppf0squCu5Lv4Z3kYLt0EQKC37qttgv2pod1Si17-fKOPZB-A/s640/image+%25282%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://thespool.net/movies/2019/02/high-flying-bird-review/">Soderbergh's take</a> on a Michael Ritchie procedural satire crackles with vivacious bite and caustic wit. André Holland practically tap dances through the film, holding the frame like a silent film star and spitting his intricate dialogue like Danny Brown or Busta Rhymes knee deep in a verse; this film is a star showcase of one of our most dextrous actors, someone who can write his character's biography with a furrowed brow and a sigh. <i>High Flying Bird</i> is the kind of assured work <i>about</i> a sport that never once transpires on screen. A whole team of filmmakers and actors at the top of their game. </span><br />
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<span style="font-size: large;">48.<span style="white-space: pre;"> </span>First Love</span><br />
<span style="font-size: large;">by Takashi Miike</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZAoszzDua9uY_6Bstull4tC6yN3ba2MPLssUClHHH0lGFLgmei6uCnjfkJPhFht2q8lCZBOywYlL7m0XpEi8BQFAgWfuAP-rhyphenhyphenpoBsGUp_NU4wkzIN4RnmY7HZknPhxMGcCNuHRDeYvc/s1600/download+%25281%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="183" data-original-width="275" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZAoszzDua9uY_6Bstull4tC6yN3ba2MPLssUClHHH0lGFLgmei6uCnjfkJPhFht2q8lCZBOywYlL7m0XpEi8BQFAgWfuAP-rhyphenhyphenpoBsGUp_NU4wkzIN4RnmY7HZknPhxMGcCNuHRDeYvc/s640/download+%25281%2529.jpeg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/interviews/takashi-miike-on-first-love-directing-103-films-yakuza-movies-and-more">Miike rediscovering</a> not just romance but his own love affair with the elemental ingredients of genre cinema. He was already old when he was young, and his early gangster experiments had a world-weary grayness. Now they're in full bore neon and deep primaries. The pain is always real but the shape of the underworld grows simpler, its intricacies fading into the background of the real story: two people who'd die for each other. </span><br />
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<span style="font-size: large;">49.<span style="white-space: pre;"> </span>“The Healer”</span><br />
<span style="font-size: large;">by Rusty Cundieff</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAg6-cYGVeWKcouJ26Bf955z_rHn9l4toB0Cg0reTzotZ-pjdm6v5vUPf3sgIw_fQMJTFHz8INAYN3jrBX3EqsYwFK2CyWuWWCB7jQXDk9fAKu5a08Ajpme6-4nOl5iJVcw4HZkZn1lTs/s1600/MV5BZmJlYjZmNmUtNzRkMS00YzlkLWJmNmEtODE5OWEwN2FiMjQ3XkEyXkFqcGdeQXVyODEwMTc2ODQ%2540._V1_SX1777_CR0%252C0%252C1777%252C957_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="862" data-original-width="1600" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAg6-cYGVeWKcouJ26Bf955z_rHn9l4toB0Cg0reTzotZ-pjdm6v5vUPf3sgIw_fQMJTFHz8INAYN3jrBX3EqsYwFK2CyWuWWCB7jQXDk9fAKu5a08Ajpme6-4nOl5iJVcw4HZkZn1lTs/s640/MV5BZmJlYjZmNmUtNzRkMS00YzlkLWJmNmEtODE5OWEwN2FiMjQ3XkEyXkFqcGdeQXVyODEwMTc2ODQ%2540._V1_SX1777_CR0%252C0%252C1777%252C957_AL_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">In one six minute segment of a baggy but hilarious and thought-provoking segment of the omnibus <i>American Nightmare</i>, Rusty Cundieff proves again why he's the satirist America doesn't deserve but desperately needs. Clarence Williams III kidnaps a preacher played by Barry Shabaka Henley to punish him because the miracle he promised didn't come to pass. Williams has always been an underrated character player and seeing him tap into even about a 16th of the emotional core he's capable of reaching is a brutal sight. America's borderline narcotic dependence on religion, a corrupted shell game, in one broken promise. </span><br />
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<span style="font-size: large;">50.<span style="white-space: pre;"> </span>Joan Mitchell, Departures</span><br />
<span style="font-size: large;">by Ken Jacobs</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjDMSdWBfOM4EWeW9tBlDrRcZzI0a1ZghOsGxohEN7mDyL2T1smVbFDAgv2irizxN0gOpeP0i3TevoDT7ji4PCfQh916iErG0jGeyzjxSDD2_Tx1nUglZegVIrYb-nOO9jn8wDoNfMUlg/s1600/785512987_1280x720.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjDMSdWBfOM4EWeW9tBlDrRcZzI0a1ZghOsGxohEN7mDyL2T1smVbFDAgv2irizxN0gOpeP0i3TevoDT7ji4PCfQh916iErG0jGeyzjxSDD2_Tx1nUglZegVIrYb-nOO9jn8wDoNfMUlg/s640/785512987_1280x720.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Jacobs stirring, psychedelic re-imagining of Joan Mitchell as a living organism is a re-contextualization of two-dimensional, hand-and-paintbrush art, but also a way to weld himself to the artists he loves, to make his montage and tinkering inextricable from his influences. Jacobs sees the future now when he plays with the images in front of him, seeing beyond the truth of an image into its kinetic potential. The rush of color and shape, like he was pressing down on his eyes a little too hard, that's what lies beyond the immutable truth of the image. There is always somewhere else to go. Cinema is never done. </span><br />
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<span style="font-size: large;">51.<span style="white-space: pre;"> </span>Practice</span><br />
<span style="font-size: large;">by Iyabo Kwayana</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnRKE8Qs4DFTepQPUtBrE5bjluUTHIINAXrNqpoi3nE8CKRVRRVYsMSftj7DAc2CYaXKRWbUNpb6e5fjo8i_FgV7oGsMhC-NKJee8QL-8Caed2oJmqq5TYRzn4KBLgtHRMDA5Cp65TiW0/s1600/Practice_Still200DUPE-Web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnRKE8Qs4DFTepQPUtBrE5bjluUTHIINAXrNqpoi3nE8CKRVRRVYsMSftj7DAc2CYaXKRWbUNpb6e5fjo8i_FgV7oGsMhC-NKJee8QL-8Caed2oJmqq5TYRzn4KBLgtHRMDA5Cp65TiW0/s640/Practice_Still200DUPE-Web.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Kwayana's most tightly coiled work to date, a film, I should think that will wind up a rosetta stone for her future successes. Hypnotic and mammoth, a tribute to collective effort; a beautiful response to China's historical unease with the idea of community and where it brings us - a kind of anti-Maoist song of humanity through communism. Together we're amazing. Together we're strong. </span><br />
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<span style="font-size: large;">52.<span style="white-space: pre;"> </span>Charlie Says</span><br />
<span style="font-size: large;">by Mary Harron</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlCAYTkAeBpW5Xv3rx1NaP1tXlgkikNihopUkUmENfghSBFzxebvyb-j2RutG2To1uQxxV8epX8ZzkuoU4K5E5nT5QSA5gXIfBUkqHOJbckcv0NRVyI4qaL7TKPENPCRxnXUUTXhKTps4/s1600/charlie_says_still2_pr_hr_ubg_cmyk.jpg_rgb-h_2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlCAYTkAeBpW5Xv3rx1NaP1tXlgkikNihopUkUmENfghSBFzxebvyb-j2RutG2To1uQxxV8epX8ZzkuoU4K5E5nT5QSA5gXIfBUkqHOJbckcv0NRVyI4qaL7TKPENPCRxnXUUTXhKTps4/s640/charlie_says_still2_pr_hr_ubg_cmyk.jpg_rgb-h_2019.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://mubi.com/notebook/posts/review-cryin-time-mary-harron-s-charlie-says">Harron putting</a> feminist theory and empathy to the test, asking if everyone truly deserves to be saved. Harron and her writer Guinivere Turner ultimately believe they do but understand what a miserable gift rehabilitation can be. Without it though, what are we? Men, ultimately and fittingly. After all, Charlie didn't repent. A raft of exceptional performers letting us into the bleakest moments of life after the supernova that ended the 60s. </span><br />
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<span style="font-size: large;">53.<span style="white-space: pre;"> </span>Up The Mountain</span><br />
<span style="font-size: large;">Zhang Yang</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6FJxF0jOWjyPeJiFijavWBHhvW8XXVk5YKRZ_KnbDiY25J4y8ld0voE88fq6iEYVRxPURlLV1y2rPquucexa1PfqS1Bi7adWpwRFuRk5NMhpuUBRn9kau0UfEWAXC-vwiarwHbz9eLwA/s1600/a02cedfc-217c-46fb-95e7-31605fda7be6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6FJxF0jOWjyPeJiFijavWBHhvW8XXVk5YKRZ_KnbDiY25J4y8ld0voE88fq6iEYVRxPURlLV1y2rPquucexa1PfqS1Bi7adWpwRFuRk5NMhpuUBRn9kau0UfEWAXC-vwiarwHbz9eLwA/s640/a02cedfc-217c-46fb-95e7-31605fda7be6.jpg" width="640" /></span></a><br />
<span style="font-size: large;">One of the most probingly and <a href="http://frame.land/film-comment-selects-a-modest-gift/">carefully composed documentaries </a>I've ever seen; tapestries of creation and community. It's almost like a Brueghel painting, the image of the artist himself never far from the drama of the many lives on display as in <i>The Mill & The Cross</i>. Painterly depictions of painters aspiring and assured, modernity's promises spread across their aspirations like fireworks. One simple yet astonishing tableaux after another. </span><br />
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<span style="font-size: large;">54.<span style="white-space: pre;"> </span>Endless Night</span><br />
<span style="font-size: large;">by Eloy Enciso Cachafeiro</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLmdAh-ALv4adluSNRTEzUlLIoHb0-V7RiVYZJc0NXpc2qd3MlAsJfDlIkC2RpOeOPYAhZUo1DtE4xSfUibSQ7YHUvaq1VSWHwui3Aw307F2cnh0zyW_z9YHiFriZdtqGkoOGFBGaevHk/s1600/images-w1400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="789" data-original-width="1400" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLmdAh-ALv4adluSNRTEzUlLIoHb0-V7RiVYZJc0NXpc2qd3MlAsJfDlIkC2RpOeOPYAhZUo1DtE4xSfUibSQ7YHUvaq1VSWHwui3Aw307F2cnh0zyW_z9YHiFriZdtqGkoOGFBGaevHk/s640/images-w1400.jpg" width="640" /></span></a><br />
<span style="font-size: large;">In the finest tradition of <a href="https://www.rogerebert.com/festivals-and-awards/nyff-2019-first-cow-fire-will-come-endless-night-martin-eden">Communist cinema</a>, there is no center here, just a path of destroyed lives and dishonored soldiers. The enemy is over the heads of the characters, taller than the trees and the newly constructed police stations that dwarf them. He's in the air, just around every bend hiding in darkness. Those who fought for freedom and equality are hounded into oblivion, only fire and fern to keep them company, and their memories. Their hideous, hideous memories. A lifetime with ghosts awaits any who makes it clear of fascist country and fascist times. This film is almost hopeful in that it imagines a waning day for the worst systems and the betrayers who peddle their hollow ideologies. Its hypnotic vignettes lay like the sound of crickets in the night, like the chill in the air as you watch your breath scrape the darkness. </span><br />
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<span style="font-size: large;">55.<span style="white-space: pre;"> </span>Black Circle</span><br />
<span style="font-size: large;">by Adrián García Bogliano</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg2R6mDacXjgj8ME95Gqt_VhuE3T6JxqXd-8Rz3ZzWByc2MEic6UyGAzE1mOjWICE2D9Vnzqjy1lX9gX5piYPeN0pVvdOGmoNAZHKlSGpTF9fnfermzmgm6nv3rjHMgclDsA4xVm8qTGo/s1600/ScaryMovies_BlackCircle_01-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg2R6mDacXjgj8ME95Gqt_VhuE3T6JxqXd-8Rz3ZzWByc2MEic6UyGAzE1mOjWICE2D9Vnzqjy1lX9gX5piYPeN0pVvdOGmoNAZHKlSGpTF9fnfermzmgm6nv3rjHMgclDsA4xVm8qTGo/s640/ScaryMovies_BlackCircle_01-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/festivals-and-awards/preview-of-film-at-lincoln-centers-horror-festival-scary-movies-xii">Bogliano has been</a> quietly planting a distinct body of work in his back catalogue for the last two decades I was beginning to wonder when he'd make something I loved. Here it is, the film more personal for its apparent unreadable genesis. He's put cult queen Christina Lindberg at the apotheosis of a cult of sleeper cell phantom worhsip baked into vinyl records - making this Bogliano's <i>Lords of Salem</i> in more ways than one. This film is an unabashed celebration of old media - the kind of fetishization I expect from Peter Strickland (see #61) but that Bogliano, it turns out, also excels at. Whereas before his rubbery gonzo aesthetic was a place for him to toss references at his audience through fast and furious inference, here he's all about the big picture reminding you of a lot (<i>The Ring</i>, <i>Begotten, Satan's Slaves</i>) and also nothing at all. It's textually rich and drips with invention, even as it knows this has all been done before in some fashion. I wish it was an hour longer. </span><br />
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<span style="font-size: large;">56.<span style="white-space: pre;"> </span>Liberté</span><br />
<span style="font-size: large;">by Albert Serra</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipoDwSRmqS_EA8kuyQCuqa-7t_Abntobq6p9DFCWGhz85PgMX2wAIkcxtNJ5cqqKJAv0J2dvAOusSIV2210-3OYeFZTBMljBZ0k7_qGfZys3YKXyjjRQ8aGaqCsVaQhBfS-9_KWAJnF98/s1600/liberte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipoDwSRmqS_EA8kuyQCuqa-7t_Abntobq6p9DFCWGhz85PgMX2wAIkcxtNJ5cqqKJAv0J2dvAOusSIV2210-3OYeFZTBMljBZ0k7_qGfZys3YKXyjjRQ8aGaqCsVaQhBfS-9_KWAJnF98/s640/liberte.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/festivals-and-awards/nyff-2019-the-wild-goose-lake-vitalina-varela-libert%C3%A9-beanplole">Since first viewing</a> this I've been no more able to move this up a list of my favourites as I have been to shake the feeling that this is one of the great works of visual art of...the decade? All-time? Who could say but I'm transfixed by this drably festooned orgy among the palms. There's something in here...something odd. Something I can't quite stop thinking about. </span>
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<span style="font-size: large;">57.<span style="white-space: pre;"> </span>The Dead Don’t Die</span><br />
<span style="font-size: large;">by Jim Jarmusch</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1kNPhPKbwphg7ns2SXZ0mABTfmc6azSUnuPI2WkgE6LRsidTHwoM4PXXDa31hb3KnJxrH9XQfns5aBw1S0ZdxE4OeMpPU9nkdhdrwTJ5R2Fljxu70npBpHhthEEKgY0AmydEroeFzvE/s1600/dead-anatomy1-videoSixteenByNine3000-v2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1kNPhPKbwphg7ns2SXZ0mABTfmc6azSUnuPI2WkgE6LRsidTHwoM4PXXDa31hb3KnJxrH9XQfns5aBw1S0ZdxE4OeMpPU9nkdhdrwTJ5R2Fljxu70npBpHhthEEKgY0AmydEroeFzvE/s640/dead-anatomy1-videoSixteenByNine3000-v2.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/the-dead-dont-die-2019/">Jarmusch's genre pastiches</a> are always his most wry because he expects you to know the rules, allowing him to make fun of them and you, a little, for having studied so long. I was happy to have him laugh at me because I didn't spend most of my teen years studying zombie films to shrink from his tribute and the barbed cynicism in which he wrapped it. George A. Romero is dead, long live George A. Romero. Jarmusch plays a lovely, nasty trick here, by allowing us a prolonged glimpse at the dead we loved and realizing the experience of having them back would be striking at first, annoying second, and miserable third. He'll never have his heroes back, and the world they left us may make more sense with their art guiding us, but it's still the world, and we're still dying. </span><br />
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<span style="font-size: large;">58.<span style="white-space: pre;"> </span>Richard Jewell</span><br />
<span style="font-size: large;">by Clint Eastwood</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipWJGxnEm1kLydSSgPNaridLtn2_bfazvbNEZ_0NuCLLRWrhspHLVccR0jlJAhAgaS4y0H-KTkRC0ghr55Rz75CLsCdph9TmR1QPcgDRilRP2io7ceCcuU8HaGnrUNuq0vTU1Csxjf73I/s1600/191202-Schager-Richard-Jewell-tease_ivli8w.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipWJGxnEm1kLydSSgPNaridLtn2_bfazvbNEZ_0NuCLLRWrhspHLVccR0jlJAhAgaS4y0H-KTkRC0ghr55Rz75CLsCdph9TmR1QPcgDRilRP2io7ceCcuU8HaGnrUNuq0vTU1Csxjf73I/s640/191202-Schager-Richard-Jewell-tease_ivli8w.webp" width="640" /></span></a><br />
<span style="font-size: large;">Arther Miller by <a href="https://letterboxd.com/honorszombie/film/richard-jewell/">way of Walmart</a>, potluck-dinner Bresson. One of the great performances of the '10s is our map to the lonely working class and their melancholy dreams of use. <i>Jewell</i> is an homage to the idea that so many of us thought we might do right by the public, our friends and family, that there was a heroic place for us like the ones we saw in fiction. Paul Walter Hauser has the energy of someone who needs to be discovered by Maurice Pialat. That he won't is a shame but that others will is just fine. it</span><br />
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<span style="font-size: large;">59.<span style="white-space: pre;"> </span>Dolemite Is My Name</span><br />
<span style="font-size: large;">by Craig Brewer</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHltBM_P0CdVU7ppgHILWwq1wF2MehIkT2LDZDUiu_MI43T9wC5g-NgSA-8yr9Efc14_i6kFZbknWBVCQ6jgQpIfyhkZBSyQ9DI6OPBhlvPnMBodwgVrCqD8q9DtnhLuUnYRibkLKLPKE/s1600/DOL_Unit_06284_rgb.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHltBM_P0CdVU7ppgHILWwq1wF2MehIkT2LDZDUiu_MI43T9wC5g-NgSA-8yr9Efc14_i6kFZbknWBVCQ6jgQpIfyhkZBSyQ9DI6OPBhlvPnMBodwgVrCqD8q9DtnhLuUnYRibkLKLPKE/s640/DOL_Unit_06284_rgb.0.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Screamingly funny folk tale for the age of the New Beverly and Alamo. A man made himself into the hero he wanted to see on screens - we take for granted that you can just<i> do that</i> now - and in the process helped put the finishing touches on a burgeoning movement. Of course the wonderful thing is Brewer and writers Larry Karaszewski and Scott Alexander don't care about Rudy Ray Moore as part of anyone else's history - this is <i>his</i> story, and his indefatigable enterprising alacrity was the reason he made art that put a roof over he and his friends heads. The right hero, in the right outfit, for the right time. </span><br />
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<span style="font-size: large;">60.<span style="white-space: pre;"> Zombi Child</span></span><br />
<span style="font-size: large;">by Bertrand Bonello</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje2BpklA6JI2iVBj62zsb5QwE-2zImWetoYeQrvwRk2E1xhXJ7y_yyg1NJyy6jQ-nJYQBO3MF00IGy98yPNQd98EMQlJpicXAPvbpqVwNihTcnkpiZf1dSKMFfSKFMRURXYSGT-e_rU_8/s1600/ZombiChild_05-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje2BpklA6JI2iVBj62zsb5QwE-2zImWetoYeQrvwRk2E1xhXJ7y_yyg1NJyy6jQ-nJYQBO3MF00IGy98yPNQd98EMQlJpicXAPvbpqVwNihTcnkpiZf1dSKMFfSKFMRURXYSGT-e_rU_8/s640/ZombiChild_05-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Bonello's first <a href="https://mubi.com/notebook/posts/reincarnation-of-cool-bertrand-bonello-and-zombi-child">old man film</a> (in that his reference points were current pop and 70 year old film). Turns out the insouciant enfant-terrible makes for a beguiling old hellraiser, still magically attuned to young people's taste and preternaturally aware of what's hip. </span><br />
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<span style="font-size: large;">61.<span style="white-space: pre;"> </span>In Fabric</span><br />
<span style="font-size: large;">by Peter Strickland</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUGdtey_LfsGFtygkB0jhkaZYusptplxqyLZkms5eccoCmsHELFKXHoC1th0GudS8esyDgVjqcbUYfMs-PycPk31Oas-narNJbdTdDoV0DdDU1Ao5gFjHlzzP0yyvufFf4CA05d8xfTWE/s1600/image+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUGdtey_LfsGFtygkB0jhkaZYusptplxqyLZkms5eccoCmsHELFKXHoC1th0GudS8esyDgVjqcbUYfMs-PycPk31Oas-narNJbdTdDoV0DdDU1Ao5gFjHlzzP0yyvufFf4CA05d8xfTWE/s640/image+%25283%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Strickland's obscenely upholstered fetishism gets its most gleeful airing here in this sick comedy about the easiest fake answer to our the problem of confidence. The worst people have it, and those of us who need it find it only in retail. Dummying up an Amicus anthology would have been no mean feet but he doesn't lose the thread of his own giallo-inspired colour scheme and knife-like sound design. This witchy, dreamy, acerbic thing is pure him, a movie we know now only someone so atomically perverse could have produced. </span><br />
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<span style="font-size: large;">62.<span style="white-space: pre;"> </span>Chinese Portrait</span><br />
<span style="font-size: large;">by Wang Xiaoshuai</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7roTciVC3eSK_QQVJkjU0FSntpuZU2V8z36xVk0B6yMxNfOOsAF0xpN4DV0RdWlA7Sap5z2AfbFVx-c2O_7yDkT7tBSLDXMszSNCJGqV9xN59p-W1kGOA61nCF1onoGPNtRtrsXmMsmM/s1600/maxresdefault+%25287%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7roTciVC3eSK_QQVJkjU0FSntpuZU2V8z36xVk0B6yMxNfOOsAF0xpN4DV0RdWlA7Sap5z2AfbFVx-c2O_7yDkT7tBSLDXMszSNCJGqV9xN59p-W1kGOA61nCF1onoGPNtRtrsXmMsmM/s640/maxresdefault+%25287%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A country <a href="https://www.rogerebert.com/reviews/chinese-portrait-movie-review-2019">speaking through</a> a handful of people standing still while capitalism and religion shove the head of national identity down like a schoolmaster scolding a child. </span><span style="font-size: large;">Wang gives humanity to the largest population on earth in just the few people who don't work while others do. Those brave enough to stare at us through his camera, and tell us that they live as we do. </span><br />
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<span style="font-size: large;">63.<span style="white-space: pre;"> </span>Greta</span><br />
<span style="font-size: large;">by Neil Jordan</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGH545_q71X5UZLIJe95ndU_WZnbY29FwKhfspGqZMNta1GEfNqGlp85ENsYQ41Qk9IGnAXqbxAEPNNWARbfxJ0i0WYeF2tu7I1Bm-TaG-tJsNS5s2G152p9ypYxIgfqKhKdKOVPFNRLw/s1600/Chanel-Sunglasses-Worn-by-Isabelle-Huppert-in-Greta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGH545_q71X5UZLIJe95ndU_WZnbY29FwKhfspGqZMNta1GEfNqGlp85ENsYQ41Qk9IGnAXqbxAEPNNWARbfxJ0i0WYeF2tu7I1Bm-TaG-tJsNS5s2G152p9ypYxIgfqKhKdKOVPFNRLw/s640/Chanel-Sunglasses-Worn-by-Isabelle-Huppert-in-Greta.jpg" width="640" /></a></div>
<span style="font-size: large;">Neil Jordan was never really done with <i>In The Company of Wolves</i>, and every few years he makes some new Grimm Fairy Tale to remind us he never left the cottage of spiked fables and lost princesses. Here the fairy godmother is a couture-sporting chic succubus, stealing the energy and life from young women in a perfectly unrealistic New York City. Jordan's images and his cutting are both ironclad, so secure and sturdy you'd think they fell here from 1995. There's just nothing like when someone does something old fashioned just the right way. </span><br />
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<span style="font-size: large;">64.<span style="white-space: pre;"> </span>Nowhere, Nobody</span><br />
<span style="font-size: large;">by Naima Ramos-Chapman & Terrence Nance</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxH2r1r66ciy9YDCjJYQyYFwqKqbv5pKa89tpu2G7MUna_snXpALoMoKLKDYJduc-0IbmQfToI-zGewptCtM_CwQM679j85jzWwAQuSo0KhSodmkucjVSINIiXIMfSdoZj8L0bVeb_jg/s1600/DyLcnodXQAAYlOH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="835" data-original-width="1200" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxH2r1r66ciy9YDCjJYQyYFwqKqbv5pKa89tpu2G7MUna_snXpALoMoKLKDYJduc-0IbmQfToI-zGewptCtM_CwQM679j85jzWwAQuSo0KhSodmkucjVSINIiXIMfSdoZj8L0bVeb_jg/s640/DyLcnodXQAAYlOH.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Naima Ramos-Chapman and Terence Nance's <a href="https://www.youtube.com/watch?v=onPuuUD-Z4o">first full-on collaboration</a> as directors has the uncanny rhythms and make-up/mask work of her bone-shaking short form, and the docu-realistic intensity of his. It takes its sweet time moving from one setting and idea to the next, but the halting, incantatory feeling is the destination. Essential artists beginning to fill in the blanks. </span><br />
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<span style="font-size: large;">65.<span style="white-space: pre;"> </span>Scary Stories To Tell In The Dark</span><br />
<span style="font-size: large;">by André Øvredal</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJGE9-37qMk7TJPDyrTvs_tk5o7H26rUmdro2MKc6jEs-FxSWg_MDVhGb867z_K5usrVnDYk5kRgok3-Efzns5h389LxeKtztKJ0SEg-mIkDaeltsxvlGC4wWl8SYVjdb-7L6OBVuyYi4/s1600/scary-stories.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="840" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJGE9-37qMk7TJPDyrTvs_tk5o7H26rUmdro2MKc6jEs-FxSWg_MDVhGb867z_K5usrVnDYk5kRgok3-Efzns5h389LxeKtztKJ0SEg-mIkDaeltsxvlGC4wWl8SYVjdb-7L6OBVuyYi4/s640/scary-stories.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A gorgeous autumnal throwback to the Pennsylvania-bound nightmares of George Romero, and a reminder that what he was trying to warn us about hasn't gone away just because he died and stopped making movies about the issues. Our children are still dying, and no one in power wants to believe it. Stunningly considered and composed, as easy to watch as it is tough to consider. </span><br />
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<span style="font-size: large;">66.<span style="white-space: pre;"> </span>Beanpole</span><br />
<span style="font-size: large;">by Kantemir Balagov</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik5xdnqOdEjIPBnRcwap7O4nKgXMu9jSZzL5jxKSLS7bmLRMpN8rWlf8vVsbpFYxQVQYTjeLGEen6ouU-lZ3sKkuHp1bR0PzmI5BpBUOxAPeab_7MSgawlnw6ugM4f0mgTaxYrp2DGPBM/s1600/NYFF57_MainSlate_Beanpole_02-1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik5xdnqOdEjIPBnRcwap7O4nKgXMu9jSZzL5jxKSLS7bmLRMpN8rWlf8vVsbpFYxQVQYTjeLGEen6ouU-lZ3sKkuHp1bR0PzmI5BpBUOxAPeab_7MSgawlnw6ugM4f0mgTaxYrp2DGPBM/s640/NYFF57_MainSlate_Beanpole_02-1-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/festivals-and-awards/nyff-2019-the-wild-goose-lake-vitalina-varela-libert%C3%A9-beanplole">A new voice</a> enunciates at full volume, in calm green reverie and in agonizing red screams.</span><br />
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<span style="font-size: large;">67.<span style="white-space: pre;"> </span>The Nightingale</span><br />
<span style="font-size: large;">by Jennifer Kent</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNQ9Z07GyepHQN147SzaKOOoxR0bjbVZMahi9acs1zndKBtrr-vLg1V8mwkEXlkAsOg6RH-k9xhPg2YnUqgzw6BPAqRSrD2xfCfKxQtzlVZDDB-ura_3WBpfGDOJIn1hJGe5G6U-ztAGc/s1600/WKIJZ3FZLQI6TF7TBAX345ESSI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1051" data-original-width="1440" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNQ9Z07GyepHQN147SzaKOOoxR0bjbVZMahi9acs1zndKBtrr-vLg1V8mwkEXlkAsOg6RH-k9xhPg2YnUqgzw6BPAqRSrD2xfCfKxQtzlVZDDB-ura_3WBpfGDOJIn1hJGe5G6U-ztAGc/s640/WKIJZ3FZLQI6TF7TBAX345ESSI.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A new <i>Soldier Blue</i> for millenials, a film interested in the push-pull retribution plays in our souls. How badly do we want to be avenged? Enough to lose our humanity? Australia's crimes against the indigenous and the poor have only really had their surface scratched. This grey brown dirge, this endless, bloody road movie is a necessary step. </span><br />
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<span style="font-size: large;">68.<span style="white-space: pre;"> </span>The Day Shall Come</span><br />
<span style="font-size: large;">by Chris Morris</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUQYaGB2zdXOMd7TvEbzp6Z_Oi0EVUCOs3pF-9IzRlUSf6wbtmrst0JBTAjtgUt9o7FuKh6-0Zoe0CnvGBYKTtI3ZEzz6uFwv0ae_yqm8wRzyKI5Ud8kpSFgKqJyWYUxlfRFVoIUIzjDM/s1600/the-day-shall-come.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUQYaGB2zdXOMd7TvEbzp6Z_Oi0EVUCOs3pF-9IzRlUSf6wbtmrst0JBTAjtgUt9o7FuKh6-0Zoe0CnvGBYKTtI3ZEzz6uFwv0ae_yqm8wRzyKI5Ud8kpSFgKqJyWYUxlfRFVoIUIzjDM/s640/the-day-shall-come.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Despite an embarrassment of riches, Morris, maybe the greatest satirist alive, has never overplayed his hand. Make a pest of yourself and it doesn't matter how smart you might be. Almost a full ten years after <i>Four Lions</i> comes its fraternal twin, in which the government no longer has the extremist problem it imagined it did, and so creates one. The dexterity of Morris and co-writers </span><span style="font-size: large;">Jesse Armstrong, </span><span style="font-size: large;">Sean Gray & </span><span style="font-size: large;">Tony Roche's script and the casual proficiency of Morris' direction frequently hides the hideousness of their conclusions, and the implications of every joke, but they're all in there, waiting for an audience prepared to do the legwork of admitting how well and truly fucked we are. But hey, at least we'll have a long and hearty laugh. Nobody said it was going to be easy. </span><br />
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<span style="font-size: large;">69.<span style="white-space: pre;"> </span>Harriet</span><br />
<span style="font-size: large;">by Kasi Lemmons</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp28SjBSqAZXI8C5u_v63I_hKw71OGHGsw9Y1K4sJjLNhIJ7RZbhIQgxOXUwu-9AbjVMIpMktTm_eth6WlRr95yId-dwGx4Mj79qGOBoprzxUaMCK7sfhe1cJ7Wn7bziqE6amzpnQcshs/s1600/thumbRNS-Harriet-Tubman1-103119-1200x675.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp28SjBSqAZXI8C5u_v63I_hKw71OGHGsw9Y1K4sJjLNhIJ7RZbhIQgxOXUwu-9AbjVMIpMktTm_eth6WlRr95yId-dwGx4Mj79qGOBoprzxUaMCK7sfhe1cJ7Wn7bziqE6amzpnQcshs/s640/thumbRNS-Harriet-Tubman1-103119-1200x675.webp" width="640" /></span></a><br />
<span style="font-size: large;">Lemmons telling of Tubman’s origins isn’t committed to narrative fealty, but rather presenting her life and beliefs in a style true to her struggle, and to the women who most need her strength. This is a feature length gospel performance, a hard earned song of loss and reclamation, a film designed to inspire without losing the contours of trauma or the bruises it leaves forever. But despite the pain the celebration of her achievements and her life remains visible and audible (the music! Those costumes!) and keeping hold of the big picture is no mean feat. It’s always easy to turn your nose up at sincerity but in this case that would be an enormous mistake.</span><br />
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<span style="font-size: large;">70.<span style="white-space: pre;"> </span>Fast Color</span><br />
<span style="font-size: large;">by Julia Hart</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOWA_UUmTBqbfRClLKRhwFNHTOevK1SjILl9EDXhypKmd9d6jkLSqlg8xBre0GgucV6EvYPhdCCGyfOoSZquEBtGg5zwPJrMQ4FvEsxlQ59bOg0erWmvl81GH9pQTOiZHw3aSPq8fDYfs/s1600/fastcolor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOWA_UUmTBqbfRClLKRhwFNHTOevK1SjILl9EDXhypKmd9d6jkLSqlg8xBre0GgucV6EvYPhdCCGyfOoSZquEBtGg5zwPJrMQ4FvEsxlQ59bOg0erWmvl81GH9pQTOiZHw3aSPq8fDYfs/s640/fastcolor.jpg" width="640" /></span></a><br />
<span style="font-size: large;">It takes a lot in this obnoxious and exhausting superhero economy to make me see the good in your film if you start from a place of even hardcore revisionism. <i>Fast Color </i>isn’t a superhero movie per se it’s about the <i>need</i> for a better kind of movie for an underrepresented portion of the American moviegoing public and its so well performed and honestly intentioned I wanted everyone to see it when it was over. This is how you beat the dominant narrative. Make better movies. </span><br />
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<span style="font-size: large;">71.<span style="white-space: pre;"> </span>When They See Us</span><br />
<span style="font-size: large;">by Ava DuVernay</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguXLuDTqyzSANIrT6Bqp0kapc64noN34GzUlzGX7SNkQ38c1GMnbd2K-J_VqmqVfezi3hMIdzafxTetNuiF9o7bb3VXfGFWOeYnNEqlFbBCBCvXY_4djsd2LFGwNL5-d0w8Ke9bBKpJT4/s1600/wtsu_102_unit_01489r-e1561511767912.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguXLuDTqyzSANIrT6Bqp0kapc64noN34GzUlzGX7SNkQ38c1GMnbd2K-J_VqmqVfezi3hMIdzafxTetNuiF9o7bb3VXfGFWOeYnNEqlFbBCBCvXY_4djsd2LFGwNL5-d0w8Ke9bBKpJT4/s640/wtsu_102_unit_01489r-e1561511767912.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Ava DuVernay’s version of a Capra film, just as bleak and honest. The deep bench of talent lends this travesty of justice the feeling of a red hot poker on your skin, each development worse than the last. And all the while five men fight tooth and nail to keep their humanity. Harrowing, and only something that could have come from DuVernay’s intense and exultant book of lives in need of detailing. </span><br />
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<span style="font-size: large;">72.<span style="white-space: pre;"> </span>The World is Full of Secrets</span><br />
<span style="font-size: large;">by Graham Swon</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGCBdyn-ogh4k2af1hN4pUcakqy4BHFP-eWttxLOj9_Ha4kTeDlVuyJcrUXhJqGd9ii6WXprBpAilkfDVmBujZ6o9_5u0lNZHDnTbtH9EbFu-IiePXTGNqAUORbIFRqJKp-cmGQ7nP14/s1600/worldisfullofsecrets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGCBdyn-ogh4k2af1hN4pUcakqy4BHFP-eWttxLOj9_Ha4kTeDlVuyJcrUXhJqGd9ii6WXprBpAilkfDVmBujZ6o9_5u0lNZHDnTbtH9EbFu-IiePXTGNqAUORbIFRqJKp-cmGQ7nP14/s640/worldisfullofsecrets.jpg" width="640" /></span></a><br />
<span style="font-size: large;">It's been called a <a href="http://frame.land/three-from-bamcinemafest/">horror movie </a>but frankly it's just too lovely to engender real fear. It's like the old Ebertism about their being no such thing as a depressing movie. Swon's images are so gentle, his montage so soft, his performers so arrestingly strange and real that even if the horrors they speak of were to arrive, they couldn't penetrate the atmosphere of sisterly affection and rarefied cool. </span><br />
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<span style="font-size: large;">73.<span style="white-space: pre;"> </span>Agya</span><br />
<span style="font-size: large;">by Curtis Essel</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhseNs-bUw-1tVoNK8ro4zMtqBE_HDbkX5drzfPB7RXkCoETdqWg5B-jxsk6ZnPe1FXSBWqXwWZWa1EmIlbNJy3NXHkCWXcI0716CjrIDGIvie-PvVzEX1EZH1Y-q1wBNgTglyety0DrE0/s1600/AGYA-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhseNs-bUw-1tVoNK8ro4zMtqBE_HDbkX5drzfPB7RXkCoETdqWg5B-jxsk6ZnPe1FXSBWqXwWZWa1EmIlbNJy3NXHkCWXcI0716CjrIDGIvie-PvVzEX1EZH1Y-q1wBNgTglyety0DrE0/s640/AGYA-1.jpg" width="640" /></span></a><br />
<span style="font-size: large;">It's in the way he films their faces. Skin tones like the ones captured in <i>Agya</i> are not native to American cinema. That alone is revolutionary and splendid. A few minutes of impeccable timing, gorgeous editing, and some of the most luscious photography of the year showing faces that need to be on more screens immediately. Essel's got a true feeling for how to navigate space and love bodies with his camera. </span><br />
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<span style="font-size: large;">74.<span style="white-space: pre;"> </span>The Beach Bum</span><br />
<span style="font-size: large;">by Haromy Korine</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcH4wXvqv-ReUUb09ETqq4UEww5487JyApIhMYYOF6mAEwkhywhKhSk6F86-XwVXe41uYlEAAVeJUtmBvTD0wgEpprP9Pup872FJP33eL77abw3aNkpvWLd-O_ATczTFqQoijKrMdqI14/s1600/TheBeachBum_CreditNEONVICE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1004" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcH4wXvqv-ReUUb09ETqq4UEww5487JyApIhMYYOF6mAEwkhywhKhSk6F86-XwVXe41uYlEAAVeJUtmBvTD0wgEpprP9Pup872FJP33eL77abw3aNkpvWLd-O_ATczTFqQoijKrMdqI14/s640/TheBeachBum_CreditNEONVICE.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A boomer <i>Sweet Movie</i> so indulgent it can be tough to notice when this boozy poet’s luck runs out as his whole life is touched by fate’s loose grip. The true conservative outlook of <i>Spring Breakers </i>is revealed fully, but blissfully at least the awful truth comes in a breezy and colourful package. Some of the most guilt-free fun you’ll have all year.</span><br />
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<span style="font-size: large;">75.<span style="white-space: pre;"> </span>The Man Who Killed Don Quixote</span><br />
<span style="font-size: large;">by Terry Gilliam</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCEVAlJlXjB72_gQ2gnNaMy6YRH5ofr1Qm975HiX1k7JNKnjh_clq0tUQgtyz_NhvEDoRfp3Q13OOD_iPAk2O6Mx-IrQAtcTZkHomD6CgNdIyrVDidm-rDkruR6OxtMrb7djxQ8pFuKmw/s1600/the-man-who-killed-don-quixote-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="840" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCEVAlJlXjB72_gQ2gnNaMy6YRH5ofr1Qm975HiX1k7JNKnjh_clq0tUQgtyz_NhvEDoRfp3Q13OOD_iPAk2O6Mx-IrQAtcTZkHomD6CgNdIyrVDidm-rDkruR6OxtMrb7djxQ8pFuKmw/s640/the-man-who-killed-don-quixote-1.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Gilliam’s empty provocations may be more proof than the resolute failure for his only passion project to grow legs, but anyway you put it he wasn’t made for this moment. His grammar predicted every third director alive; he giftwrapped the modern mid usher cinema for us and he’ll die having planted his feet in a lot of bad places but I won’t lie and say I wasn’t moved enormously by this film. Maybe with no windmills left he’s thrown it away on purpose, but I’m grateful he got this last chance. </span><br />
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<span style="font-size: large;">76.<span style="white-space: pre;"> </span>Hector Malot: The Last Day of the Year</span><br />
<span style="font-size: large;">by Jacqueline Lentzou</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2x8n35u6x9hZb8iTBtLjQuHeN-Oz1-_zof8Vxj1HJTM1AuoTxDE8z0eFPKje-3U_FWHCmCVFdAXKdNB2kRAv3pmKTkEpIQeZIEVBVf7yIrH_AHgo5WoL-6aL4m73c7O_i3QLSlYOR5gg/s1600/Hector-Malot-Still-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="867" data-original-width="1600" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2x8n35u6x9hZb8iTBtLjQuHeN-Oz1-_zof8Vxj1HJTM1AuoTxDE8z0eFPKje-3U_FWHCmCVFdAXKdNB2kRAv3pmKTkEpIQeZIEVBVf7yIrH_AHgo5WoL-6aL4m73c7O_i3QLSlYOR5gg/s640/Hector-Malot-Still-1.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://read.kinoscope.org/2019/05/10/arthouse-and-introspection-an-interview-with-jacqueline-lentzou/">A filmmaker beginning</a> a long career with her most important discovery: that filming the search for quiet, and our identity in that quiet, is a virtue. Lentzou nailed it right away. </span><br />
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<span style="font-size: large;">77.<span style="white-space: pre;"> </span>Dragged Across Concrete</span><br />
<span style="font-size: large;">by S. Craig Zahler</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdgHSMVWrsMqKxRIg-HfbB7olbopH8PVBM4k1RAzKCrSFqmim2HEnQ6BNpxAYWU9Q2Pm6bASWIgNGb5j8fzjDGC087-bVz3zit01UK2VV0m9WOlI9cqpjILLY56sAz3EWl5yFnYMYqs0/s1600/MV5BMDFlMThkNTktZTAzZS00NjQxLWEzYmMtZGFmM2JhMzFmZDhiXkEyXkFqcGdeQXVyNjUxMjc1OTM%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="836" data-original-width="1257" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdgHSMVWrsMqKxRIg-HfbB7olbopH8PVBM4k1RAzKCrSFqmim2HEnQ6BNpxAYWU9Q2Pm6bASWIgNGb5j8fzjDGC087-bVz3zit01UK2VV0m9WOlI9cqpjILLY56sAz3EWl5yFnYMYqs0/s640/MV5BMDFlMThkNTktZTAzZS00NjQxLWEzYmMtZGFmM2JhMzFmZDhiXkEyXkFqcGdeQXVyNjUxMjc1OTM%2540._V1_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A slick neonoir with the politics of Vince McMahon and the confident language of </span><span style="font-size: large;">David Mamet or Michael Mann. Probably monstrous. Probably better for it. </span><br />
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<span style="font-size: large;">78.<span style="white-space: pre;"> </span>The Whistlers</span><br />
<span style="font-size: large;">by Corneliu Porumboiu</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrIdRjYs_etn8OoHEKe72smqSW82cL25L-SoQaMV40-zwlVzOta-lLT12OGa2fVUGlfexWEZKKQogBSbh46FkAaRmv_JldBX6kc29JS1tsNIZYC8nNx8owVaS1h1-vppYqkKjR8Z7c9Gk/s1600/maxresdefault+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrIdRjYs_etn8OoHEKe72smqSW82cL25L-SoQaMV40-zwlVzOta-lLT12OGa2fVUGlfexWEZKKQogBSbh46FkAaRmv_JldBX6kc29JS1tsNIZYC8nNx8owVaS1h1-vppYqkKjR8Z7c9Gk/s640/maxresdefault+%25284%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Corneliu Porumboiu goes full European vacation, making a glamorous and sexy spy story with the same poe-faced sarcasm he brought to his experimental sketchbook. A lacivious dream of mixed languages, double crosses, and real time espionage as only he seems interested in filming. The film is funny but it never quite bests it's funniest joke: Vlad Ivanov as James Bond. His mind.</span><br />
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<span style="font-size: large;">79.<span style="white-space: pre;"> </span>Sorry We Missed You</span><br />
<span style="font-size: large;">by Ken Loach</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_JvNB7RwTYd2DUb1b_A-8tjKrc10IgckicehGvIk67lXtZFFWyDGqlGVzgxdyViaU_iCMq1DyjfRXYxJJsRpaGwNiIsMRG45ay-LxYnQEJ7JLLSBaMFW1TFeYlJSy-CNj0NxD0MQGubk/s1600/sorry-we-missed-you-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_JvNB7RwTYd2DUb1b_A-8tjKrc10IgckicehGvIk67lXtZFFWyDGqlGVzgxdyViaU_iCMq1DyjfRXYxJJsRpaGwNiIsMRG45ay-LxYnQEJ7JLLSBaMFW1TFeYlJSy-CNj0NxD0MQGubk/s640/sorry-we-missed-you-1.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Loach can't seem to quit the ghouls in charge of our well-being. If he did they might get even more comfortable ruining our lives than they already are. His takedown of the gig economy, late capitalism, and Amazon is as stirring as you might imagine and somehow even more emotionally ruinous. Knowing how much people<i> need</i> the thing killing them is just never not going to sting. His family here comes so close, but Loach knows better than to lie to us. It's going to get so much worse. </span><br />
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<span style="font-size: large;">80.<span style="white-space: pre;"> </span>Coincoin and the Extra Humans</span><br />
<span style="font-size: large;">by Bruno Dumont</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmixoIaCL3ih38xLAlZK8j5PUePJPXnQnn0fMIsAkLnjR8vGIh5hKY7wmabykAaeOt_7CzD1lO4eKVe2dY0qfZDQu_0bDr5XqjfyGN0QiZwopPzKHgUTYQKqsZrPCLjXN116pB2mZthRE/s1600/RDV_CoincoinandtheExtraHumans_03-1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmixoIaCL3ih38xLAlZK8j5PUePJPXnQnn0fMIsAkLnjR8vGIh5hKY7wmabykAaeOt_7CzD1lO4eKVe2dY0qfZDQu_0bDr5XqjfyGN0QiZwopPzKHgUTYQKqsZrPCLjXN116pB2mZthRE/s640/RDV_CoincoinandtheExtraHumans_03-1-1600x900-c-default.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/reviews/coincoin-and-the-extra-humans-2019">Dumont's Banlieue <i>Jackass</i></a> saga deals with the immigration crisis by making the other a menacing mirror. How afraid can we be of visitors if they look like us and mean us no harm? The film's utopia of dancing enemies is a hysterical vision of the seemingly impossible (from where we now stand anyway) is a tonic against self-serious replies to the end of the world (and auto-critique from one of the most self-serious directors). Dumont just wants us to be able to laugh from time to time as we tear ourselves apart; it might distract us long enough that we forget what we were so mad about in the first place. </span><br />
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<span style="font-size: large;">81.<span style="white-space: pre;"> </span>Millenium Bugs</span><br />
<span style="font-size: large;">by Alejandro Montoya Marín</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX2EMSHsOQZbryQCoVEHXOhKz40q-r-4O0AuGHXGJ32rc0RKPOGG8IgtgMjGnH-5UuJGZghiHDg65Jti2hoaP2bOdga5howRVhVO-rDzketpf4ECydLj2liRpCNIGbq4HFMeF6ABs_-dc/s1600/maxresdefault+%25289%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX2EMSHsOQZbryQCoVEHXOhKz40q-r-4O0AuGHXGJ32rc0RKPOGG8IgtgMjGnH-5UuJGZghiHDg65Jti2hoaP2bOdga5howRVhVO-rDzketpf4ECydLj2liRpCNIGbq4HFMeF6ABs_-dc/s640/maxresdefault+%25289%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Getting to know the comic sensibility and burgeoning voice of Alejandro Montoya Marín has been a non-stop delight. Seeing him arrive with <i>Monday</i> and showing so much promise - Robert Rodriguez and Joe Dante his two most obvious forebears - was terrific, but seeing him make good on his promise with<i> Millenium Bugs</i>, due for a proper release in 2020, was beyond rewarding. His tale of twin depressive dreamers acting out before they become some other version of themselves is a wildly adorable and earnestly empathetic study of arrested development just about to give way. Incredible work from leads Katy Erin and Michael Lovato help the film earn its sentimental streak, but the film somehow never loses its witty charm, no matter how dark things threaten to get. Deeply impressive work from a no-budget maverick, the next Edgar Wright. </span><br />
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<span style="font-size: large;">82.<span style="white-space: pre;"> </span>In The Shadow of the Moon</span><br />
<span style="font-size: large;">by Jim Mickle</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZeFvO6V8NMewaLnea7lb7oNpx_W2zQve1smlCYje16X7rnlXixAMM2S1t6_mcxjZ6KJY7nUdS5EmZZmStv8NiDp9IobyW_ec0cgLK1W9ooYkwwBmu3UVDpuXpLHs76Rb5nZ4X2Sazg0c/s1600/merlin_161475738_2d09c415-a80e-4d94-bc90-108ef558e65b-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1067" data-original-width="1600" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZeFvO6V8NMewaLnea7lb7oNpx_W2zQve1smlCYje16X7rnlXixAMM2S1t6_mcxjZ6KJY7nUdS5EmZZmStv8NiDp9IobyW_ec0cgLK1W9ooYkwwBmu3UVDpuXpLHs76Rb5nZ4X2Sazg0c/s640/merlin_161475738_2d09c415-a80e-4d94-bc90-108ef558e65b-superJumbo.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Mickle's newest genre cryptogram uses science fiction (specifically time travel) to once again weaponize empathy as only he can. In Boyd Holbrook's big angry eyes, growing narrower and more sad with each jump, we see a man coming to terms with the design of the universe - he can only save everyone the way he dreams of if he saves himself first. Michael C. Hall's on hand to do some more career best work (like it's no big deal for him) as one of the best screen Philadelphians I've ever seen, and to color in the margins of Holbrook's big, important journey. The colour scheme is perhaps Mickle's prettiest (the precision focus of the photography a non-stop treat) and the performers are all to-die-for. Exactly the kind of no-frills experiment I hope for sometimes. </span><br />
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<span style="font-size: large;">83.<span style="white-space: pre;"> </span>Knife + Heart</span><br />
<span style="font-size: large;">by Yann Gonzalez</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsm7RHC9KP8LTLF8qyXiysgHJMBPKH6qPy-DOo4A9hogPW2VCc3VVUZN8fypu37kF6uueTddLf3jVO0VyjsqfjyQYLH9VwnLJVbl2mlmWgmlf5vT07dMAFdVBxz4DMSq5e3UXzfm9qNo8/s1600/knifeheart-cannes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsm7RHC9KP8LTLF8qyXiysgHJMBPKH6qPy-DOo4A9hogPW2VCc3VVUZN8fypu37kF6uueTddLf3jVO0VyjsqfjyQYLH9VwnLJVbl2mlmWgmlf5vT07dMAFdVBxz4DMSq5e3UXzfm9qNo8/s640/knifeheart-cannes.jpg" width="640" /></a></div>
<span style="font-size: large;">Gonzalez's pristine eroticism (not a dick in sight! What gives?!) is the backdrop for a heady and intoxicating tale of a pornstar killer, exactly the kind of depraved euro-ambient cinema we should get more of so that each individual example doesn't have to be held to the most exacting standards. This one is fun and sexy and divine, and that's enough, but it's also good enough to make me wish they'd pushed the envelope just a little more. Still to have more than one giallo a year in the year 2019 is not nothing. Could watch the crowd blocking here all day. </span><br />
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<span style="font-size: large;">84.<span style="white-space: pre;"> </span>Captive State</span><br />
<span style="font-size: large;">by Rupert Wyatt</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCQnBybkx7wkt2Lujli_-dA-v9q-3KGYQbcYzQfFTy3nHluK8HNRsxf4toRGL-DOeMIoT5rqEYULisHhoBfHtQEqRMb9Ng6CIfmGFHGyl0uQnqDWdN5rrt1Q6vK-AAvje0dOdJ9A3xu8/s1600/fmc_mc_CaptiveState.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="1136" data-original-width="1400" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoCQnBybkx7wkt2Lujli_-dA-v9q-3KGYQbcYzQfFTy3nHluK8HNRsxf4toRGL-DOeMIoT5rqEYULisHhoBfHtQEqRMb9Ng6CIfmGFHGyl0uQnqDWdN5rrt1Q6vK-AAvje0dOdJ9A3xu8/s640/fmc_mc_CaptiveState.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Wyatt has always been the kind of director to let every dollar on the screen without once distracting from the increasingly unbearable tension he orchestrates closer to his camera. Here Chicago is under siege from an all-but-unseen alien species, and the focus is on the combined momentum of a resistance movement. Everyone we meet surrenders their individuality for the greater good of trying to break the extra-terrestrial stranglehold. <i>Captive State</i> is one of those movies that because it was marketed wrong, because it was science fiction, because it got bad reviews, will always be a little more bold and blasphemous than people will realize. In here is the recipe for the overthrow of tyranny. People were busy being flattered by military-funded comic book movies to notice. That's our life, now, but I'm glad no one told Wyatt, who directed this with every ounce of his discipline. </span><br />
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<span style="font-size: large;">85.<span style="white-space: pre;"> </span>Little Joe</span><br />
<span style="font-size: large;">by Jessica Hausner</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIcr8nP3wQhSo27LX20xNRG94GABCctjTpMPJG4-EfBNfSLnioFr9UA2LwNWhWpxt2REJoVtUFUJHnctoVjuVFg8conjFm2B2wJEnWWNbA2NEqbh9TVBBaKjx3s4Ke2yFO1ByY-c-6L4Q/s1600/LITTLE-JOE-image-1-1-1600x900-c-default.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIcr8nP3wQhSo27LX20xNRG94GABCctjTpMPJG4-EfBNfSLnioFr9UA2LwNWhWpxt2REJoVtUFUJHnctoVjuVFg8conjFm2B2wJEnWWNbA2NEqbh9TVBBaKjx3s4Ke2yFO1ByY-c-6L4Q/s640/LITTLE-JOE-image-1-1-1600x900-c-default.jpeg" width="640" /></span></a><br />
<span style="font-size: large;"><i>The Invasion of the Body Snatchers</i> <a href="https://letterboxd.com/honorszombie/film/little-joe-2019/">as a software ad</a>, perfection slowly eating away at its competition, never asking whether it's wanted. Hausner trains that laser-precise direction on the modern home, on our relentless pursuit of better things to distract us from worse lives. </span><br />
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<span style="font-size: large;">86. Dumbo</span><br />
<span style="font-size: large;">by Tim Burton</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFT-P_lMmautj-hnJzubxl3iFhyphenhyphenfPqZONSifZjb9lbb9zWab5BKceXFBCxn4qYAdbHIbW2h7m9W2T2u1dW5_A_dzn5ag0xl3LnRXEwRG5Mm6iypn_mG9FQ6gELiSYErUE3ic5ekzx26E/s1600/original.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFT-P_lMmautj-hnJzubxl3iFhyphenhyphenfPqZONSifZjb9lbb9zWab5BKceXFBCxn4qYAdbHIbW2h7m9W2T2u1dW5_A_dzn5ag0xl3LnRXEwRG5Mm6iypn_mG9FQ6gELiSYErUE3ic5ekzx26E/s640/original.jpeg" width="640" /></span></a><br />
<span style="font-size: large;">Tim Burton, against all odds, remembered how to make a film compelling from end to end, and he's nearly in John Ford territory here - the light, depth, and <i>certainty</i> of each shot - though maybe it's more accurate to say he's in <i>Hatari! </i>territory. Even so, it's his proper follow up to <i>Big Fish</i>, brimming with all-American iconography and just-as-American anti-capitalist fervor. The big top is a celebration of greed and falsity, for sure, but everyone deserves a distraction. It's the hucksters in real buildings with real walls who spoil the fun. </span><br />
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<span style="font-size: large;">87.<span style="white-space: pre;"> </span>Little Women</span><br />
<span style="font-size: large;">by Greta Gerwig</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFyLHACTtmXDofAhNLz4SAc8YEaE3AKl3JPsNcTOeDeTwHUmgnUmoYWBydMkeG2bgGx-LZxmr0X486-dcJMbuUxS7V3GHGXH03xOisS7g8NLxsExBntHJKFlMPyD41gcidpgH-Iz5qAG4/s1600/littlewomen3.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFyLHACTtmXDofAhNLz4SAc8YEaE3AKl3JPsNcTOeDeTwHUmgnUmoYWBydMkeG2bgGx-LZxmr0X486-dcJMbuUxS7V3GHGXH03xOisS7g8NLxsExBntHJKFlMPyD41gcidpgH-Iz5qAG4/s640/littlewomen3.0.jpg" width="640" /></span></a><br />
<span style="font-size: large;">A film that plays like reading the contents of a group chat, and coming to the conclusion that for all the rivalry and in-fighting, these people love each other. It's a love that spills from the warm, fleeting compositions out of the screen and onto your lap and into your soul. It's impossible not to cry, I found, whatever my reservations, I was happy to lose it watching them discover, too late and right on time, that their love for each other would transcend anything else. <i>Little Women</i> is an enduring text because its message is so rarely adhered to, except in our imagined inner lives. What if we could meaningfully tell the people closest to us what they mean to us and have nothing else get in the way of how deeply the love ran. We can always try, but these women always succeed. Gerwig's deliberately messy direction, quick pace and structuring, is a sharp analogue for what happens to the enormity our emotions as we move from adolescence into "maturity." Of course maturity is vanishing before our very eyes, so it makes sense that the girls look the same across the years. Maybe it was always a lie. </span><br />
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<span style="font-size: large;">88.<span style="white-space: pre;"> </span>Rolling Thunder Revue: A Bob Dylan Story</span><br />
<span style="font-size: large;">by Martin Scorsese</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDspx8cHZNAaScXOSlpXES3AVX19H0nxGb5SnCKYB5fy1OOOx3vrG3JDpVZuUy7vIbkJ523dF1i7iTOfaIPp5aYUTFiVgD7OUR0m5pIuH1HjrDAXN8y7XvLD0AMzIBJL2OQSqmttDyqYw/s1600/maxresdefault+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDspx8cHZNAaScXOSlpXES3AVX19H0nxGb5SnCKYB5fy1OOOx3vrG3JDpVZuUy7vIbkJ523dF1i7iTOfaIPp5aYUTFiVgD7OUR0m5pIuH1HjrDAXN8y7XvLD0AMzIBJL2OQSqmttDyqYw/s640/maxresdefault+%25281%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">It will always be Sharon Stone and her KISS t-shirt that reminded me why Martin Scorsese is truly our best American. Having Bob Dylan pretend to be interested, scratch that, <i>impressed</i> with Gene, Paul and the boys was a better and more interesting troll than anything in the game. Recasting a bewildering but undeniably transfixing moment for Dylan, America's ornery FM poet laureate, as a series of conscious decisions to further confuse the issue and preserve a little of his mystery by pretending to be forthcoming is one of the longest cons in film history. Imagine Orson Welles admitting at his death he'd never gone broke and the ruse of looking for money was to explain his flamboyant style (not a dig, Welles is maybe the only American filmmaker better than Scorsese). Dylan has a subdued blast (the only kind he knows how to have) talking out his ass for two hours about the flood of talented people who climbed over each other just to be in his orbit - and there's honestly nothing funnier than the likes of Alan Ginsburg and Joan Baez trying to work out a two hour set like they were organizing the Thursday night line-up on a failing tv network. Bitter and only-too-welcome. </span><br />
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<span style="font-size: large;">89.<span style="white-space: pre;"> </span>Culture Shock</span><br />
<span style="font-size: large;">by Gigi Saul Guerrero</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOYpm6rYkTMAeXns2hNUEpK-X4JoIMsdrpeH1-72Kih2XNNQjgERzKdWRmPjqqr5Tv87skQ67L6ax1kVnHFEhlrv-L4J1PG9ax5qGebBRoI1cvd7HyuNEXi7qM0STkCqVVFMtxL6DVks/s1600/1_zzGayiMg4rq9MJAlCdhKkA.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="704" data-original-width="1269" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgOYpm6rYkTMAeXns2hNUEpK-X4JoIMsdrpeH1-72Kih2XNNQjgERzKdWRmPjqqr5Tv87skQ67L6ax1kVnHFEhlrv-L4J1PG9ax5qGebBRoI1cvd7HyuNEXi7qM0STkCqVVFMtxL6DVks/s640/1_zzGayiMg4rq9MJAlCdhKkA.jpeg" width="640" /></span></a><br />
<span style="font-size: large;">Just as Issa López's <i>Tigers Are Not Afraid</i> finally got its release, its B-side hit Hulu, Guerrero's neo-<i>Outer Limits</i> episode, marked by brilliant pastels and dead-eyed commitment from its incredible cast. This whip smart anti-Conservative science fiction film recasts the Fourth of July as a kind of Voight-Kampf test and loyalty oath, a virtual reality trap in which immigrants run in place until they pass. Redolent of Jonathan Demme's colourful nightmares (think his <i>Manchurian Candidate</i> on a Blumhouse budget), this works shows enormous promise and doesn't pull a single punch. </span><br />
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<span style="font-size: large;">90.<span style="white-space: pre;"> </span>47 Meters Down: Uncaged</span><br />
<span style="font-size: large;">by Johannes Roberts</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjcxR38_b38dyN1Y92TPaj-1TBMsHYspoSrHCB2MUd_67II5tpmEKHCZql12w_anWGbw7pvoCO14AG3OrdHH9vS1Luh0ZsCqJ5XGTIqcBjObCCIe-EfhvRzsiRrMJlfSVu5t0ubFl5R68/s1600/47-meters-down.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="777" data-original-width="1357" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjcxR38_b38dyN1Y92TPaj-1TBMsHYspoSrHCB2MUd_67II5tpmEKHCZql12w_anWGbw7pvoCO14AG3OrdHH9vS1Luh0ZsCqJ5XGTIqcBjObCCIe-EfhvRzsiRrMJlfSVu5t0ubFl5R68/s640/47-meters-down.png" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/47-meters-down-uncaged/">Shark movies</a> will never go anywhere so it's a minor miracle when I can stand a new one. Johannes Roberts took few formal risks with his first <i>47 Meters Down</i>, but here he's assured and lets his style settle in, letting slow motion and assured steadicam speak louder. It's a lovely little lesson in suspense generation: what you can't see but know is there. What you can see but can't see you. Is it worse to be observed or observe what you can't change? </span><br />
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<span style="font-size: large;">91.<span style="white-space: pre;"> </span>Master Z: The Yp Man Legacy / Ip Man 4: The Finale</span><br />
<span style="font-size: large;">by Yuen Woo-Ping & Wilson Yip</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNdu9jXYvhttjYziriRXZaZObNHi7hRkOgn7Ai3y7qcR4DmwTz-H0rb2f5K9biFbmrQl7JDYgtNa2GAK4Nc4Z-6UQL1du0-75m_ToJmnY1Lq0hMkstfyVEpAwtq4GgxV6-GtVsez0LCU/s1600/Still_5.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="1200" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNdu9jXYvhttjYziriRXZaZObNHi7hRkOgn7Ai3y7qcR4DmwTz-H0rb2f5K9biFbmrQl7JDYgtNa2GAK4Nc4Z-6UQL1du0-75m_ToJmnY1Lq0hMkstfyVEpAwtq4GgxV6-GtVsez0LCU/s640/Still_5.0.jpg" width="640" /></span></a><br />
<span style="font-size: large;"><a href="https://www.rogerebert.com/reviews/ip-man-4-the-finale-movie-review-2019">Yuen Woo-Ping</a> is 75 years old now but still choreographs fight scenes with the gymnastic alacrity of five or six strapping young men. He directed the action scenes in the final film in the Donnie Yen/Wilson Yip <i>Ip Man</i> series and then directed <i>Master Z,</i> his own spin-off, all in the same year. The stunning verve of his work ethic and his death-defying stunts would be reason enough to watch these films, but they are works of visual beauty and (perhaps even more importantly) clarity that set a full table at which charismatic performers like Michelle Yeoh, Yen, Dave Bautista and Scott Adkins happily chow down. </span><br />
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<span style="font-size: large;">92.<span style="white-space: pre;"> </span>In Like Flynn</span><br />
<span style="font-size: large;">by Russell Mulcahy</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhexM3G9ZjpP9aNPpuvun6rra1ietk1aAmJN5lXReiCMzyLnrAaYLc4iESSe4apwzKXzdYa5jIEjm1xUZJMeGITkx7cOTxlwlNiinA6jDeWQKNblmauChtMj4NDVacyafteKtdB4NVh940/s1600/7c5c9b3ea73e9c1a8c4507f80185efc6.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhexM3G9ZjpP9aNPpuvun6rra1ietk1aAmJN5lXReiCMzyLnrAaYLc4iESSe4apwzKXzdYa5jIEjm1xUZJMeGITkx7cOTxlwlNiinA6jDeWQKNblmauChtMj4NDVacyafteKtdB4NVh940/s640/7c5c9b3ea73e9c1a8c4507f80185efc6.jpeg" width="640" /></span></a><br />
<span style="font-size: large;">Mulcahy returning to his early wheelhouse: two fisted men of action chopping it up in the outback. Ok so he never did that, but if you added <i>Highlander</i> to <i>Razorback</i> and divided them by the 80s, you'd have something like <i>In Like Flynn</i>. Errol Flynn's days as a strapping boathand get the winking, leering Mulcahy treatment, his neatly sexual gaze at every manner of Aussie layabout. Mulcahy makes watching boys be boys seem new and fun, incident and emotional turns never relenting, women a distant afterthought to the brawling, swanning, gambling and drinking. Mulcahy's star may have somewhat fallen since his Hollywood days but he's still one of the most reliable directors of action alive. </span><br />
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<span style="font-size: large;">93.<span style="white-space: pre;"> </span>Happy New Year, Colin Burstead</span><br />
<span style="font-size: large;">by Ben Wheatley</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7P-FcNOxLIIDo7xxz9X1pUtwJ1OmZVK4oVtrxZdbpLtAqlep3ykAaZBiq6ro0L_5TK6FWiLBfpoCIbzo6hJrwDZSqI2j5e85NQaTdOIseAxXP-0x9RjI4vvjO9b9glOT2oyYaot0PD8/s1600/cropped-Happy-New-Year-Colin-Burstead.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="794" data-original-width="1411" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb7P-FcNOxLIIDo7xxz9X1pUtwJ1OmZVK4oVtrxZdbpLtAqlep3ykAaZBiq6ro0L_5TK6FWiLBfpoCIbzo6hJrwDZSqI2j5e85NQaTdOIseAxXP-0x9RjI4vvjO9b9glOT2oyYaot0PD8/s640/cropped-Happy-New-Year-Colin-Burstead.png" width="640" /></span></a><br />
<span style="font-size: large;">As Michael Sicinski pointed out, Wheatley's version of a Play-for-Today, this one about a black sheep who doesn't know he's a black sheep. Sort of <i>Melancholia-</i>esque in its feeling of a reunion of the Ben Wheatley players (that end credits scene!) and a delightfully mean-spirited holiday film to boot. Wheatley returns to his early, quieter style to allow his actors room to play off each other and spread their wings a bit. Watching people like Sam Riley and Hayley Squires bounce off each other is spectacle enough and Wheatley knows it. Low-key and satisfying. </span><br />
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<span style="font-size: large;">94.<span style="white-space: pre;"> </span>Relaxer</span><br />
<span style="font-size: large;">by Joel Potrykus</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrMdsrpC_X2wiFS1qpMpPMkNS1sbNrUol-4DgXzm7UBhXMxIunOuh1fAuRAztJDbckzAUGNqubQQ3fCgJpR71yv8Bjbhz_TWAL7pHjNwTCyZlqGNy4AF-PGmFRgfMTOcA05Q_Q4kyd6_M/s1600/MV5BZjY5ZjNjYmUtNjIzYy00YzM1LWIzYTktNDRmMjhlOTIwZDVhXkEyXkFqcGdeQXVyNDM4MzQ1ODA%2540._V1_SX1777_CR0%252C0%252C1777%252C960_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="865" data-original-width="1600" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrMdsrpC_X2wiFS1qpMpPMkNS1sbNrUol-4DgXzm7UBhXMxIunOuh1fAuRAztJDbckzAUGNqubQQ3fCgJpR71yv8Bjbhz_TWAL7pHjNwTCyZlqGNy4AF-PGmFRgfMTOcA05Q_Q4kyd6_M/s640/MV5BZjY5ZjNjYmUtNjIzYy00YzM1LWIzYTktNDRmMjhlOTIwZDVhXkEyXkFqcGdeQXVyNDM4MzQ1ODA%2540._V1_SX1777_CR0%252C0%252C1777%252C960_AL_.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Potrykus' latest 80s revision finds him calmly observing regular leading man Joshua Burge working himself into an ugly sweat. <i>Relaxer</i>, or <i>Scanner Pacman,</i> has a lot of un-processed anger and everytime he refuses help to wallow, believing it nobler to stay on the couch than get up and be a man. The petty negotiations of the space spit one awful fluid on him after another and still he refuses to grow up. Potrykus diagnoses modern masculinity one antique VHS after another, trying to encourage men to combat their worst impulses, but they'd inevitably rather beat the next level. </span><br />
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<span style="font-size: large;">95.<span style="white-space: pre;"> </span>Birds of Passage</span><br />
<span style="font-size: large;">by Cristina Gallego & Ciro Guerra</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgX7ByEHqLxO9o4GdBfss72x8R7E2jek9l1ES24C7CC6VjhJRNi5mOhyc4JE2jeLoV5XuysAXDipad9JfL0yX6I6Sh1o9HDNC4lbHeR0Qu0N89jBDEwtX77xRRy3dz4wTpX4xSpXU6PGk/s1600/Brody-BirdsofPassage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="829" data-original-width="1600" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgX7ByEHqLxO9o4GdBfss72x8R7E2jek9l1ES24C7CC6VjhJRNi5mOhyc4JE2jeLoV5XuysAXDipad9JfL0yX6I6Sh1o9HDNC4lbHeR0Qu0N89jBDEwtX77xRRy3dz4wTpX4xSpXU6PGk/s640/Brody-BirdsofPassage.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Like an entire wing of the Museo Del Barrio brought to life, the film's exacting portrayal of the opulence accumulated through the death of a culture, every pattern, outfit and composition speaks to vast knowledge and creativity undermined by a desire for more, more, more. The lavish gifts ignored in the quest for dominance. Guerra and Gallego's <i>El Dorado</i>. Lost before it could be found. </span><br />
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<span style="font-size: large;">96.<span style="white-space: pre;"> </span>Nancy Drew And The Missing Staircase</span><br />
<span style="font-size: large;">by Katt Shea</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifH_FHNXRtTyR93CkKJ7SDYtmxS5qhepZI2qSG-ejnr1S1LwC24SqAq71Sy1lJ0wix3NFF3MtTpDeYnjwBaf0dXT90oki4RcKujRDlk1vdlEq27gNMPKG7RnhbVMdQq1Wl0qPOkF35mEE/s1600/maxresdefault+%25288%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifH_FHNXRtTyR93CkKJ7SDYtmxS5qhepZI2qSG-ejnr1S1LwC24SqAq71Sy1lJ0wix3NFF3MtTpDeYnjwBaf0dXT90oki4RcKujRDlk1vdlEq27gNMPKG7RnhbVMdQq1Wl0qPOkF35mEE/s640/maxresdefault+%25288%2529.jpg" width="640" /></span></a><br />
<span style="font-size: large;">I don't know how anyone could have lived long enough to see Katt Shea go from stripper detectives to Nancy Drew and not almost start crying. This is the Katt Shea narrative, of never surrendering an iota of your own invented womanhood to best your suffocating surroundings, for a new generation. Naturally the studio buried it, but it'll always be out there for young girls to find, and for weird cinephiles like me to appreciatively marvel at (it kills me I couldn't figure out how to end this sentence without a preposition). The cute set decoration, the loving performances, the small crew of beleaguered women trapped by gaslighting oppressors - the more things change, the more they stay the same. Bless and keep you, Katt Shea. </span><br />
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<span style="font-size: large;">97.<span style="white-space: pre;"> </span>Two Plains and a Fancy</span><br />
<span style="font-size: large;">by Lev Kalman & Whitney Horn</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYuEGmmyUhVfHdVbGew618Y1JEHgr-Smw6LQH9l7AXxOUSrGdgZsC1Uaur4bSqIrCadK-oEIq7DHP95Dnqxz1Sdw9eoh2MbEqRp4xGTp5BHPNGi-A8zM5hsX-DaG3kF3mhQfK185h2wkE/s1600/twoplainsandafancy-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYuEGmmyUhVfHdVbGew618Y1JEHgr-Smw6LQH9l7AXxOUSrGdgZsC1Uaur4bSqIrCadK-oEIq7DHP95Dnqxz1Sdw9eoh2MbEqRp4xGTp5BHPNGi-A8zM5hsX-DaG3kF3mhQfK185h2wkE/s640/twoplainsandafancy-2.jpg" width="640" /></span></a><br />
<span style="font-size: large;">Kalman and Horn are two of our funniest directors, parodying yuppies all through time and space, like they were hunting for Carmen Sandiego but kept finding crystal-buying millennial wastrels everywhere they went. Here they make their version of a western, and even there they find men from the future come back like tourists for no greater purpose than to exist somewhere new. The lovingly sunkissed mise-en-scene suits the old West trappings magnificently, though they don't make many allowances - this is still their doggedly charming vision of loony world-travelers untouched by work or hardship all over. I hope they go to the moon next. </span><br />
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<span style="font-size: large;">98.<span style="white-space: pre;"> </span>Through Black Spruce</span><br />
<span style="font-size: large;">by Don McKellar</span><br />
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<span style="font-size: large;">McKellar the hired gun seems an odd fit as he's always been one of the most distinct voices in Canadian cinema, on and off screen, but I rather like him showing up to muscle through this tale of wronged women hunting for satisfaction. The Cree specificity certainly helped - Canada's not doing a fucking thing about its vast number of vanished and murdered First Nation women, so I'm glad the cinema's at least offered this - and it tracks with McKellar's track record and artistic legacy to care about the people left high and dry by the public at large. This film conjures authentically shabby rooms for authentically heated and stilted conversations about where it all went wrong, of course aware that this started centuries ago and won't stop while any of us is still alive. Gripping, sad, and run down, the depressive tone suits the ideas. </span><br />
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<span style="font-size: large;">99.<span style="white-space: pre;"> </span>Backdraft 2</span><br />
<span style="font-size: large;">by Gonzalo López-Gallego</span><br />
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<span style="font-size: large;">Poor box office and reviews for his Hollywood debut has caused López-Gallego to retreat to VOD, but it's worked out in his favor because he can actually stretch a little on their budgets. His editing and choreography are at their best here, picking apart every room like the fire safety inspectors on which it centers for exits, and also for compositional strategies. The camera all but does cartwheels to show us a room like it's never been shown before, and the flashiness helps imbue a rote dramatic scheme (<i>Silence of the Lambs</i> meets...well, <i>Backdraft</i>) with real verve and excitement. I hope they'll let </span><span style="font-size: large;">López-Gallego back near major budgets again, but only if he promises to never stop directing like he's on a leash. </span><br />
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<span style="font-size: large;">100.<span style="white-space: pre;"> </span>I Trapped The Devil</span><br />
<span style="font-size: large;">by Josh Lobo</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS7Ft6JElJyjqOwvElVN-_ProvOZF_wV5qAZlNV4fWHaPF-9Jr3zuy-jP7HUl-BG4qU6dkqjfQ7MCnVMO3ra-kFqCFFt7Llg2NP-_im71gmWPiUb1BcmiTzP1uzi8qrMpSsQIxyhFO2dg/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS7Ft6JElJyjqOwvElVN-_ProvOZF_wV5qAZlNV4fWHaPF-9Jr3zuy-jP7HUl-BG4qU6dkqjfQ7MCnVMO3ra-kFqCFFt7Llg2NP-_im71gmWPiUb1BcmiTzP1uzi8qrMpSsQIxyhFO2dg/s640/maxresdefault.jpg" width="640" /></span></a><br />
<span style="font-size: large;">One of the great pleasures of my year was posting a kind of middling review of this movie and unexpectedly getting an email telling me the director had commented on it. I braced myself for the worst, having seen this go sideways so many times. To my surprise Josh Lobo didn't want to castigate me for my few barbs, he was just grateful I'd given it my time. A few replies and an hour or so later I was ready to call Lobo a friend. Lucky for me his movie has grown on me considerably since I first gave it a mixed review last year. This film's claustrophobic tale of two brothers rehashing old fights while the devil paces in a locked room downstairs has grown to subsume me with its subdued pastel Christmas lights, its cramped rooms, its high-pitched petty arguments refusing to grapple with the real problem (which now by being so literal strikes me as a wise move to make in 2019 - this is really how things are now). Lobo being a prince about my criticism didn't make his movie better - living with the movie made me see that I had been looking for things it wasn't going to give me and missed the things it was. I strongly recommend you open it for yourself, let it breathe like a bottle of wine, and experience one of the most unnerving films of the year. </span>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-66261599060488991232019-08-14T12:31:00.004-04:002020-01-06T19:42:07.998-05:00Brettney and I. Us. <span style="font-size: large;">"I was so worried you had changed. You didn't call me 'kid' when you walked in." She was the most fragile I'd ever seen anyone. Tremor in her voice, uncertain about her grip on her glass. We drank coffee and talked about Rachel. She'd been sleeping in Rachel's bedroom and 'talking' to her through tarot cards. Rachel had died a few weeks ago and Brettney had come down for the service. Her medications had interacted with her body chemistry in such a way that she looked like a different person completely from the last time I'd seen her in person. But her eyes were the same. They were intense and hard and narrow but they were hers. She died yesterday. In two days it will be her birthday. I can't feel her heartbeat when I close my eyes. </span><br />
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<span style="font-size: large;">I don't know what happened to her yet. I want to know and I don't. When we learned about Rachel it didn't make it easier. Brett had been struck harder with depression and feelings of unworthiness than just anyone I'd ever known. It was a hard change from the person I met in Boston in 2010. Back then she was effervescent, bouncing across whatever room she was in to joke with whoever would get the joke she was stuck on. She was irresistible company and I didn't know anyone with a bad word to say about her. I met her through Tim Earle and Jay Lewis and I knew right away she was going to be one of my artistic soul mates. I asked her to be in movies as often as I was making them but only got her in one. She's in my cannibal film </span><i style="font-size: x-large;">Diana</i><span style="font-size: large;"> and she plays a victim of Alexandra Maiorino's character. The character also suffers from feeling alienated from everything and unworthy of human connection. She can't find a way to just </span><i style="font-size: x-large;">be</i><span style="font-size: large;"> with someone as obviously lovely and approachable and talkative as the character Brettney plays. That's how bad things are. And that's how bad things would get. Brettney Young lights the film like a 50,000 watt par can. She's what I see when I think of the movie.</span></div>
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<span style="font-size: large;">I tell her about our mutual friend Tucker Johnson who has a girlfriend with children and she looks stunned. "That doesn't sound like him." "Well he's exactly the same. We text literally every day." "Ok, good. You made him sit in a bathtub with me and film me covered in blood. Feel like I looked into his soul that night, it'd kill me if he changed." Too much around her had changed. She no longer lived in Boston but in Canada with a boyfriend who did his best trying to keep her together. I get the feeling a lot of us tried but you can't quite beat the part of someone that urges them to hate the space they occupy. John if you're reading this I know you did your best and I thank you for that. She was riddled with feelings of unease and separation, texted me all the time in the months after Rachel's death telling me how much people were winding her up. She hated white men's opinion on art and culture, I don't know how she tolerated mine. She tells me she not so secretly hopes for the day when we're both single so we can get married. I blush and roll my eyes. She laughs at me. I'd give anything to be able to relive that morning now. She tells me she was surprised she and Rachel never slept together. I was, too. They loved each other so much.</span><br />
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<span style="font-size: large;">We text and message each other on Facebook and call. "Things are alright. They weren't for a bit but now it's trending up...existential drag is real. You're too much like me, stretching yourself thin all over the place(s) haha...I think somehow we are the same person." That's from our last text message conversation. I say I'm glad things are looking up. She says after rock bottom they have to. She stole and crashed a car, she says. I joke that at least it's a good story. I don't know what else to say. I want to help her but she lives in some Canadian backwater. She delights in telling me that her town has a monument dedicated to "The Victims of Communism." I can't just go get her. None of us can. None of us do. And now we'll never be able to.</span><br />
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<span style="font-size: large;">At breakfast that morning she tells me she wants to be a film critic. I tell her it's a terrible idea but if she starts writing I'd find her pieces a home. She wanted to write about Adam Sandler. I told her there was absolutely a market for that kind of thing and her eyes lit up. As practice we started up a conversation in messenger about Jordan Peele's Us, which we both loved. We'd done this once before <a href="http://punkeinfilm.blogspot.com/2013/01/django-under-scrutiny.html">when talking about <i>Django Unchained</i></a> and it was one of the most fun conversations I'd ever had. I knew things would be different we'd just both suffered an incredible loss and movies were now about the only thing in common we could use to get over it. We couldn't hang out, but we could see the same movies. We always talked about movies. And for a time I called her kid. I stopped calling anyone kid because I did it once too often to someone who won't talk to me ever again and the word makes me sick to my stomach now. I didn't want to get sick when I thought about Brettney. I wanted to just see her on the set of <a href="https://vimeo.com/ondemand/diana">Diana</a>, in a towel covered in fake blood just giggling and brightening the room. She glowed. She was unlike anyone I ever met. </span><br />
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<span style="font-size: large;">Me: What do you think about the state of black film art right now and why did you enjoy <i>Us</i>? I can answer the latter but I feel like our answer to that question is going to be informed by the first question. Do you see yourself reflected in North American media? If so: who captures you?</span><br />
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<span style="font-size: large;">Brettney: Firstly, I definitely want to acknowledge that I am mixed race, and was raised by a non-black woman. I'd also like to say that she showed me the movie <i>Bamboozled</i> when I was around 10 years old and it changed my life forever. I was steeped mildly in black culture as a child, and I am looking to find my place and my way back to it in any way I can. I do not, and will not, speak for all black people and their ideas of how they are being reflected in the media. I can only speak to my own experience, and I feel that my journey specifically has been tied largely to North American film and music. As a very young child, spending time with my abusive father helped me deeply relate to movies like <i>Boyz n the Hood, Hardball</i>, and <i>Friday</i> because it was so close to the life I lived, and the lives my father and brothers lived. So I would say that's definitely the foundation to my experience as a black person living in North America and seeing my life represented in film. At the same time, I completely respect and love specifically the movie <i>Don't Be a Menace to South Central While Drinking Your Juice in the Hood</i>, because the for me, the Wayans brothers were the first Black writers to address the fact that in Hollywood, all "black movies" are the same. White audiences love to pornographically exploit the death and hardship of black folx because that is what white supremacy dictates. But for the Wayans brothers to write a movie specifically for black people who want to laugh and want to take pride and joy in themselves and their lives was definitely a pivotal point for me, and I think for people of color in the film industry who had been catering to white audiences since they were forcibly brought to the Americas in chains. <i>Bamboozled</i> explores this very dichotomy and I'm glad to have seen it when I did. And to understand the difference of the performance of being black and the reality of living black.</span><br />
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<span style="font-size: large;">Me: Racial performance is something white people at best can get a superficial understanding of - in the same way we know what racism looks like but we’ll never truly experience it. You can’t be fully excluded if you feel and have reinforced a centuries old cultural dominance. Racist rhetoric is a helpful reminder that what white people imagine to be discrimination is actually a perfectly logical squaring of accounts. A yearning for equality or at most, a tipping of the scales in favor of a group as large as white People but less economically and politically powerful becomes, in the hands of the imaginarily aggrieved, an issue of replacement. Tells you everything you need to know about the depth of understanding. Of course that’s #notallWhitePeople but no culture that thinks it can meaningfully state the ideology and have it be picked up by cable news (whoops) can fully grip what someone else goes through. We just can’t.</span><br />
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<span style="font-size: large;">Part of the reason that I for so long went out of my way to make a big deal of my indigenous heritage is because I wanted to try to understand what it was like not to be me as the world sees me. My 'performance' of another culture will never, however, erase my whiteness, which is something I learned just as quickly as I started talking up my ‘diverse’ background. Which finally brings us back to the film industry and my role as a consumer and critic of it. I might imagine that my understanding of another person’s life can help me know what it means to see black art on movie screens but all I can is project. Well that’s not true - I can know that it is always important for non-white voices to make it to the audiences that Jordan Peele makes it to. And then once I’ve celebrated because it is not nothing that Jordan Peele in ten years went from more marginal indie comedian a la Jason Mantzoukis or Paul Scheer to household name to Oscar-heralded writer/director of horror films. It is in fact, a huge deal. Once I’ve celebrated that, then I can celebrate that this man given <i>this</i> platform made a film that plays for audiences who know who Marcus Garvey is and those who don’t, if I’m not being too glib.</span><br />
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<span style="font-size: large;">The astonishment I experienced watching <i>Us</i> for the first time was both at the swiftness and sureness with which Peele develops the notion of performance, and then Doubling back to make sure that even without digging too deep beneath the gorgeous surface the film is still a suitable carnival ride. <i>Us</i>, I feel confident saying, has to appeal to some part of your brain. Don’t like what it says, surely you can dig the atmosphere of dread, the frightening choreography, the tone of deep, unforgiving red that dominates the color scheme, the beautifully mannered performance of normality given by the four adult leads, or even the top 40 needle drops. Peele has played a risky game making a movie whose true thematic significance was bound to sail over a ton of heads in the audience and it looks like it paid off. Whether that’s more because the film is as smart as it looks or because he’s just so good at the nuts and bolts of horror filmmaking is irrelevant: the film took all the money in the world. I think that’s a heartening sign but I’m willing to admit I’m overeager for black directors to take horror away from pretentious white boys with criterion channel subscriptions. They’ve forgotten how to scare people.</span><br />
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<span style="font-size: large;">Brettney: Hehe, "white boys with criterion channel subscriptions who've forgotten how to scare people." Wink wink. Anyways, I think what you said about the "issue of replacement" is a truly magically realist existence that Jordan Peele, among other black actors and directors (Ava Duvernay, DeRon Horton, Lupita Nyong'o, etc) where blackness itself is at the center of the movie, and therefore the center of the universe as created by X black storyteller or director. Jordan Peele really seems to be exploring in Us - and in a totally curiosity based way - what black supremacy looks like. We see the rolling of the eyes at the white neighbors, we see the murder of "innocent whites" at the hand of "innocent blacks" and we can literally feel the idea of a white supremacy slowly ceasing to exist in the duration of this film. From the moment Nyong'o corrects her son's beat drop during a heartwarming black classic, to the moment they sit there and converse with their Other or Mirrored selves in the living room - Portrait of (a) Black Family/ies suffering- we feel that there is no dichotomy. There is no differed suffering. There is only Us. And even at the end, as the family "defeats" (most) their other half out of pure self preservation we're left to wonder "Is this the correct mother? Does it matter? Do we all not need love in a specific familial way?." I mean, that's what I was left to wonder.</span></div>
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<span style="font-size: large;">And though I do address issues of a glimpse of toying with black supremacy, we can't deny that the boat is a status symbol, the white rabbits are clones, and the families beneath the Santa Cruz boardwalk (a place I immediately recognized and have been going to since childhood) are the disenfranchised and unlucky souls who now belong to this "tethered" world. Black magical Realism will not save us all. Black Supremacy will not save us all. And if I hear the word "ratchet" come out of another black persons mouth one more time...So looking deeper, yes we are seeing a struggle. Is it between black and white as the movie would topographically suggest? Is it between Black have and have-nots? I had to think about this for weeks before realizing that Jordan Peele, dark comedic genius that he is, has duped us all, and Us all. We are all human beings susceptible to oppression (in a Black Imagined world) who all subscribe to a hierarchy of Suffering and Trauma which, as Peele gently reminds us, does not truly exist. And I think maybe that is the scariest part of the film. </span></div>
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<span style="font-size: large;">Re: ratchet *non-black</span></div>
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<span style="font-size: large;">Me: I want to clarify: when you talk about the imaginary hierarchy do you mean “my pain is more important than yours” logic?</span></div>
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<span style="font-size: large;">Brettney: Yes. Or what society classifies as "traumatic" vs "Traumatic" If you've heard the 'Big T little t' rhetoric.</span></div>
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<span style="font-size: large;">Me: I have not but I think I get that</span></div>
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<span style="font-size: large;">Brettney: Do you want me to go further into it (for the sake of the gravity of it's place in the film)? Or would you rather have the underlying understanding of what that means?</span></div>
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<span style="font-size: large;">Me: Oh go on! I want all your thoughts! I’ll respond to everything in order</span></div>
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<span style="font-size: large;">Brettney: Hahaha awesome! There is no denying that this film, while dealing with oppression, also deals with it's physical and mental repercussions. We feel anxiety when Nyung'o's character feels her moments of anxiety. We feel irrational thinking/action when Peele's character performs it on the screen. We feel scared during this movie because so many of us (North Americans) have been diagnosed with one mental illness or another, or ten, or just have a great deal of empathy. And so on the medical field currently, something I disagree with wholly is the idea of BIG T trauma and little t trauma. This means, my therapist will ask me "...but was it reasonable to have a panic attack when no one passed you the butter?" Is this a little t or a Big T or just an overreaction? And I believe it ignores the fact that for so many North Americans, and specifically Black North Americans, life itself is traumatic. And yes, maybe it is irrational to hang on to "small grievances," but what happens when you have 500 or 1000 small grievances in a day? Can you be held accountable for the pile of trash taking up your physical brain space? How can we look at traumatizing moments - of fear, of dissent, of loss of emotional understanding - and treat them as the heap they are when we create a hierarchy around them. A stranger felt me up on the subway, "so what, worse has happened." I was abandoned by my parents, "that was a long time, let it go." I was held hostage while someone I thought I loved brutally abused me, "now we're listening." It makes no sense to compartmentalize pain, just as it makes no sense to compete for which story is the worst. Who can cry more. Who has felt more pain. Because we've all felt deep pain and it comes with the difficult task of living. Trauma is trauma and I believe that's the end of it.</span></div>
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<span style="font-size: large;">Me: I like your introduction to this hierarchical talk because the film has a fascinating take on the way we now react to horror. I was laughing to myself the other day about Winston Duke recounting his body count with utter boredom to the rest of the family. The threat nullified he can only say, humorlessly, “no, I killed my self,” before rattling off the names of the close friends and colleagues whose doppelgängers he murdered. Peele proved in his sketch/character work on <i>Key and Peele </i>that he’s thoroughly digested the way we talk and live now, but Us is the first horror film to get an existential nagging now at the edge of our trauma now. It’s not simply that we all suffer (though that’s in there - even our manufactured negative images have existential crisis) it’s that the suffering has the quality of white noise. It’s everywhere all the time. When the tethered finally show up they’re confirmation that a lifetime of expecting things to get worse was justified because they can always get worse, which gets back to your point. Things can get worse so why worry about how bad they’ve been? </span></div>
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<span style="font-size: large;">Few directors of genre have the character of millennial depression, the moral vacuity foisted on us by the destruction of the natural world and the erosion of morays when there was a chance to renew American morality after Jim Crow. The movie putting so much importance on the banal feelgoodery of Hands across America is not accidental. In the middle of the republican party sculpting American social politics and domestic policy into a perfect system for disenfranchising black people (among others obviously). A computer programmed to keep the lower classes predominantly non-white (and the whites in that bracket fearful of blacks, Asians and Latinos - as well as sewing discord among those groups (LA Riots)) couldn’t have done a more mathematically perfect job of it than Republicans did in the 80s. Clinton’s Presidency was a brief reprieve at best, but I digress. The point is in the middle of that are absolutely meaningless gestures (Sun City, Hands Across America) that tried to tie us together even as we killed each other with policy. Us is most directly about the rift opened up in possibility. America could have become something else. Instead it became the hideous shadow of its past. Slavery? abolished, except not. Segregation? over, except not. Redlining and Gerrymandering? Whoops. And on and on and on. Us pulls up the things we pretend don’t exist out of politeness (Elisabeth Moss’ callous fake truth telling shtick putting the kind of nonsensical truths we tell in the interest of being our true selves.) and give them the fullness of being but an emptiness of purpose. Because you can’t fight a concept, you have to kill it in yourself. It’s the fallacy of a concept like the “war on terror” given human form. How do you kill the bad parts of the human condition? You can’t. You can kill your worst self but there you are, so where did it go, really? White allies can claim to be above the intangible hatreds that plague the rest of white people, but there always is the tethered self. You can say you’ve killed it but what have you done? Where is that self now? I notice I’m driving in several different directions now but that’s part of why I love this movie: it’s brimming like a ramen pot with subtextual maybes.</span></div>
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<span style="font-size: large;">Brettney: Did I mention I love you? Lol</span></div>
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<span style="font-size: large;">Me: What do you make of him starting the film with Janelle and ending with Minnie Ripperton?</span></div>
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<span style="font-size: large;">Brettney: I don't think I exactly noticed that, but now that you mention it I feel like that juxtaposition really sets the tone, in a lot of ways, but specifically about blackness in all of it's best and worst iterations. Minnie Ripperton was wayyy before her time, and so is Monae. And both of these artists venture in their own ways, outside of the box marked "black"</span><br />
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<span style="font-size: large;">And there’s a sense of undoing the past (which Minnie Ripperton represents and transcends) in the film. And also by sort of using tropes from 70s French horror like Night of the Hunter and Fascination, rather than American horror. Picking touchstones we didn’t appreciate in their time. The minute I picked up on the Frenchness of the atmosphere I settled in a little more, stopped looking for total narrative cohesion. This is a film about atmosphere and ideas, and I didn’t care if little things were out of place. Like the colors! My god the pallet of this film. Delicious. You could reach out and touch the reds!</span><br />
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<span style="font-size: large;">That was it. That was on Sunday. Her family announced her death on her facebook page this morning. The world is killing us a little at a time. I just want my illusions back, I want to believe I'll have my people forever but I won't. So many of them are already gone. I have her words. I have my version of her and I have these windows into how her incredible brain worked. I'll need them because they'll have to last me forever now. </span>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-18244968649555580802019-01-03T16:29:00.002-05:002019-01-04T15:51:46.080-05:00My Favourite Films of 2018<span style="font-size: large;">1.<span style="white-space: pre;"> </span>Black Mother </span><br />
<span style="font-size: large;">by Khalik Allah </span><br />
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<span style="font-size: large;"> </span><span style="font-size: large;">2.</span><span style="font-size: large; white-space: pre;"> </span><span style="font-size: large;">Personal Problems </span><span style="font-size: large;">/ Something Good - Negro Kiss</span><br />
<span style="font-size: large;">by Bill Gunn / Anonymous</span><br />
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<span style="font-size: large;">3. </span><span style="font-size: large;">Piu Piu </span><br />
<span style="font-size: large;">by Naima Ramos-Chapman</span><br />
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<span style="font-size: large;">4. If Beale Street Could Talk</span><br />
<span style="font-size: large;">by Barry Jenkins</span><br />
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<span style="font-size: large;">The homgenous grammatical development of cinema across the last 100 or so years has had a couple of natural side effects that have less to do with the possible than the Pavlovian. <i>This</i> works, and so it is repeated. Which has had the effect of turning a major portion of modern cinephilia (as adduced from social media and critical trends, especially in the freelance realm, but it's made its way to the major publications as well thanks to a weaponization of nostalgia) into a sort of puzzle game. The history of cinema is a plethora of chips to be turned over constantly - known, unknown, popular or forgotten. "This film is underrated, why don't we talk about this movie, it's the 35th anniversary of this movie, these films brought us here, let's examine today through this movie," and other constructs rule our understanding of what film is, but not what it can be. We don't often ask what film can be, not as a community, if we can be called that. We box our experience into the existing cinematic languages and piece together how we got from point A. the start of our understanding of cinema and ourselves to point B. sitting in a theatre watching a movie and reflecting. </span><br />
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<span style="font-size: large;">The issues with this formulation are myriad, not least because the cinematic canon has been a list of movies made by white men for white people. Technique ossified, the same few camera tricks became the most you could hope for a film to display or try, and if someone broke out of those confines they frequently had trouble gaining a foothold in canonical understandings of history. Specifically film by black directors remains a maddeningly excluded species. Films by Charles Burnett, Haile Gerima, and Julie Dash could have become 'classics' at any point in their history but a thousand little issues protecting the white supremacy of the canon stood in their way. Rights issues, print issues, accessibility and sensibility, take your pick, I'm sure whatever one you land on is "why" <i>Daughters of the Dust</i> took decades to be restored and properly released. <i>Killer of Sheep </i>and <i>Wilmington 10 - USA 10,000 </i>never becoming perennial rep titles, never released in theatres every year like <i>It's A Wonderful Life </i>or <i>The Rocky Horror Picture Show </i>or <i>Vertigo</i> means no one, least of all young black audiences, ever gets to see what it looked like when black directors broke white rules. And so a crucial branch in cinematic history is consistently stripped of leaves with the understanding that some day it'll grow back when some ideas are a little less radical. </span><br />
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<span style="font-size: large;">The recent rediscovery of <i>Something Good, Negro Kiss</i> an 1898 silent short, 30 seconds of two black people kissing and smiling, clearly enjoying their time together, ecstatic to be near one another, overflowing with the love that makes them such natural camera subjects, is one of a thousand discoveries from a blunted, silent history waiting to be read aloud. There were directors who knew the virtue of seeing black faces, black love, black joy, on screen. They maybe never knew that we'd be watching 120 years later but they sure make the defenses of <i>Green Book</i> look paltry and half-assed. Like learning when the term "Cisgendered" was coined, or finding out the earliest dates of films from India and Africa, the restoration of <i>Negro Kiss </i>is an essential reminder of the value of non-white presence in art. Similarly when Kino-Lorber released Bill Gunn's <i>Personal Problems,</i> a high-art blend of the prosaic and the electrically profane, a soap opera with the raw truth of August Wilson and Miles Davis baked into its gorgeously dated video, this was another song from the past, another deliberately forgotten reminder that the best ideas don't look like anything you've ever seen before. Gunn and Ishmael Reed used what was then primitive and brand new technology to capture the heartbreaking life of a woman (Vertamae Grosvenor) and the men who let her down. As Michael Mann and Spike Lee would later do with early digital cameras in the early part of the 2000s, Gunn erased the distance between human behavior and the cinematic. He made black emotion realer than if he'd shot it under studio lights with a 65mm camera. And he didn't stop at simply the capturing. His edit, the overlapping images and strange dramatic tangents and the games he plays with the edit, heart-breakingly lapping Grosvenor's traumas, letting us see when the other shoe drops from micro leaps into an uncertain past. Gunn could have been Godard, but they wouldn't let him speak. </span><br />
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<span style="font-size: large;">Gunn’s experiments are so shocking 40 years later because of the swiftness with which he reveals that he is playing time as a conduit to the variant emotional lives of his characters, whether a put-upon wife, or four ne’erdowells after a funeral who can’t help but put their own lives in terms of the amount of hellraising they’ve done and can still get up to. Video experiments like this also just seemed for the length of my college film education and for a large part of my catching up with film history to be the province of French tinkerers with a political methodology as arch and deceptively bare in appearance as their chosen media. Gunn reaches for what was available - cost effective and newly ubiquitous and sublimely noisy video - and did something no one else would have done. Personal Problems doesn’t look ordinary anyway you approach it. The only thing that makes sense about it was that nervous executives had it shelved.</span><br />
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<span style="font-size: large;">That idea is bound to make white people with any power nervous - when it’s clear that not only can black filmmakers work with whatever means are available they can do it without aping white cinematic touchstones. Gunn’s film doesn’t look or feel like white narrative cinema, white TV, or white experimental filmmaking. He didn’t need whatever white gatekeepers could ever withhold from him. He made something fearless and visible, uniquely glorious and painful, a three hour living wake for the black working class in one microscopic corner of the world. It’s here now, it exists, because it has always existed, but can no longer be denied. Like those lovers kissing its proof of that a supposed vacuum of content like this was never the whole story.</span><br />
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<span style="font-size: large;">But that idea of Gunn’s grammar being out of step with film in 1980 and today to the point of seeming almost alien in its intelligence. His making something so assured and poignant on material reserved for news casts has an uncanny muscularity to it, like he painted Nightwatching with crayons. The achievement would be enough, but he wasn’t content to just do what was possible. And he could have done it a hundred times over if anyone would have let him. His spirit lives in the mixed media experiments of Frances Bodomo, the sensitivity and sociologists eye of Raafi Rivero, the ruthless satirical intelligence of Terrence Nance, the heartrending honesty and curiously of Barry Jenkins, the righteous anger and empathy of <a href="https://nylon.com/articles/naima-ramos-chapman-random-acts-flyness-interview">Naima Ramos-Chapman</a>, and the limitless savvy and formal dexterity of Khalik Allah.</span><br />
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<span style="font-size: large;">Jenkins newest film pulls from the cinematic traditions of French and Asian cinema more than he relies on American images. James Baldwin’s words tie him to America through absence. The things Baldwin didn’t feel as an American - acceptance, love, respect - are here the whole story. He wants to give his young heroes the gift of everything their author never found here. Of course by adapting this, perhaps his most perfectly melancholy work, he ensures that these beautiful creatures will never receive it in full. They will know and we will see them discover for the first time what it feels like to know belonging. To feel that the place you’re standing is where you belong on the planet because of the eyes staring into yours. Jenkins, like Jordan Peele, is already being saddled unfairly with having to speak for all of black America but I will say he does seem equipped to fill in blanks missing from cinema history. There was no black Frank Borzage, no black Hitchcock, no black Sirk. The full extent of the rapturous language of cinema was not used to exalt in the love and tenderness of young black lovers until my lifetime. I can’t fathom waiting this long for a film as romantic and painful and right as If Beale Street Could Talk but I’m happy I’m alive to see it. Jenkins is giving the world images they’ve never seen, not with the feeling with which he imbues them, not with his eyes and ears, not with his experience seeing more in the work of Claire Denis and Hou Hsiao Hsien than he ever saw in Americans telling the same kinds of story. The story of Beale Street is most simply told in the story, which quotes a lot and yet sounds new. “Eden (Harlem)”, whose title doubles as a metaphor for the untouched narratives of black life and love still to be found, and Beale Street does truly feel like the Big Bang of a new era of black voices in cinema, sounds just enough like “this bitter earth” over which were used to hearing Dinah Washington sing. But here the singing is all done by the voice over, the eyes, the soft glow of Harlem at night, the gentle pastel colors the young lovers wear, the new glow of hope in the eyes of a young girl who wants nothing more than to give herself to the man in front of her, and the man who wants nothing more than to be her everything. 120 years after the first black kiss in cinema we get something that feels like the first love, something new, revolutionary in its uncomplicated depiction of real affection. The story gets complicated but their love is as simple as it gets. Jenkins brings Baldwin to life through a patchwork of influences that are now his. His style, those faces, those dancing figures, the trembling voices and nervous bands (met on the score by Nicholas Britell’s fluttering violins), and the religious tableaux of families and friends in tiny dens and basement apartments, love never looked so true...that style is American now because he gave it to us. He gave us an answer to the lack felt through a century of art, even if he never forgets what caused that lack. Injustice runs through the film like a cancer, breaking apart his compositions of intimacy and friendship. Life could be so good. But so few of us let it be.</span><br />
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<span style="font-size: large;">That’s what Naima Ramos-Chapman’s film is about, set in Baldwin’s New York 30 years after his death. She finds it a colder place than even the one in If Beale Street Could Talk. Gone is the bond between men and women, gone is the love in Fonny and Tish’s eyes, gone is the togetherness, a family at work trying to keep themselves together. This place has been split open by a psychotic break between people. It’s not just along race or gender lines, it’s between all of us, as culture becomes more hostile and thoughts of help turn quickly into signs of violence and desperation. Ramos-Chapman’s filmmaking is quite unlike any of her peers, leaning into the obvious falseness of certain conceits and then plowing straight into a nerve-wracking no man’s land. The woman on the train visited by her guilty conscious in the form of posse of dancers in full body paint? They’re easy to understand at first, but they seem hellbent in torturing her to the wrong action, action she’s conflicted about taking and then backfired on her immediately. No action goes unpunished in this New York, a Carpenteresque fallen paradise, and the people we wish would have an army of conscious actors screaming in their ears seem blissfully unaware of us, and our safety. The man in the deli who strokes the finger of the counter worker who’s just trying to hand him a sandwich? In thirty seconds Ramos-Chapman shows the horror of womanhood, of feeling alone in knowing what personal space means, of begging for the respect of people no different than you. This is a place whose towering skyscrapers and too-expensive apartments are little else than satellites projecting a city’s trauma back onto each of her people. And most of us are deaf to it. Ramos-Chapman’s understanding of the mechanics of trauma and violence is uncanny, cunning and of course deeply sad. That anyone should ever need to know so much about the ritual of defending oneself from becoming someone else’s object is a failure on a human level. Every human who makes someone else feel unsafe through the withholding of language, the aggressive advantage taken of social contracts, and the knowledge, so steadfast those same skyscrapers would fall before it, that you can get away with anything as long as it’s directed at a woman. That is Ramos-Chapman’s world and here she arms her heroine with a power so many women must have longed for at one time or another. Ramos-Chapman has a different superpower: she can direct movies better than nearly anyone on earth.</span><br />
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<span style="font-size: large;">Her tonal experimentation and wild visuals are uncommon no matter who’s behind the camera because we are still only just getting back to embracing the avant-Garde as a touchstone for narrative filmmaking without recourse to quoting. Ramos-Chapman quotes no one but her own experience. She knows she doesn’t have to: there are untapped springs and untouched peaks of cinematic language yet. If I’m overly fond of Terrence Malick it’s because he’s located what I think of as the most symphonic cinematic idea. He’s turned in works akin to Stravinsky and Mahler or Joyce and Woolf, complete formal command over a whirlwind of sensation. The tornado that wrecks a house only to put it back together again. It’s never mattered much to me what his subject is because his style renders it in exactly the same register, intellectually and emotionally. Every second of his films works on me at high volume and always wins. So when I sat down to Khalik Allah’s Black Mother and picked up on, in minutes, that he had taken this form to its next logical place, I just about fell off my chair. This film was better than Malick, the man who recalibrated my understanding of cinematic space and ambition because Allah was in the fabric of the film itself. That’s his voice booming in the deep like he’s about to start singing “If There’s Hell Below We’re All Gonna Go.” “Grandpa...what do you think about death?” He asks, and over images of his own funeral, a man tell us what death has come to mean. And right there...the cinematic organism, laid out as if embalmed, everything it is and ever was, everything it could be. People fought for years to keep black voices from being heard and Allah’s rings like a bell in the quiet of a movie theatre in Philadelphia, an answer to a century of blunted progress and stolen lives. Cinema speaks to him. And he speaks right back. He knows its language. He’s just painted its <i>Mill and the Cross</i>, it’s <i>Third of May 1808</i>. Black Mother is also an autopsy of spirituality fortified by a formal bulwark. Allah ricochets between aspect ratios and different stocks as a paean to the volume of experience he captures and to show that no matter how you capture someone, they are yours forever on film. His grandfather lives now as a character in <i>Black Mother</i>. Nothing now will erase him from this. The definitive truth of the image is deliberately intoxicated by the wandering sound design. You never see anyone talk, yet you know who is speaking. The film casts a dozen spells in a dozen voices, explaining what the image can’t see; the inner life of Jamaica. The hurt and happiness in souls rendered as anthropological studies by Allah’s sensuous camera. He wants us to understand the function of both image and sound, wants us to think about what a film is, what it can be, what’s possible. Black Mother, I’d have told you wasn’t possible until I saw it, because history has kept it from happening. But here it is. In a banner year for black art, here is maybe the finest film of the decade, a fearless compendium of chances and choices, of decadent but impoverished lives never yet rendered this orgastically. This is a list of the ways cinema can treat a human being, her voice, her face, her hands and her blood, her wants and needs, the addictions and unwanted urges, here they all are, spread across Jamaica like shipwrecked angels, high and low and everything between. <i>Black Mother</i>, like these five other films, is a pressing reminder that the voices that terrible powers work hardest to suppress will always find a way to be heard. And when they are finally the songs they’ll sing will be unlike any you have ever heard.</span><br />
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<span style="font-size: large;">5.<span style="white-space: pre;"> </span>Widows</span><br />
<span style="font-size: large;">by Steve McQueen</span><br />
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<span style="font-size: large;">Authenticity is something we're so hung up on now, we tend to miss it when it's a few feet in front of our faces. Say what you want about turning crime scenes into Gregory Crewdson photographs or filling a bleak Chicago neighborhood with movie stars doing accents of varying believability, the individual components work. There's McQueen, who it turns out is a great director of action sequences, allowing this giant machine and its sundry moving parts and variant performance styles to stop and take account of each person's humanity, the risks <i>they </i>take. There's Elizabeth Debicki finally looking as tall as she is, stuffed into cocktail dresses, mounted on heels, having to seem like an alien rich girl dropped into nothingness and playing into this character's every bad impulse and ounce of self-doubt. There's Lucas Haas unafraid to look and act like a disgusting, needy creep with boundary issues he has no interest in solving. There's Viola Davis who shores up mountains of fear and sorrow and shoves them behind her face, from which nothing but hardened certainty escapes. She has to act like she's in control but we see how close she is to losing it. There's Kevin J. O'Connor, once beautiful, now able to play a man so terrified, so small, that even bleeding on the floor of a bowling alley you sense he has more to lose. There's Brian Tyree Henry juggling his imagined power and influence with the reality of his waning grip on his surroundings and the men who have to be afraid of him. There's Cynthia Erivo, a living motion study, her shock of white hair keeping her in space as she hurdles towards the next thing, anything but slow down and take stock of the gaggle of imperfections with which she's agreed to live. And there's Michelle Rodriguez. McQueen gets no small amount of credit from me for casting her at all, but then to know what to do with her, to let her scowl mean something, to let her dress like a human being instead of a body builder, to let her show real, hard-fought feeling, to let us know her soul has been melting out of her body for years and it may be too late to stop the leak. McQueen lets her be, lets her live in his frame, trusts her to give the performance. That's as exciting as a car chase or an elaborate tracking shot. </span><br />
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<span style="font-size: large;">6.<span style="white-space: pre;"> </span>24 Frames</span><br />
<span style="font-size: large;">by Abbas Kiarostami</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtuoawUricVwjW6EWg4yqwaIdn6_MUMCSmBknkZZuQfW0zcN1Lcfi12Y5f4Au21HtRDp9zwsCcJF5hsMvkJ9V0vllN5yqY-u8-bjK9aIg1EivwrEw7J6C60YUiiD_xPNjCIWhNK3IdQvU/s1600/Hooper00085.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtuoawUricVwjW6EWg4yqwaIdn6_MUMCSmBknkZZuQfW0zcN1Lcfi12Y5f4Au21HtRDp9zwsCcJF5hsMvkJ9V0vllN5yqY-u8-bjK9aIg1EivwrEw7J6C60YUiiD_xPNjCIWhNK3IdQvU/s640/Hooper00085.jpg" width="640" /></a></div>
<span style="font-size: large;">Kiarostami was one of the first filmmakers to appreciate what digital images could do <i>for </i>cinematic language. His film <i>10</i> remains one of the most important early documents of the digital image capturing the human face and also how empathy can be more effectively generated by removing the distance between celluloid and the human face. He got us uncomfortably close to each other and we were better for it. A movie wasn't just a movie in his hands. <i>24 Frames </i>is Kiarostami at his most playful but also his most simple. He wanted to further acquaint us with the possibilities of digital cinema, of letting us know it was ok to embrace the falseness of an image if we could still believe in the person manipulating it. Kiarostami showed us that cinema was meant to be the most malleable of the art forms, that there were still uncharted landscapes to be mapped and explored and he did it in the simplest way. He found images we could understand, quotes from <i>Stalker, </i>unadorned living rooms, pop music, and then he brought them to strange, otherworldly life. Still images, still lives, dance for us like the magic gifts of the conjurer in <i>The Seventh Voyage of Sinbad. </i>A painting whispers secrets to us we had never before heard and cinema grows. With his dying breath Kiarostami gave us one last gift: the promise of unending growth as long as there artists worth caring about who can still explore. </span><br />
<span style="font-size: large;"><br /></span><span style="font-size: large;">7.<span style="white-space: pre;"> </span>Barbara</span><br />
<span style="font-size: large;">by Mathieu Amalric</span><br />
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<span style="font-size: large;">With the decade drawing to a close I've been at war with myself about Mathieu Amalric. Do I love the majestic self-investigative film about artists he made ten years ago more than the majestic self-investigative film about artists he made last year? Nice problem all things considered. <i>On Tour</i> is a very much a cinephile's movie: the structure is pure Fellini, and the <i>extremely</i> French trappings kept it from ever falling into slavishness. It was generous, which makes a world of difference. <i><a href="http://frame.land/rendez-vous-with-french-cinema/">Barbara</a></i> rewards the careful viewer because it too gives a lot, but the byzantine shape and the mournful games played by director, star and subject are a matter of wavelength. If you can situate yourself just right in the moonlit hall of mirrors and enjoy every piece of a film's identity attempting to refract off the personalities creating it, you can simply sit back and drink in the proceedings. </span></div>
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<span style="font-size: large;">8.</span><span style="font-size: large; white-space: pre;"> </span><span style="font-size: large;">High Life</span></div>
<span style="font-size: large;">by Claire Denis</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTAKGy4K8oChgxvZV0mrF3s9z61De3Rz3UvXGb0pu_-LKnwV5m3dILvEDOoC4paGCUiE2eIqzG3Bnw3vBP17gg06qFB49jEeXnJoOMEOtWQNVI20VDRNKeMc3JyEvZ_dX7OeRxf6pTf1A/s1600/High-Life-Claire-Denis-2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="1232" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTAKGy4K8oChgxvZV0mrF3s9z61De3Rz3UvXGb0pu_-LKnwV5m3dILvEDOoC4paGCUiE2eIqzG3Bnw3vBP17gg06qFB49jEeXnJoOMEOtWQNVI20VDRNKeMc3JyEvZ_dX7OeRxf6pTf1A/s640/High-Life-Claire-Denis-2.jpeg" width="640" /></a></div>
<span style="font-size: large;"><i>Solaris</i> has been on more than one mind lately it seems. <i>"</i>Remaking<i>" </i>it is sort of an auteur rite of passage, though very few people do something constructively <i>there's</i> with it. There was no doubt in my mind that Claire Denis wouldn't do much more than nod at the space-fairing classic and then immediately map her own corner of the cosmos. She leaves earth, here presented as reverie partway between Claude Lanzmann and Walker Evans, and finds her neon-hued stasis deliberately hovering in a kind of pre-sexual hibernation. Juliet Binoche is in charge of criminals with childlike demeanors who have all failed to make peace with their impending deaths. Every part of the ship brings with it the potential for Denis to become lost, tangled in a messy thicket of fluids, hair and skin. She's bottled her obsessions and forced them to the edge of space, time, consciousness. Even seconds from death the pitiable urges of men and women are inalienable. We must be selfish, demand attention, be violent, attack one another like cats in heat. She removes the veneer of polite society that made the criminal actions of <i>Bastards </i>and <i>Trouble Every Day </i>feel wrong. There sits a blackhole which will swallow them, unfeeling and unthinking, proof that whatever judged them on earth isn't real. Out here it's just us. We're ugly, we're mean, we're wrong...but we're it. No one's coming to save us. </span><br />
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<span style="font-size: large;">9.<span style="white-space: pre;"> </span>Scarred Hearts</span><br />
<span style="font-size: large;">by Radu Jude</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCHITVggjZ5WuH5IpYmo2iMEQDF5RfVqZWuyQecDwe9X21J5EHQfFSV8Y0RQoO4s6AC6d_tdP-vDxUND2Ii1NBhR48QeCy2kTRgCr7lrP3MwBBm453q0xD1iltwarQK6vc3d_XqbSBos/s1600/maxresdefault+%25284%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCHITVggjZ5WuH5IpYmo2iMEQDF5RfVqZWuyQecDwe9X21J5EHQfFSV8Y0RQoO4s6AC6d_tdP-vDxUND2Ii1NBhR48QeCy2kTRgCr7lrP3MwBBm453q0xD1iltwarQK6vc3d_XqbSBos/s640/maxresdefault+%25284%2529.jpg" width="640" /></a></div>
<span style="font-size: large;">A man trapped by <a href="https://read.kinoscope.org/2018/07/27/cheerfully-depressed-radu-judes-scarred-hearts/">cinema's history</a> and its limitations. He can't move and so neither does the camera. He can only see so much and thus so can the camera. And yet Jude sets a banquet inside the small frame, erotic tension transpiring and nearly sweating along with the imprisoned patients of a hellish seaside sanitarium. The dreamy atmosphere penetrated (like the sickly bodies) and drained of its portent right before our eyes. The nightmare of confinement becomes carnivalesque and rich even as we know that there can be no happy ending. </span>
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<span style="font-size: large;">10.<span style="white-space: pre;"> </span>First Reformed / Dark</span><br />
<span style="font-size: large;">by Paul Schrader</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1sFtHkjQw2GRmyjls4EEZyN4syuRw1XTHZ-ULvOb1gL7dacLojLhXv1B3QtCsT2qye5j6GVkUKJLDOfvMgfgpIjdUwo4SqvMI8pzvP3j8goD7pnaVC2_x83KCwm1gLlefFMI5isIRy4s/s1600/First-Reformed-Paul-Schrader.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1sFtHkjQw2GRmyjls4EEZyN4syuRw1XTHZ-ULvOb1gL7dacLojLhXv1B3QtCsT2qye5j6GVkUKJLDOfvMgfgpIjdUwo4SqvMI8pzvP3j8goD7pnaVC2_x83KCwm1gLlefFMI5isIRy4s/s640/First-Reformed-Paul-Schrader.jpg" width="640" /></a></div>
<span style="font-size: large;">Schrader's twin dying stars of impotence and rotting bodies, of skins impossible to shed. Two men dream of leaping out of their failing frames, but neither biblical torments nor an 11th hour edit, standard definition video bisecting film like thorns ripping into flesh, can save them nor make their worlds better. Both Nicolas Cage's haunted spook and Ethan Hawke's hateful priest dream of burning a portion of the world down while they still have strength to light a match. Schrader's always been best watching men take themselves apart because he himself has been trying to do just that all his life. Here are the men with whom he identifies. Here are the last screaming men on Earth. </span><br />
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<span style="font-size: large;">11.<span style="white-space: pre;"> </span>Shoplifters / The Third Murder </span><br />
<span style="font-size: large;">by Hirokazu Kore-Eda</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCyuACfSiXESv0MIgzYNzxo9u2JfLp__R7GFsIikdy-zDjuHi7n9Sm5U_i7JBb1ZrQ4x3wbA_OokBAqbFjIcA-8CrveD7s7QP5ojKREjGMaxWtDpYMKmVV77nBP75U5fntUVMuAjDuqMA/s1600/8_3_7_1282837_shoplifters-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCyuACfSiXESv0MIgzYNzxo9u2JfLp__R7GFsIikdy-zDjuHi7n9Sm5U_i7JBb1ZrQ4x3wbA_OokBAqbFjIcA-8CrveD7s7QP5ojKREjGMaxWtDpYMKmVV77nBP75U5fntUVMuAjDuqMA/s640/8_3_7_1282837_shoplifters-3.jpg" width="640" /></a></div>
<span style="font-size: large;">Kore-Eda's double feature of sacrifice. One, his remake of <i>Dodes'ka-den, </i> the other his take on the policier, arrive at the same location, a cinema of prison visitation windows. Out there is where you can lose what you love. "You're doing my time" says a lost father figure missing his phantom limb family, looking at the woman who will be stuck behind bars for loving the <i>wrong</i> way. His camera picks up the anxious eyes and tentative smiles of his drifting families and errant parents. Life's sweetest moments never last, and anything stolen, even happiness, can be taken back. In both films the law is a reckoning with the pain of loving someone else too much, a father for his child, an adopted son jealous of his new sister, a collection of broken limbs that have to make up a body. Kore-Eda's most humane impulses conclude at loved ones staring, as James Baldwin says, through glass. </span><br />
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<span style="font-size: large;">12.<span style="white-space: pre;"> </span></span><span style="font-size: large;">The Ballad of Buster Scruggs</span><br />
<span style="font-size: large;">by Joel & Ethan Coen</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJdeMWiK4XkNXkGjLsRhRAAPGnCW03XXNBkMUIqXX9M8-yP9_Y_W04SVdZte1JFMEWXf4hj69e0VpqcnRLBG4NMNJ0C_m4J9IGew9UviyU54h8d50OdjYk2WVKsC5EvbF7-E0qYpgTUE/s1600/buster_scruggs_0086347.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqJdeMWiK4XkNXkGjLsRhRAAPGnCW03XXNBkMUIqXX9M8-yP9_Y_W04SVdZte1JFMEWXf4hj69e0VpqcnRLBG4NMNJ0C_m4J9IGew9UviyU54h8d50OdjYk2WVKsC5EvbF7-E0qYpgTUE/s640/buster_scruggs_0086347.jpg" width="640" /></a></div>
<span style="font-size: large;">Like a collection of Elmore Leonard western stories adapted with a precise ear for tone and place. Everything screams 1920s Americana, from the illustrations and text at the start of each chapter to the rich colour scheme and expertly stylized performances. Somewhere between Raoul Walsh, John Ford and Josef von Sternberg lies this spiky patch of land, cruel and blackly hilarious, bloody and mean but soft in parts. It's funny to me, the arguments of cruelty, of having turned their back on people, when here for all the world to see are some of the most boisterous and lovely performances of the year, some of the finest photography of the frontier, and such care in replicating a long-abandoned Western tradition. The Coens know that so much track has been laid inventing the west they know and love, and pay due respect to their godfathers. Love and affection aren't always about treating characters nicely, sometimes they mean giving an audience a million pleasurable textures over the course of a story that begged to be told just so. A happy ending to some of these stories wouldn't change the lovely photography, the careful costume design, the expert production design and the enviable art direction. You could always watch something else and miss out on one of the few true westerns we got this year (alongside the equally bleak and splendid <i>Damsel</i> and <i>The Sisters Brothers, </i>which just barely got edged out of my list this year). </span><span style="font-size: large;">You'd think people wanted movies to come with gift receipts.</span><br />
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<span style="font-size: large;">13.<span style="white-space: pre;"> </span>Leave No Trace</span><br />
<span style="font-size: large;">by Debra Granik</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzfKI3Ihx0vwtEKKtcaSAzJof7GRXLITxHD9expJkZxBoaGuctPlPZDKMQ7zB01NI6vGOFcOl_wisQcaLBl3OC3XcHwRyFGnt1sXY7o87vyscU2MrsQkZ-8H9cGHNhD1_LkIyjwAdUww/s1600/636657098075143590-AP-Film-Review-Leave-No-Trace-100975619.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzfKI3Ihx0vwtEKKtcaSAzJof7GRXLITxHD9expJkZxBoaGuctPlPZDKMQ7zB01NI6vGOFcOl_wisQcaLBl3OC3XcHwRyFGnt1sXY7o87vyscU2MrsQkZ-8H9cGHNhD1_LkIyjwAdUww/s640/636657098075143590-AP-Film-Review-Leave-No-Trace-100975619.jpeg" width="640" /></a></div>
<span style="font-size: large;">Granik's long awaited third fiction film is even more stylistically spare than <i>Winter's Bone</i>, blending the patience and openness she utilizes in her non-fiction with her steady hand at orchestrating family relationships in troubling circumstances. A father and daughter pushing against acceptability, against taxable income and social codes, against someone else's right and wrong. Ben Foster's father figure doesn't seem to want to keep his child safe from all that so much as he wants to insulate himself against the possibility of ever seeming wrong. And when he does he stops being a god in his daughter's eyes and becomes a man, small and breakable, like her. Granik's movies are all essentially about learning to offer and accept help (any American by now knows that never asking for help, never ceding to a broader moral definition of right and wrong is akin to mania) and though <i>Leave No Trace </i>wraps its elements in red tape and a flight from justice, the heartbreaking truth is that Foster can't outrun his daughter realizing he isn't who she thought he was, nor how she was raised to see him. You can't go back to the cave (or the woods) after that. The world is hers, now. </span><br />
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<span style="font-size: large;">14.<span style="white-space: pre;"> </span>You Were Never Really Here</span><br />
<span style="font-size: large;">by Lynne Ramsay</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcDArU6oPGNHbQ-VX5CF0PPWc0tW3FCotf7zoKVv8rJJ936lustreVqW1sHw22BdQiaOe5_v9tFbcaGOCgMIXqpMzN5ab4h0v8ZzlFt9me6TwNyYD7ns93LPeRf56oM2qJNteLym-GPY/s1600/images+%25281%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="144" data-original-width="349" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcDArU6oPGNHbQ-VX5CF0PPWc0tW3FCotf7zoKVv8rJJ936lustreVqW1sHw22BdQiaOe5_v9tFbcaGOCgMIXqpMzN5ab4h0v8ZzlFt9me6TwNyYD7ns93LPeRf56oM2qJNteLym-GPY/s640/images+%25281%2529.jpeg" width="640" /></a></div>
<span style="font-size: large;">Lynne Ramsay earning her keep in the <a href="https://mubi.com/notebook/posts/review-orphans-of-doom-lynne-ramsay-s-you-were-never-really-here">upper echelon of world cinema</a> by taking one of the simplest and one of the oldest ideas (scarred man rescues virginal young woman) and rendering it unrecognizably vibrant and violent. No one else could have made her film. A kaleidoscopic dismemberment of tropes and men, a feint portending sorrowful warriors that instead finds a Lynch-derived moral dead zone, where no one's pain matters more because there's no order in the universe. There's only what you can do with your hands, embrace or destroy, to counter the pain we all feel, the pain of being alive. </span><br />
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<span style="font-size: large;">15.<span style="white-space: pre;"> </span>Sweet Country</span><br />
<span style="font-size: large;">by Warwick Thornton</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2a_VYxCHs0CshlAbv1XYZzNFtyD1r7Qd8O61TcTKkVEeXoVj6q5mh5RgMk7EA8U7GA5fINe8GlO5wF-rrMfiffR00cZwaMEkAjRfC4RyV2MXyigUauZ0SJGT8XJyb7IrtE-EYhnKSUIo/s1600/MV5BZTJkOGVmZmUtYzI1Ny00NjIzLTk5NzgtODIwYmUxNmEwNzRjXkEyXkFqcGdeQXVyNTc5OTMwOTQ%2540._V1_SY1000_CR0%252C0%252C1498%252C1000_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1498" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2a_VYxCHs0CshlAbv1XYZzNFtyD1r7Qd8O61TcTKkVEeXoVj6q5mh5RgMk7EA8U7GA5fINe8GlO5wF-rrMfiffR00cZwaMEkAjRfC4RyV2MXyigUauZ0SJGT8XJyb7IrtE-EYhnKSUIo/s640/MV5BZTJkOGVmZmUtYzI1Ny00NjIzLTk5NzgtODIwYmUxNmEwNzRjXkEyXkFqcGdeQXVyNTc5OTMwOTQ%2540._V1_SY1000_CR0%252C0%252C1498%252C1000_AL_.jpg" width="640" /></a></div>
<span style="font-size: large;">Warwick Thornton's becoming one of the most reliable voices in Australian cinema, a man who will tell the truth. <i>Sweet Country</i> takes the American western (think <i>Apache Drums, Hombre </i>or John Huston's <i>The Unforgiven</i>) and hangs it on a clothesline until there's no moisture left. This thing is bone dry and has no salvation beyond the most meagre ration of humanity like needing food in the wilderness and lifting a rock to find nothing but fire ants. The class and racial divisions are treated like absolute madness, and the laws that enforce them hangs by a thread. Thornton's edit makes of time what the violence of his characters makes of the status quo. A blistering critique of a rule anyone could see favoured the power-mad and angry, if only they had cause. <i>Sweet Country</i> thrusts viewer and character alike into revelations and hard truths through which they aren't prepared to wade. Even those who did the right thing are guilty. </span><br />
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<span style="font-size: large;">16.<span style="white-space: pre;"> </span>The Guardians</span><br />
<span style="font-size: large;">by Xavier Beauvois</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNP2G4sVkE98bEI1s-ELMH4Ad9XQ6liKluyAwjFHMbvEmSG_6V-IoQwu7EpG1d5pKuy8whN49F2ZWFEFvJANVHYAopfWgICrXN76Yu9OOR4sDtSceS0HQB2ril_0u0Xdjr1WqooLY2fS8/s1600/The-Guardians.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNP2G4sVkE98bEI1s-ELMH4Ad9XQ6liKluyAwjFHMbvEmSG_6V-IoQwu7EpG1d5pKuy8whN49F2ZWFEFvJANVHYAopfWgICrXN76Yu9OOR4sDtSceS0HQB2ril_0u0Xdjr1WqooLY2fS8/s640/The-Guardians.jpg" width="640" /></a></div>
<span style="font-size: large;">Beauvois' <i>Of Gods And Men</i> turned an ongoing conversation with god into a waiting game, eschewing all but what would fit in his minimalist Mise-en-scène. The threat of violence is a gang of men who show up once and may return at any time to kill everyone. But they're an existential idea more than a cinematic presence. The film waits for them to come back, at which point some of his priests die. Honorable, but foregone. <i>The Guardians </i>opens things up, allows each story to tell itself without the sword of damocles visible above their heads. Yes they will suffer, it's WWI and his heroes are mostly women. The whys and hows matter less than that we know these people through their actions, the things they allow themselves at a time when civilization as such gives them nothing. His empathetic construction has room to surprise us and move us without demanding we feel what his characters feel; these women are more complex than priests martyring themselves. They're human beings. This is how they lived, worked, which means more because when we see them lose what little they do have it means the world. </span>
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<span style="font-size: large;">17.<span style="white-space: pre;"> </span>Your Face</span><br />
<span style="font-size: large;">by Tsai Ming-Liang</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjee8aB0FzHeVrNY6z-Bd9wAQGTDJkBYXz2RJViY2f4t-diTDBbw1dWSGkBD88SFmlqUXUelRVUOsUdRohlcWuIO7HuyX66NFNnQPdrzFAOuycnO448Z63HgcU_Td28bZqCzMbqxSwn8dE/s1600/1534761529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjee8aB0FzHeVrNY6z-Bd9wAQGTDJkBYXz2RJViY2f4t-diTDBbw1dWSGkBD88SFmlqUXUelRVUOsUdRohlcWuIO7HuyX66NFNnQPdrzFAOuycnO448Z63HgcU_Td28bZqCzMbqxSwn8dE/s640/1534761529.JPG" width="640" /></a></div>
<span style="font-size: large;">Tsai returns to the <i>Visage</i> but trades recognition through symbolism and art through recognition through mortality. We don't know these people, we just know that they're aged, they've lived long and varied lives and by ending on the face of his cinematic doppelgänger, he assures us that they've experienced a measure of eros and evolution akin to any of his leads. Essentially blending the real and the imaginary, forcing us to confront the end of life, the natural aging of the face (which of these men will Lee Kang-Sheng resemble when he grows old?), the growth of all things and then the silence after our lives. <i>Your Face </i>is meant to be taken quite literally: they are us, but he can't film all of us, so he settles for a dozen. Like <i>Manakamana</i> it synthesizes one of the few universal experiences through a couple of unshakable, lovable presences. </span><br />
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<span style="font-size: large;">18.<span style="white-space: pre;"> </span>BlacKkKlansman & Pass Over</span><br />
<span style="font-size: large;">by Spike Lee</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIERn0nrFW3gjAEgkl_EG3n_vHl0FUEkrXVy0mLbqks-lbcO37DdgQsbs5bFkAsUpgJ1076nwFPkDUJ4rw3nl3NvcKj0goD7L0ADAZguu5FdTOjfMV4MRXXaHp3eWqhXYfLTClXVSLZ48/s1600/1528151062_focus-features_blackkklansman_bio_john-david-washington.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="698" data-original-width="1240" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIERn0nrFW3gjAEgkl_EG3n_vHl0FUEkrXVy0mLbqks-lbcO37DdgQsbs5bFkAsUpgJ1076nwFPkDUJ4rw3nl3NvcKj0goD7L0ADAZguu5FdTOjfMV4MRXXaHp3eWqhXYfLTClXVSLZ48/s640/1528151062_focus-features_blackkklansman_bio_john-david-washington.jpg" width="640" /></a></div>
<span style="font-size: large;">Spike Lee's dynamism and explosive formal ideas have just gotten more interesting as he's aged. He began angry and talented but even something like <i>Do The Right Thing </i>exists in opposition, it is, to me, weighed down by the sheer enormity of what needed to be said. I think every film he's made since then has delivered on the promise of that movie and many have outstripped it because he's become more free. Discipline, in the case of Lee, has always been overrated. He's always been more interesting when he's swam a mile away from the shore. <i>Pass Over </i>and <i>BlacKkKlansman</i> are both about black men conversing with white authority, with the shaky concept of allies and friends, and they come after a string of stylistic successes each more interesting than the last (<i>Red Hook Summer, Old Boy, Da Sweet Blood of Jesus</i> and<i> Chi Raq</i>). <i>Pass Over </i>catalogs the ridged codes of survivors, the actions and passwords shared between two black men on a street that could be their final resting place. Lee closes on images of the city that had just been a purgatorial blank, anytown USA, concretizing the parable. The play is fake, the blood and bullets are real. <i>BlacKkKlansman</i> goes forward from there, turning a more conventionally filmic set of ideas (bombs and car chases, guns and mistaken identities, dances and cine-literate history lessons) into a waltz between fact and fiction (what really happened, what's been exaggerated). Lee recreates his earliest film, a burlesque of <i>Birth of a Nation</i> and deals squarely with the racism of the film canon, from silents to blaxploitation. Part and parcel with the film's revolutionary throughline, it doesn't just cast stones, however, offering an action climax to replace the violent films of white men with one of his own, more righteously motivated. It's polemic and replacement, a beautifully complicated look at the idea of authority and the piece of yourself you don't trust when you come in contact with it or trust it. No one ever thinks of themselves as the 'enemy,' even as the evidence mounts. Lee cannily shows what a crisis of conscience looks like when there are real stakes. Doing the right thing isn't always as easy as it sounds. </span><br />
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<span style="font-size: large;">19.<span style="white-space: pre;"> </span>The Other Side of the Wind</span><br />
<span style="font-size: large;">by Orson Welles</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvqstORuQzBcBAxrI5P7qLyGKger0Lgb9MeTY32A95hhCvEizbEUEvp1LTO4wjHqhvohcAiMsmzvGZn_Bp5edZgxNgxF56itHmp7WdKEiSXLBO3DAstsrI8vMTmaC56vEwAzosL_K_zI/s1600/first-trailer-for-orson-wells-recently-completed-film-the-other-side-of-the-wind-social.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="1500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvqstORuQzBcBAxrI5P7qLyGKger0Lgb9MeTY32A95hhCvEizbEUEvp1LTO4wjHqhvohcAiMsmzvGZn_Bp5edZgxNgxF56itHmp7WdKEiSXLBO3DAstsrI8vMTmaC56vEwAzosL_K_zI/s640/first-trailer-for-orson-wells-recently-completed-film-the-other-side-of-the-wind-social.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/the-other-side-of-the-wind/">Cigar smoke blown across a flip book cartoon of a man falling down the stairs</a>. That's the idea of a Welles film, the simplicity of everything he did, the same idea a dozen times. But if it were that simple anyone would have done it. Only Welles knew that if you put the camera here instead of there, they'd call him a genius. Only Welles knew how to make cinema out of Shakespeare without becoming lost in the text. Only Welles made his own worst fear the subject of some of the best films ever made. Only Welles resurrected himself to settle the issue of his talent 30 years after his death like Ralph Richardson in <i>Dragonslayer</i>. Only Welles understood New Hollywood as it was unfolding and exploding, knew what his place was on the mountain of money and talent even as his fingers slipped, knew where to put a camera that he could critique an image and create the best iteration of it. He knew because he was born to be one of the best directors who ever lived, our Picasso, our Liszt, our Rodin. He knew how long to hold an angle of a man walking away, knew he could get away with anything, and he must have known somewhere we'd see what Hollywood let slip away: this man and his colossal talent. We let a giant fall in front of us and he beat us there too because he filmed the whole thing as he went. He had the last word, even if no one had the last laugh. Well...accept audiences, I guess, there are like 20 all-time dick jokes in this.</span><br />
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<span style="font-size: large;">20.<span style="white-space: pre;"> </span>Sorry Angel</span><br />
<span style="font-size: large;">by Christophe Honoré</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikrwISQTLEW1_XhExwzH6mQXF_6WpWAPjAq0HLsHPQpNvABU-Z7eLOYbcXV7zDkkUC3gXxh5tQQJ_RiTOi617LhiSCg307FOVQwCBjEkuWQGRGQRyHuVRYnpBTMiRa36qMe1XrNE_xlGE/s1600/Honore-1-904302466-1526051957191.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikrwISQTLEW1_XhExwzH6mQXF_6WpWAPjAq0HLsHPQpNvABU-Z7eLOYbcXV7zDkkUC3gXxh5tQQJ_RiTOi617LhiSCg307FOVQwCBjEkuWQGRGQRyHuVRYnpBTMiRa36qMe1XrNE_xlGE/s640/Honore-1-904302466-1526051957191.jpg" width="640" /></a></div>
<span style="font-size: large;">Love and the last year of a man's life rendered in <a href="https://www.rogerebert.com/festivals-and-awards/nyff-2018-the-slows-in-my-room-sorry-angel-too-late-to-die-young">perfect moments </a>and horrible losses dropping like leaves into a stream. An effulgent portrait of blossoming sensual inner lives and the closing of a thousand chapters before they had finished being written.</span>
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<span style="font-size: large;">21.<span style="white-space: pre;"> </span>Mosaic</span><br />
<span style="font-size: large;">by Steven Soderbergh</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg63rI333nLFhZ_chRjq4hOdbPiv_G04_zqSbSnS7kfYKg4Fnl5kUNtNs5UbOfRvp3C8HxglC4NH9MWOeIqnWfwXf65N5zjao7eGOWGtRrc4aMiXkw-mjsmGXvJ3jzH_BeVTtR02CHlghA/s1600/sharonstone.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg63rI333nLFhZ_chRjq4hOdbPiv_G04_zqSbSnS7kfYKg4Fnl5kUNtNs5UbOfRvp3C8HxglC4NH9MWOeIqnWfwXf65N5zjao7eGOWGtRrc4aMiXkw-mjsmGXvJ3jzH_BeVTtR02CHlghA/s640/sharonstone.0.jpg" width="640" /></a></div>
<span style="font-size: large;">Soderbergh has to be one of the best and most constructive pastiche artists on planet Earth. After extracting <i>Contagion</i> from <i>Juggernaut, The Knick </i>from the British new wave's influence on 70s cinema, he's taken on the American TV movie. He has the splashy guest star, the remote setting, the murder, the roster of possible suspects, and he's even revolutionized the commercial break - the film was a choose your own adventure style app experience. This film is a litany of masterfully observed details about the lives of unremarkable dreamers, thrust under scrutiny and into possible infamy by their connection to a wealthy dead person. Soderbergh's in top form here, his camera capturing their eccentricities like he's writing a scientific volume about the North American under late capitalism. He's razor sharp, slowly trimming away the plot in favor of showing the sorts of behaviors usually eschewed by fiction and reality TV alike. Gorgeous and bracing and as usual lit like the world's finest hungover vacation, <i>Mosaic</i> is the best retirement party ever thrown. </span><br />
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<span style="font-size: large;">22.<span style="white-space: pre;"> </span>Ryuichi Sakamoto: Coda</span><br />
<span style="font-size: large;">by Stephen Nomura Schible </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinQUccQjaVjc33Ar7R9IiJMzb2E3iz8tbbvYEN1UyDEqx2p2D6jy3D1wAfJCgysakYhPc2vRvfniPwizQ8WfymZM7vCgCyTcnEmXzCQP0gjf0Z9GIbcZuX24rGCOtiErM-JtspFn0Xs1U/s1600/Sakamoto_-_Coda.width-1500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="1500" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinQUccQjaVjc33Ar7R9IiJMzb2E3iz8tbbvYEN1UyDEqx2p2D6jy3D1wAfJCgysakYhPc2vRvfniPwizQ8WfymZM7vCgCyTcnEmXzCQP0gjf0Z9GIbcZuX24rGCOtiErM-JtspFn0Xs1U/s640/Sakamoto_-_Coda.width-1500.jpg" width="640" /></a></div>
<span style="font-size: large;">Ryuichi Sakamoto's music was always a sort of iceberg reflection of classical music and the human condition. His slithering violins, his insistent, almost howling percussion, his somber melodies, he could score the downfall of men better than anyone since Bernard Herrmann. Watching this perceptive and beautiful man reckon with his own mortality is about the best case scenario of a true narrative such as this. No one else would have the graceful reflexivity, the perceptive expression of what he was undergoing. The important thing here is that this isn't a look at a man making plans for the end, it's largely about the cheshire cat grin on his handsomely aged features when he discovers a new sound, the joy in his voice and in his eyes when he finally makes it to the arctic in search of its song, a journey he'd wanted to make since he was a boy. <i>Coda </i>is the story of a man whose love and zeal for creation could not be dampened by the possiblity that he will someday not hear anything ever again. He's achieved so much, <i>heard </i>so much of this planet's mysterious harmonies firsthand. Life takes so much but here is a man who made a deal with the natural world and made sure it gave him just as much in return. </span>
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<span style="font-size: large;">23.<span style="white-space: pre;"> </span>Creed 2</span><br />
<span style="font-size: large;">by Steven Caple, Jr</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIhv6BJycO_2uSl3iDgMOvyWMI-wmTyStS-sR0uX1OWMASg1xbTpzXqMb7yq75k_FC95BOYyIfWPTxTj7vvl6gQa5UtZMsghOZWzjtxtNDuRBKRIAWXLhyTaBL4rEvIGyIVk90yK0W-Y/s1600/Creed-2-Dolph-Lundgren-and-Florian-Munteanu-Photo-Barry-Wetcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbIhv6BJycO_2uSl3iDgMOvyWMI-wmTyStS-sR0uX1OWMASg1xbTpzXqMb7yq75k_FC95BOYyIfWPTxTj7vvl6gQa5UtZMsghOZWzjtxtNDuRBKRIAWXLhyTaBL4rEvIGyIVk90yK0W-Y/s640/Creed-2-Dolph-Lundgren-and-Florian-Munteanu-Photo-Barry-Wetcher.jpg" width="640" /></a></div>
<span style="font-size: large;">I was born near enough to Philadelphia that <i>Rocky </i>was an inescapable element of the local character. We all saw the statue, the Bill Conti theme music was hummed in every corner of my town, we were meant to be proud of this fictitious man and his fake achievements. When I finally caught up with <i>Rocky</i> it seemed a strange candidate for canonization. Stallone gave a great performance but was matched by Burt Young and Joe Spinell, and he doesn't win his big fight. He just doesn't lose as bad as people think he's going to. That's sort of a perfect Philadelphia idea, and it made sense why they made it about an unstoppable, inspirational figure instead, the guy from the later movies who singlehandedly defeats all of Russia with his fists. When Ryan Coogler got ahold of the franchise I finally saw in these films what everyone else saw in <i>Rocky</i>: a kid going through a troubling period of self-discovery while trying to make a name for himself through his chosen artform. What millennial can't make sense of that? <i>Creed 2 </i>is a quieter film than its predecessors, more about home lives and ad hoc families, which is fine by me. I'm much more captivated by Dolph Lundgren's shattered pride staring out from behind his feline eyes at both his vanquisher and his only hope, the son whose love he traded for another chance to mean something than I am by anything that happens in the ring. I loved seeing Stallone and Jordan waiting outside Tessa Thompson's delivery room, I loved Jordan taking his crying daughter to the gym because it centers him and it might just do the same for her. A film of unimaginable hope and warmth under all the bruises and loss. </span><br />
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<span style="font-size: large;">24.<span style="white-space: pre;"> </span>All Square</span><br />
<span style="font-size: large;">by John Hyams</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoqmTYQVYaZjsCBpJrVy7NvCnYzX8iNaBGSQdFAOJBnUy5RKRgmIqJD0cQRSoJruboxInA7RhM4R24jtOQ1pY8rYp3c5SdFD0brEclkbi7LP-ADR8SkTQ1s4A2fWN-Jb9yPkV45_FPZfA/s1600/image-w1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoqmTYQVYaZjsCBpJrVy7NvCnYzX8iNaBGSQdFAOJBnUy5RKRgmIqJD0cQRSoJruboxInA7RhM4R24jtOQ1pY8rYp3c5SdFD0brEclkbi7LP-ADR8SkTQ1s4A2fWN-Jb9yPkV45_FPZfA/s640/image-w1280.jpg" width="640" /></a></div>
<span style="font-size: large;">Proof that you can make a 70s character study without compromising anything, and from a guy who usually makes hallucinatory DTV action films. A noble idea given the fullest and most agreeably depressing treatment imaginable, the grey vistas captured by drone a paradise over which our hero lamely presides. Michael Kelly's smalltime bookie doesn't exactly like being stuck here but it's not like he'd fare better elsewhere. A rogue's gallery of gambling degenerates and bad drunks are his people, for better or worse, and watching him learn where he actually fits into the scheme of this trash community is enveloping but that shouldn't be unexpected because movies like this used to come out every week. Now <i>All Square</i> looks like a relic, but has the energy of a little league player. </span><br />
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<span style="font-size: large;">25.<span style="white-space: pre;"> </span>The Mule</span><br />
<span style="font-size: large;">by Clint Eastwood</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7IblXpqtCKNOOXUWuuyu1UnwBcjmsBNFC24bmy5qS1dlhKSiR19s71oVGEQ3uyexQsgx7oWCFJbY7gNPsAAQ8FvPolgFLgKi_oKJvJi7VcXQLst5oIL7Q2OmNWiLT-NXqrejV1G11Fo0/s1600/maxresdefault+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7IblXpqtCKNOOXUWuuyu1UnwBcjmsBNFC24bmy5qS1dlhKSiR19s71oVGEQ3uyexQsgx7oWCFJbY7gNPsAAQ8FvPolgFLgKi_oKJvJi7VcXQLst5oIL7Q2OmNWiLT-NXqrejV1G11Fo0/s640/maxresdefault+%25283%2529.jpg" width="640" /></a></div>
<span style="font-size: large;">Clint's put himself out there in a way few movie stars ever do. I don't mean actors, I mean movie stars. This guy was a singing cowboy pin-up who made a career putting himself shirtless across drive-in canvas and billboards across the country. Yes, he was a born filmmaker but he was a movie star first, known the world over for his impressionistic features, his soft face and hard eyes. He appears to have gotten so sick of his own image that he started playing geezers and dying men around the time he turned 50. But now he's as old as he seemed to feel and he threw his 88 year old features onto a hundred screens, his failing health, his jittery hands and nervous jaw, his cracking voice and uncertain posture, all of it 30 feet high for the women who idolized him as a child and the young people who just wanted to see a movie on a Friday night to see. It's all here, this is how we'll think of him when he dies, like he was our grandfather, no longer the man we once knew. The final film he gave himself still has indulgences (including a threesome with drug molls) but it's also lousy with the hallmarks of his best work. It's funny and scary, it looks back on a wasted life, it makes a meal out of one final roadtrip across an ailing nation, and it's more open and tolerant than Clint himself has made a point of being in his public life. <i>The Mule </i>stirs the water of his complex legacy one last time to put ripples in his reflection so he can go with a little mystery still hanging around him. The man with no name became someone who gave away more of himself than he probably thought he ever would, and here, with a deeply human look at mortality, he's tried to help us say goodbye. Not to him, but to everyone who's lived long enough to falter before us, to the people and things we've gotten used to. Since I was a kid I knew to expect to see his face on TV commercials, to know he'd never stop making movies. Letting go of the idea of Clint Eastwood wasn't easy, but I walked out of <i>The Mule</i> knowing a lot more about the old man than I did walking out. He just wanted one more chance to say he was sorry, and then maybe, if he could, goodbye. </span>
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<span style="font-size: large;">26.<span style="white-space: pre;"> </span>The Image Book </span><br />
<span style="font-size: large;">by Jean-Luc Godard</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_3RRpzYfDjJIg8_eVxLdpkT-RwjYaLZzNPQ7JLzi5MCMPvo2I1QO623GFz3_TmaVoHwNywJ9_vvI_xhaEzSpF7adTAjxSGhbgtF2V7RdOOGn4pCK7Z3xM4G2kn7xko9cYGuZPh1hRso/s1600/theimagebook_0HERO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_3RRpzYfDjJIg8_eVxLdpkT-RwjYaLZzNPQ7JLzi5MCMPvo2I1QO623GFz3_TmaVoHwNywJ9_vvI_xhaEzSpF7adTAjxSGhbgtF2V7RdOOGn4pCK7Z3xM4G2kn7xko9cYGuZPh1hRso/s640/theimagebook_0HERO.jpg" width="640" /></a></div>
<span style="font-size: large;">Godard's fairweather marxism derails the film in the final act when he decides to say something about the middle east, about which he knows even less than Michael Bay, whom he derisively quotes. Before then this a profound display of formal daring, like the old Swiss curmudgeon were performing surgery on himself using cinema history as both scalpel and bandage. It's as funny as he's ever been, his editing determinedly and steadily unsettling, like Max Roach were working his software. He says so much about the way we watch images and hear sounds without appearing to say anything at all and hey maybe he doesn't? It's Godard it could actually be nonsense, which would be just fine! That's what happens when you outlive your earliest detractors, you can kind of be become your own funhouse mirror self and not have it matter in the slightest. He's still as good as he was when he was reinventing the wheel. </span><br />
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<span style="font-size: large;">27.<span style="white-space: pre;"> </span>The Land of Steady Habits</span><br />
<span style="font-size: large;">by Nicole Holofcener</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn39U7sKss1HIbMcyf0iKi9PSyhUaNjlKA-nJI4GfHlzYOQeLBCYP2DhxiF4t6yunMdnrKg7Jwuf54C9VRn6Nebi_Sr2GSHTtFGge3T8yHPaDj1OFmgr_rzKQ8vWh4U2jTaOuqEjEXOHU/s1600/the-land-of-steady-habits-mendllsohn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn39U7sKss1HIbMcyf0iKi9PSyhUaNjlKA-nJI4GfHlzYOQeLBCYP2DhxiF4t6yunMdnrKg7Jwuf54C9VRn6Nebi_Sr2GSHTtFGge3T8yHPaDj1OFmgr_rzKQ8vWh4U2jTaOuqEjEXOHU/s640/the-land-of-steady-habits-mendllsohn.jpg" width="640" /></a></div>
<span style="font-size: large;">Nicole Holofcener walks a tightrope everytime she directs. On this side: you have to empathize with the morally deformed rich. Over there: their much-deserved comeuppance is frequently undercut by at least symbolic victories. In short: none of her very fine movies end with the heads of her protagonists on a pike in the street. Barring that little hiccup, she's at least gotten their tainted souls thoroughly x-rayed and this, I can't help but feel, is her most astute and aching work to date. Where to begin: the father who wants to be young again so he enables a young man's addictions. The mother who can't love her own son fully so offers his life to her neighbor's boy. The mother who's so terrified of her son becoming her ex-husband when he grows up that she withholds affection until he's living in his car. Holofcener's muted palette and Bed, Bath & Beyond-derived aesthetic make the razorwire class politics and hideous interfamilial drama all the more barbed and toxic. She hides a lot of considered critique in throw pillows, christmas parties, self-help books, and glasses of white wine. </span><span style="font-size: large;"><br /></span><br />
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<span style="font-size: large;">28.<span style="white-space: pre;"> </span>Mr. Soul!</span><br />
<span style="font-size: large;">by Mellisa Haizlip & Samuel D. Pollard</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_bClEVRMSUxeM7t_pquhT1dU7K3jetgT_UhucCYfqm64d_LPZDXplqEVgKJv4ACTLfdHpBqtYeE0NsIjNgY2KSQ2Hyvd3RmfWN-wBN3p0LTuYfaKIGkJSdh61EA9uxd3MQSlUq982Q1U/s1600/Mr.Soul_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="721" data-original-width="1200" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_bClEVRMSUxeM7t_pquhT1dU7K3jetgT_UhucCYfqm64d_LPZDXplqEVgKJv4ACTLfdHpBqtYeE0NsIjNgY2KSQ2Hyvd3RmfWN-wBN3p0LTuYfaKIGkJSdh61EA9uxd3MQSlUq982Q1U/s640/Mr.Soul_.jpg" width="640" /></a></div>
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<span style="font-size: large;">I don't go to church but I know what it feels like to go to the best service in the country, because I saw <i>Mr. Soul! </i>at the Black Star Film Festival. I heard the audience sing along to each song clip, saw the black power salute raised at the sight of Angela Davis, saw people dancing to 50 year old footage of soul singers and saw people weep at a lost communal hope for artists and appreciators alike. Soul the TV show was a haven for black artists and it's been reborn at Black Star, so seeing this film about the myriad achievements of Ellis Haizlip on a big screen surrounded by the best audience in the country, I knew I'd never feel anything as special in a movie house as I did that day. Although I tend to say that every year I go to Black Star and every year the programmers and that audience prove me wrong. </span></div>
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<span style="font-size: large;">29.<span style="white-space: pre;"> </span>Blockers</span><br />
<span style="font-size: large;">by Kay Cannon</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOinCfdWaJySS7KNgujzB9S1Wnm_iUg9j5IgPWfej4Lk5jLCg-0uxPvCaFWcStZSzbkda9HJSDym3Gye2-ewcEc3NwiGCAkY4mg7Q7sfkbyszbx6hjTGa1HDWK2lnev4lD84rYtiBNVKA/s1600/MV5BOTMyZWNjYTgtNmI4MS00NDJkLWJiYzQtYjRiNDdmMjE2MGI0XkEyXkFqcGdeQXVyNTc5OTMwOTQ%2540._V1_SY1000_CR0%252C0%252C1497%252C1000_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1497" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOinCfdWaJySS7KNgujzB9S1Wnm_iUg9j5IgPWfej4Lk5jLCg-0uxPvCaFWcStZSzbkda9HJSDym3Gye2-ewcEc3NwiGCAkY4mg7Q7sfkbyszbx6hjTGa1HDWK2lnev4lD84rYtiBNVKA/s640/MV5BOTMyZWNjYTgtNmI4MS00NDJkLWJiYzQtYjRiNDdmMjE2MGI0XkEyXkFqcGdeQXVyNTc5OTMwOTQ%2540._V1_SY1000_CR0%252C0%252C1497%252C1000_AL_.jpg" width="640" /></a></div>
<span style="font-size: large;">High-concept and slapstick soaring over the most sex-positive, non-judgmental comedy narrative in years. The lesson it allows us to learn is that it's ok to let people grow in ways that seem frightening to us, that a generational divide is no excuse for mistrust. The stunning three-way conclusion wherein the parents (played by Cena, Mann and Barinholtz in career best performances) realize they could always have trusted their kids is some of the best and most cathartic work of the year. Adorable and soothing when it isn't telling legendary dick jokes. </span><br />
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<span style="font-size: large;">30.<span style="white-space: pre;"> </span>Music For When The Lights Go Out</span><br />
<span style="font-size: large;">by Ismael Caneppele</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdL-LSFZQI9tY_4O4Xz3zdwLhO76oV_4a4WnoFsuXnMvsd_0W7J-FMBHGo8MUoWPM5Qjyv9CPXJo5sjaUfIPAvWFHMEYEBo6ArIjV9z6TLhLHdPeWq0frKDnJO5yy4gtR-ODFhbeJO8w/s1600/dafc6cec5bffa71aaec24a78be8dcb7c.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1145" data-original-width="1530" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdL-LSFZQI9tY_4O4Xz3zdwLhO76oV_4a4WnoFsuXnMvsd_0W7J-FMBHGo8MUoWPM5Qjyv9CPXJo5sjaUfIPAvWFHMEYEBo6ArIjV9z6TLhLHdPeWq0frKDnJO5yy4gtR-ODFhbeJO8w/s640/dafc6cec5bffa71aaec24a78be8dcb7c.png" width="640" /></a></div>
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<span style="font-size: large;"><a href="https://nylon.com/articles/lgbtq-brazil-films">One of the greatest non-fiction experiments</a> I witnessed all year, a sort of sapphic ghost story, a woman haunted by who could/should be, a director and an actress looking enviously at youthful potential, all three staring into the miasmic moment of slow discovery. </span><br />
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<span style="font-size: large;">31.</span><span style="font-size: large; white-space: pre;"> </span><span style="font-size: large;">Dovlatov</span></div>
<span style="font-size: large;">by Aleksei German, Jr. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2JbNPW2EfQ3BiZjdQD9ffTkIcp7ME1Kg7LwdJ7pMuhqSARvJU_O_6kcG1bLBzHDQx66XVkhxVa-VES7wRj5IvgY_mwAKImGkMZ-ybNLJazEjLlurca_ydkTWkOAEexgzoQz26KYqroVs/s1600/5a326b4e85600a18a702dfb7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="902" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2JbNPW2EfQ3BiZjdQD9ffTkIcp7ME1Kg7LwdJ7pMuhqSARvJU_O_6kcG1bLBzHDQx66XVkhxVa-VES7wRj5IvgY_mwAKImGkMZ-ybNLJazEjLlurca_ydkTWkOAEexgzoQz26KYqroVs/s640/5a326b4e85600a18a702dfb7.jpg" width="640" /></a></div>
<span style="font-size: large;">While technically about a journalist, <i>Dovlatov</i> is as much a portrait of Aleksei German Sr, the man whose career and life made him a walking ghost in a land dominated by manipulation and shadows pulling strings that people didn't know how to cut. A hazy, daydrunk amble through a man's life as represented by a few <i>very</i> long days, German's focus is more taut here than usual, his gaze more interested in undressing his hero's protective layer. Tough because he has to remain unreadable to authorities and editors alike or he might be easier to corrupt. A leisurely interrogation while an ethical future for one of the last honest men hangs in the balance. </span><br />
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<span style="font-size: large;">32.<span style="white-space: pre;"> </span>A Family Tour</span><br />
<span style="font-size: large;">by Ying Liang</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioMegFwHLY-Jlc0_hOw7qIB_1Ujc2N57opfo7urClqfPs2ymC9DeTBrtf7cXqQP09If34JrA-TjjA60Yx9yvJE3BVx1OgX_CQCzPtPmq0cRbDDEHVjftQGixm_bXkkazUepF1plNjeRVM/s1600/FamilyTourA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioMegFwHLY-Jlc0_hOw7qIB_1Ujc2N57opfo7urClqfPs2ymC9DeTBrtf7cXqQP09If34JrA-TjjA60Yx9yvJE3BVx1OgX_CQCzPtPmq0cRbDDEHVjftQGixm_bXkkazUepF1plNjeRVM/s640/FamilyTourA.jpg" width="640" /></a></div>
<span style="font-size: large;">Liang smothers his own anger in exhaustion, calmly detailing everything that happens when you can't have what you want, showing instead of the hungered for the real-time placation of justified rage. Frustrating but necessarily so, rendering the all-too-infrequently shown sensation of needing sleep, having a bed but being unable to end the day and dream. </span><span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/a-family-tour/">There is still so much work to be done</a>.</span><br />
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<span style="font-size: large;">33.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Support the Girls</span><br />
<span style="font-size: large;">by Andrew Bujalski</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKJi5fERp1JfyxRPLpgdn2KTJARF9_EZb_LSJSVFIW_xED3kaKQaTqiK_wTIJ11ueUy0asjxpXaie7PaObyoK4Q7hBgOoLHcvTUwmSX0P9GRIpXSnKkTDbKcyil4IqsPEv2e6wGIESLA/s1600/girls4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKJi5fERp1JfyxRPLpgdn2KTJARF9_EZb_LSJSVFIW_xED3kaKQaTqiK_wTIJ11ueUy0asjxpXaie7PaObyoK4Q7hBgOoLHcvTUwmSX0P9GRIpXSnKkTDbKcyil4IqsPEv2e6wGIESLA/s640/girls4.jpg" width="640" /></a></div>
<span style="font-size: large;">It's rare enough to find someone willing to not dress an American workplace in cinematic shorthand - to not make a bar the kind of bar the characters in a Scorsese film might visit. It's even rarer to find real joy in the passive aggressive exploited people drained of life force by the thousand paper cuts of late capitalism (imagine if <i>Throne of Blood</i> ended with Mifune sighing, laughing and then getting up and waving on more arrows). Bujalski's done something major here (he always seems to!) in finding unique excuses for his cast to endure a life of servitude without compromising their humanity. James Le Gros' performance is the lynchpin here, because presented with the task of managing and paying for the lives of a dozen people, he acts petulantly, put upon and unappreciated, not realizing he's the cause of everyone's problems. Astute, acerbic but ultimately compassionate and cleansing, this film knows what we all deal with and isn't arrogant enough to think there's a way out. There is, however, the person next to you. </span>
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<span style="font-size: large;">34.<span style="white-space: pre;"> </span>Dirty Computer</span><br />
<span style="font-size: large;">by Andrew Donoho, Alan Ferguson, Lacey Duke, Emma Westenberg & Chuck Lightning</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN2Mi26h3eurhxuC4I2K9MZ7MpKrNDKWBGrR4DsTx70UFvV43Mxt_mTTQpZFbkt0xpo75k-3N1P3MwOaOPCQ0LLAjbbElmOJwGI72CDVAluXT_w5WTCaa1Hx-Dcpg_Lv88Q_AX-WTgkPw/s1600/Screen%252520Shot%2525202018-04-27%252520at%25252011.37.26%252520AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="1536" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN2Mi26h3eurhxuC4I2K9MZ7MpKrNDKWBGrR4DsTx70UFvV43Mxt_mTTQpZFbkt0xpo75k-3N1P3MwOaOPCQ0LLAjbbElmOJwGI72CDVAluXT_w5WTCaa1Hx-Dcpg_Lv88Q_AX-WTgkPw/s640/Screen%252520Shot%2525202018-04-27%252520at%25252011.37.26%252520AM.png" width="640" /></a></div>
<span style="font-size: large;"><i>Dirty Computer</i> is the kind of passion project we need more of. On the one hand it's collection of revolutionarily feminist genderqueer music videos, permanently cementing Janelle Monáe's reputation as a theorist who writes text with her body and costuming. On the other it's a dystopian daydream of the sort you imagine someone to scribble in their notebook while bored in class after reading <i>The Maze Runner</i>. Hopelessly, endearingly dorky and also rabidly sensuous, repurposing her body as if she were seizing a factory. In a sense she is because the body and voice of a pop star is historically an easily corrupted, co-opted instrument. She is fully in charge of hers, answerable to no one, able to place it in whatever context she pleases. She's an inspiration, a true artist whose autonomy and ambition is sure to launch a thousand careers. </span><br />
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<span style="font-size: large;">35.<span style="white-space: pre;"> </span>Hale County This Morning, This Evening</span><br />
<span style="font-size: large;">by RaMell Ross</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVxJx9RWOBkvA5B3s2avv16jgQ2Ter-5iwMdYuLsv8-uEomIuC5ZoWYWcm1yZ3hmqG7rvRuVPXR4EyBv5dMNf3g2kVGCvKEOC7DBS25rT-yjv7Mzu655PgYVvH6YkW8A4Op4qkMsauUU/s1600/hale_county_willie_courtesy_ramell_ross_cinema_guild.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVxJx9RWOBkvA5B3s2avv16jgQ2Ter-5iwMdYuLsv8-uEomIuC5ZoWYWcm1yZ3hmqG7rvRuVPXR4EyBv5dMNf3g2kVGCvKEOC7DBS25rT-yjv7Mzu655PgYVvH6YkW8A4Op4qkMsauUU/s640/hale_county_willie_courtesy_ramell_ross_cinema_guild.jpg" width="640" /></a></div>
<span style="font-size: large;">A phantasmic evocation of a time and place most films fear to tread. A singular extra-sensory document of people most films won't treat like humans with inner lives. A bear hug from a community with a hundred names. The announcement of a major talent's arrival, his methods and feel already sculpted and shined. </span><br />
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<span style="font-size: large;">36.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Happy as Lazzaro</span><br />
<span style="font-size: large;">by Alice Rohrwacher</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEk8UvSEv6MOaFib06XIAa-EDe2ocgfpgQ2Y2gVyrH1fv9-5gIbW8zo98Uq9s_Zw-3VPk_Bh1qNuIQGPqK2a2rlk5muzoPOfNqM5zVja_RBQikOuu3UositKHFCMhWqyRrNCHwWdGfFo/s1600/happy_az_lazzaro_netflix_review_2-e1543862290763.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="803" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEk8UvSEv6MOaFib06XIAa-EDe2ocgfpgQ2Y2gVyrH1fv9-5gIbW8zo98Uq9s_Zw-3VPk_Bh1qNuIQGPqK2a2rlk5muzoPOfNqM5zVja_RBQikOuu3UositKHFCMhWqyRrNCHwWdGfFo/s640/happy_az_lazzaro_netflix_review_2-e1543862290763.webp" width="640" /></a></div>
<span style="font-size: large;">A benevolent fairy tale about the never-ceasing injustices of class divisions. Rohrwacher cruelly leaps into the future and finds poverty in worse shape than she left it, but she does so with the affectionately soft touch of a mother welcoming her children back after a semester at school. Pasolini would likely have made something similar if he hadn't been killed and lived to rediscover his love of people. </span><br />
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<span style="font-size: large;">37.<span style="white-space: pre;"> </span>Diane</span><br />
<span style="font-size: large;">by Kent Jones</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmxH45WJeLhuB9WwI9Pop2HRvZu8u0cznKPcfYgtZ8M0nyJhqoCW41rINWm-zOJcdve-4XwQdncsrRTxPMI9wjDBx8_D4krCp6A4SeEd8wjXCFv7sE6G0f0sMSdD3m60SNuy27l0Ej7s/s1600/diane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmxH45WJeLhuB9WwI9Pop2HRvZu8u0cznKPcfYgtZ8M0nyJhqoCW41rINWm-zOJcdve-4XwQdncsrRTxPMI9wjDBx8_D4krCp6A4SeEd8wjXCFv7sE6G0f0sMSdD3m60SNuy27l0Ej7s/s640/diane.jpg" width="640" /></a></div>
<span style="font-size: large;">A relatable bitterness has fallen over Diane. Her son messes his life up and takes her with him. He fixes it and abandons her. This is the pattern of so many american mother's lives. The push and pull of necessity, of caring when it's too late and leaving after making a mess, it's the broiling undercurrent of so much suburban living. I'm not sure why Jones felt the need to tell this story but if i had to guess it's that he knew as many Dianes as I do. I'm glad he did because he gave work to a real murderer's row of terrific actresses from Mary Kay Place in the lead to Estelle Parsons, Glynnis O'Connor, Joyce Van Patten and Andrea Martin in the margins. It's like he was recreating some specific moment of his childhood and pulled every woman who was on the television at the time to portray it. What a wicked and clever treatment of the past. </span><br />
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<span style="font-size: large;">38.<span style="white-space: pre;"> </span>Bisbee '17</span><br />
<span style="font-size: large;">by Robert Greene</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8900dTTRVqXqD6NfdXYnOhvIuOecRtEN6bjQJ2mCy-Lm7syRH1VrX0jxOuo89P6fgzK_RjBkBSIklu0trBXevGEIsCpHgFskPjrblhN9wSFWAaOhJ-I6QfaXVA1IF_67glrWNWM5g1I/s1600/012618_bisbee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg8900dTTRVqXqD6NfdXYnOhvIuOecRtEN6bjQJ2mCy-Lm7syRH1VrX0jxOuo89P6fgzK_RjBkBSIklu0trBXevGEIsCpHgFskPjrblhN9wSFWAaOhJ-I6QfaXVA1IF_67glrWNWM5g1I/s640/012618_bisbee.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://mubi.com/notebook/posts/review-an-american-deportation-re-lived-in-robert-greene-s-bisbee-17">America as Potter's Field</a>, unmarked graves and bodies who trudged out from a buzzing tomb of a mine to live, only to be forced into the desert like Moses. Greene, doing perhaps his best work to date, resurrects our ideals for one zombie-like crawl through crimes we still seem hellbent on committing and justifying. A dirge, "Danny Boy" for workers' rights, a mournful humming you will never get out of your head. </span><br />
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<span style="font-size: large;">39.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Monrovia, Indiana</span><br />
<span style="font-size: large;">by Frederick Wiseman</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6OCZhNkGukNxEIUiQ6wtDyDvAhkPw6DZCpkV_s5mlaWQOU5eZZl1LdP0TRJFI2WNI27l5VLiZu_QKBWwJ-4pbMX9qeulfiY6IWqlA2H4sMA-Q9oCGam3SRQ6iTIcRXO7OiVGAmBvDVY/s1600/MV5BNWNjZTE0ZTktMmQ5My00MzFiLWFlOGEtZDlkZGMwNGEyNmMyXkEyXkFqcGdeQXVyMjU3NTI0Mg%2540%2540._V1_SX1777_CR0%252C0%252C1777%252C999_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6OCZhNkGukNxEIUiQ6wtDyDvAhkPw6DZCpkV_s5mlaWQOU5eZZl1LdP0TRJFI2WNI27l5VLiZu_QKBWwJ-4pbMX9qeulfiY6IWqlA2H4sMA-Q9oCGam3SRQ6iTIcRXO7OiVGAmBvDVY/s640/MV5BNWNjZTE0ZTktMmQ5My00MzFiLWFlOGEtZDlkZGMwNGEyNmMyXkEyXkFqcGdeQXVyMjU3NTI0Mg%2540%2540._V1_SX1777_CR0%252C0%252C1777%252C999_AL_.jpg" width="640" /></a></div>
<span style="font-size: large;">Wiseman's latest city movie is shrewdly political in that, like its heroes, it doesn't mention anything objectionable where you can hear it. The racism, classism, sexism, power struggles and abuse, they're all there, but they've been hidden where his cameras can't find them. It wouldn't be <i>polite</i> to discuss such things. A damning indictment of small town America, the face it presents to each of us as we pass by, saving its judgment for when they're safely ensconced in their homes. Wiseman here becomes a synecdoche for "mixed company," and loves capturing every disingenuous minute of his time in Monrovia, birthplace of nothing, keeper of secrets. </span><br />
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<span style="font-size: large;">40.<span style="white-space: pre;"> </span>The Miseducation of Cameron Post</span><br />
<span style="font-size: large;">by Desiree Akhavan</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZtFrYGBUfcwkGojjV_8LffHqCAA972OoiHHVMeTmAXJYzKSa8SfwtS9iu4t59iXi5i6oMDUQgwnZ7v0hijQkBWj-IT3DYYDFTBmo_P-FQqHE4RxQvC_NNAaToVIXrt65MLGr8lgskl8/s1600/miseducationofcameronpost.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZtFrYGBUfcwkGojjV_8LffHqCAA972OoiHHVMeTmAXJYzKSa8SfwtS9iu4t59iXi5i6oMDUQgwnZ7v0hijQkBWj-IT3DYYDFTBmo_P-FQqHE4RxQvC_NNAaToVIXrt65MLGr8lgskl8/s640/miseducationofcameronpost.jpg" width="640" /></a></div>
<span style="font-size: large;">It's the motion of tiny arms that made me see how accurate, how <i>real</i> this film was. The little arms moving in the darkness taking from too-trusting peers. I remembered those arms from high school, watching young paramours kissing on the school couches. That was so real, and what makes it hit like a ton of bricks is that these poor young people have to wait until they're in the dark to move freely, to kiss and touch and feel anything they really feel. The hidden self has acres of pent-up energy to release but has no outlet and so <i>The Miseducation of Cameron Post</i> is like a series of explosions. Mines from a long lost war are stepped on and out comes the aggression, the need for acceptance, the total lack of sexual attention. This is no way to live, and this beautiful film knows it. Out there may be dangerous but it's where you can be any version of yourself you choose. </span><br />
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<span style="font-size: large;">41.<span style="white-space: pre;"> </span>The Green Fog</span><br />
<span style="font-size: large;">by Guy Maddin, Evan & Galen Johnson</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5dp9jUaGO5FFRVF9qjFZD0dFoKU2Rem4wLmL4rjExLSfHuaVBNl_wyD1nMMEabxjx8Bp7dtzfRTOKmorJcqbpf6CAyI2awPWaTflpS2vLqA2KFvCBsMmSu6YnFBpff7tIkm9OdnxzgA/s1600/V18greenfog23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="610" data-original-width="1084" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr5dp9jUaGO5FFRVF9qjFZD0dFoKU2Rem4wLmL4rjExLSfHuaVBNl_wyD1nMMEabxjx8Bp7dtzfRTOKmorJcqbpf6CAyI2awPWaTflpS2vLqA2KFvCBsMmSu6YnFBpff7tIkm9OdnxzgA/s640/V18greenfog23.jpg" width="640" /></a></div>
<span style="font-size: large;">Guy Maddin never properly gets credit for being one of the pre-eminent film comedians (if Groucho had learned to direct, I'm guessing he'd make something like Guy Maddin) even as we've lauded him continuously as a visual stylist and Freudian supergenius. <i>The Green Fog</i> is both a single gag stretched flawlessly to feature length and a city symphony to beat the band. Ravishing footage of San Francisco plays itself while Bernard Herrmann's strings insist that something else is happening. An exegesis on the function of framing, music and place, <i>The Green Fog</i> begs to be seen over and over again. </span><br />
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<span style="font-size: large;">42.<span style="white-space: pre;"> </span>The Endless</span><br />
<span style="font-size: large;">by Justin Benson & Aaron Moorhead</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8ggazdoTlxwkkNbbwWufS_hx2OoFLoDUI20ZAvVdCav7pgEbRbCmLhc7OdyN-sqG4dCzOcCWNtYNYVKkdtZQA2Y9bLXAEgTTh7JiRCp3mEciyC7V-UKC-AtC4VfhiAgqP_NjeCsXNuA/s1600/The_Endless_Rope2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC8ggazdoTlxwkkNbbwWufS_hx2OoFLoDUI20ZAvVdCav7pgEbRbCmLhc7OdyN-sqG4dCzOcCWNtYNYVKkdtZQA2Y9bLXAEgTTh7JiRCp3mEciyC7V-UKC-AtC4VfhiAgqP_NjeCsXNuA/s640/The_Endless_Rope2.jpg" width="640" /></a></div>
<span style="font-size: large;">The boys are back in town. Unbelievably clever take on the apocalypse and cult-living as an extension of high school cliques, these guys do more with their tiny budgets than most state governments. Endearingly goofy, exceedingly funny, and creepingly, insidiously frightening, this film makes a mountain of madness from a molehole. </span>
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<span style="font-size: large;">43.<span style="white-space: pre;"> </span>Annihilation</span><br />
<span style="font-size: large;">by Alex Garland</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRs1TiobnUC_mWri9AEW9N7Z3K4dgn9y2RbaXXlwighp-dSW4Iy4x0CSTEsMU-uEiCazZS_aXXagl86HEnmgvNVHc4MIm8XUFXq6nCfu9ibJPxxFo0PjXmwUCL3d_f7VfwmztuAxaEPv0/s1600/1_Lqm-Kep9vTOTaOTMQ6dXYA.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="1327" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRs1TiobnUC_mWri9AEW9N7Z3K4dgn9y2RbaXXlwighp-dSW4Iy4x0CSTEsMU-uEiCazZS_aXXagl86HEnmgvNVHc4MIm8XUFXq6nCfu9ibJPxxFo0PjXmwUCL3d_f7VfwmztuAxaEPv0/s640/1_Lqm-Kep9vTOTaOTMQ6dXYA.jpeg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://www.rogerebert.com/mzs/the-unloved-part-52-annihilation">A psychedelic hangover</a>, a fable about living right in the space between having everything and nothing, between the living dead and giving up. </span><br />
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<span style="font-size: large;">44.<span style="white-space: pre;"> </span>Private Life</span><br />
<span style="font-size: large;">by Tamara Jenkins</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-qRXscGpbnZ0ePBDL9zQvFC7SYtiZ2xbN9x_NpbLIPYeewg7tZdnoreLUupoUzkBcZPl9tZk_jmA0aPMRVLRRvvCDf0d18xU2_msoVKH_mxjUugSWJNO-XLnmjYhfDRO_6IUvSkQT0Fk/s1600/a-private-life-review.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="790" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-qRXscGpbnZ0ePBDL9zQvFC7SYtiZ2xbN9x_NpbLIPYeewg7tZdnoreLUupoUzkBcZPl9tZk_jmA0aPMRVLRRvvCDf0d18xU2_msoVKH_mxjUugSWJNO-XLnmjYhfDRO_6IUvSkQT0Fk/s640/a-private-life-review.jpg" width="640" /></a></div>
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<span style="font-size: large;">Splendidly thorny and realistic look at the hatreds that burrow inside an unconditional love. You can look at someone and at once see everything about them that makes you wish they'd jump in front of an L train and everything that makes you glad they're always there when you wake up. </span></div>
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<span style="font-size: large;">45.<span style="white-space: pre;"> </span>The House That Jack Built</span><br />
<span style="font-size: large;">by Lars Von Trier</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij8t3iTeqT91GXb_BEqf4Kxl8xt8ArWsYkD1y3NwE7KHbBoRCul97HGGXl95c0fJx2PqyBJGakSU7ru7nptjKuKQiquHD2h4QKvOHcw7_XjvdcrbHbsf_FwCcy0fjYLl4EI1iTBHcggFM/s1600/hgrpblrt_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1245" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij8t3iTeqT91GXb_BEqf4Kxl8xt8ArWsYkD1y3NwE7KHbBoRCul97HGGXl95c0fJx2PqyBJGakSU7ru7nptjKuKQiquHD2h4QKvOHcw7_XjvdcrbHbsf_FwCcy0fjYLl4EI1iTBHcggFM/s640/hgrpblrt_1.jpg" width="640" /></a></div>
<span style="font-size: large;">An artist explaining their work as if they were at a Q and A presented as the entrance exam to hell... you've gotta admit that is pretty fucking funny. </span><br />
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<span style="font-size: large;">46.<span style="white-space: pre;"> </span>Early Man</span><br />
<span style="font-size: large;">by Nick Park</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU5bPJiSGEDef7i5njYongCmLPy9XijXrcKblBwMcIU7R1N1PchoLP-nfaC0Q0xRkNRzY5djGm61DLUt6Mm2WCpAy1FyK2pKpB-YCl7dHiIK9tbu7oCedAM1jmFV7h4d1pbnGUT5v4WrM/s1600/earlyman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU5bPJiSGEDef7i5njYongCmLPy9XijXrcKblBwMcIU7R1N1PchoLP-nfaC0Q0xRkNRzY5djGm61DLUt6Mm2WCpAy1FyK2pKpB-YCl7dHiIK9tbu7oCedAM1jmFV7h4d1pbnGUT5v4WrM/s640/earlyman.jpg" width="640" /></a></div>
<span style="font-size: large;">Nick Park's <i>Early Man</i> is hilariously exactly the kind of thing I expect an English pensioner to come up with but this thing is just way too delightful for that to be a problem. The creator of Wallace and Gromit introduces a bevy of equally lovable new characters and saddles them with the earliest underdog narrative. His hand-made animation style has carried him (and me, watching them since I was a kid) a long way and it's marvelous to see his canvas so expansive, his lovable and precise humour writ so large. </span><br />
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<span style="font-size: large;">47.<span style="white-space: pre;"> </span>The Favourite</span><br />
<span style="font-size: large;">by Yorgos Lanthimos</span><br />
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<span style="font-size: large;">Lanthimos' <i>Spartacus</i> is just as pretty and perverse, if a little more up front about its version of oysters and snails. The catty in-fighting and delicious word play is the sort of thing of which directors dream of rounding out the edges and Lanthimos doesn't waste a second. The busy frame, lusty dancing, duck-filled soirees and casual viciousness is all delicious. I don't mind that it's not the most profound film ever made. If I expected that every time I went to the movies I'd be a bitter, disappointed fellow. I'll take a woozy costume party if you've got one. </span></div>
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<span style="font-size: large;">48.<span style="white-space: pre;"> </span>Illang: The Wolf Brigade</span><br />
<span style="font-size: large;">by Kim Jee-Woon</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVN21PlxI52Sr2l_u3cc6PFJQKgo-fq4lZsEpBmrCFKSV_6Qm77EcGArgzYMTvTfoHTHRo910BzMhPEk-mjZ11nyhXqUUzeARe8w-bm3wsVMZFv3neuIdV2VDfwuClPp0d8OOYXVtkTNU/s1600/static1.squarespace.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVN21PlxI52Sr2l_u3cc6PFJQKgo-fq4lZsEpBmrCFKSV_6Qm77EcGArgzYMTvTfoHTHRo910BzMhPEk-mjZ11nyhXqUUzeARe8w-bm3wsVMZFv3neuIdV2VDfwuClPp0d8OOYXVtkTNU/s640/static1.squarespace.jpg" width="640" /></a></div>
<span style="font-size: large;">Targeted by Korean conservatives and buried deep on Netflix, this film's hyper-violent treatment of separatists ought to have been written about a little more extensively than it was. Not that the US doesn't have its own fires to put out but it's not like our President hasn't made taunting the North Korean dictator one of his favourite pastimes. Regardless this is Kim Jee-Woon at his best as an action stylist, his colours playing with the darkness, the careful choreography still clear and exciting in near-total darkness. A gloomy pulse-pounding descent into the subterranean bestial nature of men at war. </span><br />
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<span style="font-size: large;">49.<span style="white-space: pre;"> </span>The First Purge</span><br />
<span style="font-size: large;">by Gerard McMurray</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRUSveDoIOs3hZ_SjbrPhLSBpb2tDjbycd0vEO_nz95erR26JjEi1_qVDV0rkuRT5VMpF5lxD75uvf8AboRPdChDsYw9VAlIXGvy5QOMZLnBUm8Ze7PC3k3r4Ej8EspIHOJqpkjMIZEM/s1600/la-1530639718-t1e60jwuy3-snap-image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJRUSveDoIOs3hZ_SjbrPhLSBpb2tDjbycd0vEO_nz95erR26JjEi1_qVDV0rkuRT5VMpF5lxD75uvf8AboRPdChDsYw9VAlIXGvy5QOMZLnBUm8Ze7PC3k3r4Ej8EspIHOJqpkjMIZEM/s640/la-1530639718-t1e60jwuy3-snap-image.jpeg" width="640" /></a></div>
<span style="font-size: large;">The <i>Purge</i> films are an important token of post-W Bush political media. The idea that the rich would encourage the poor to kill each other isn't fiction, nor is the idea that we'd take to the task with unbridled creativity that the military would immediately co-opt. No the problem starts with arming the radical poor, no white government would ever. I waited for these films to have something to say beyond having an armful of ideas and throwing them at the screen and saying "ahh? Get It?"</span><span style="font-size: large;"> Surprise, surprise it's a black director who does something visually and textually interesting with the idea. This film is sort of if <i>The Wire</i> were a slasher film except that McMurray's visual style is such a blazing statement of purpose. His neatly orchestrated bedlam is a neon fever, the inverse of the dream world from <i>Black Panther. </i>He lets his criminal hero do the work to locate his moral center rather than simply waking up an avenger, and lets his activist POV character scream into the faces of a disbelieving public. It happens every day, after all. The degree to which most of this is possible should worry people more than it does, but I fear the thrills and candy-coloured bloodshed of previous entries has turned this film's polemical warning soft by association. </span><br />
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<span style="font-size: large;">50.<span style="white-space: pre;"> </span>Sorry to Bother You</span><br />
<span style="font-size: large;">by Boots Riley</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRp94D3kEd6RJHw5P2aFNLKRzg1OcDqnL2kM3EqPPGGN_MFEYMTfV4k1yRnFweyutPVJTTtq65YjNZcQtUTA8mQXmOAKQ-5wpQQdXZjgGgiTZmpjl2g-vFUsDdHKIaFF_SK9rxanQIP3s/s1600/maxresdefault+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRp94D3kEd6RJHw5P2aFNLKRzg1OcDqnL2kM3EqPPGGN_MFEYMTfV4k1yRnFweyutPVJTTtq65YjNZcQtUTA8mQXmOAKQ-5wpQQdXZjgGgiTZmpjl2g-vFUsDdHKIaFF_SK9rxanQIP3s/s640/maxresdefault+%25282%2529.jpg" width="640" /></a></div>
<span style="font-size: large;">Lindsay Anderson would have loved it. Completely free of studio notes and workshopped, acceptable ideas, a chaotic free-for-all of an anti-capitalist script is thrown into Riley's razor-laced grab-bag of technical and stylistic ideas, culled from major and minor works alike. It speaks to modern audiences through visuals they can understand even as it throws a bag of antique economic theory on the scales. One of the few films to speak the language of hip-hop and one of the even fewer films to spend millions of dollars on something that's worth its weight in seditious sentiment, lush visuals and hysterical gags. </span><br />
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<span style="font-size: large;">51.</span><span style="font-size: large; white-space: pre;"> </span><span style="font-size: large;">Searching for Ingmar Bergman</span><br />
<span style="font-size: large;">by Margarethe Von Trotta</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi23qbsEhZxWQ-dCQ4BCnZ8p9dvwd3au88Bh6lQiD3Ri5vDVKXPT_LWyLkzRtoKaCG7WkyRMwDJOOFSEdbIugMmNwiWrEjOJ0q7hyphenhyphenwy1BR7Sb5JeogHn_9m6PauhQodGFWm2uukogTt2tI/s1600/164b-margarethe-von-trotta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1199" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi23qbsEhZxWQ-dCQ4BCnZ8p9dvwd3au88Bh6lQiD3Ri5vDVKXPT_LWyLkzRtoKaCG7WkyRMwDJOOFSEdbIugMmNwiWrEjOJ0q7hyphenhyphenwy1BR7Sb5JeogHn_9m6PauhQodGFWm2uukogTt2tI/s640/164b-margarethe-von-trotta.jpg" width="640" /></a></div>
<span style="font-size: large;">One of Bergman's last but most sagacious and indefatigable students turns her keen eye on her teacher. A loving parting glance from someone who finally lived long enough to know what her instructors knew when they gave her the lessons that led her to discovering her identity. That we have Bergman to thank for Von Trotta would be reason enough to fete him even if he hadn't set the tone for a half century of arthouse cinema. </span><br />
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<span style="font-size: large;">52.<span style="white-space: pre;"> </span>Where is Kyra? / Nancy</span><br />
<span style="font-size: large;">by Andrew Dosunmu / Christina Choe</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYl-F-EMTY0KvvpVPPoeBG_NyHVhtRwU_35l4chfSGqC419ffUDViG2OTTLvPAfdWvCvPBvOtn-eZXXH9OQk-g8NUJKzgBpf_n2zt62Mv3UOt2-fCvFaoQJOmOiOpNtT9glYdkMObu46I/s1600/Nancy-image6-1366x768.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1366" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYl-F-EMTY0KvvpVPPoeBG_NyHVhtRwU_35l4chfSGqC419ffUDViG2OTTLvPAfdWvCvPBvOtn-eZXXH9OQk-g8NUJKzgBpf_n2zt62Mv3UOt2-fCvFaoQJOmOiOpNtT9glYdkMObu46I/s640/Nancy-image6-1366x768.jpg" width="640" /></a></div>
<span style="font-size: large;">Stories of imposters running out of road, learning too late that there are some people on whom you can rely. Career highs from qualified casts steer these dark tales of identities arriving too late to be of much use to their owners into realms of unforgettable discomfort and unexpected connection. Andrea Riseborough and Michelle Pfeiffer seeing their cons run out of steam in real time make for the most shocking and effecting sequences of the year. </span><br />
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<span style="font-size: large;">53.<span style="white-space: pre;"> </span>The Death of Stalin</span><br />
<span style="font-size: large;">by Armando Iannucci</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8czmdHKOFnB3FFpM1JzoOuhXnJIZFoFV1xfy62JtIqtaLs0LJv_WVeZnZhb4IiT2YZzwqsHCFFlJHVPrlRJRoUESTTNQC0mUTrg0zZhYu8bY1UCnwsMwG8cuQWDCVHtUHxV5urutXPM/s1600/636572339257016718-TDOS-D22-4680.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8czmdHKOFnB3FFpM1JzoOuhXnJIZFoFV1xfy62JtIqtaLs0LJv_WVeZnZhb4IiT2YZzwqsHCFFlJHVPrlRJRoUESTTNQC0mUTrg0zZhYu8bY1UCnwsMwG8cuQWDCVHtUHxV5urutXPM/s640/636572339257016718-TDOS-D22-4680.jpeg" width="640" /></a></div>
<span style="font-size: large;">I knew this film was for me when it begins as a sort of Busby Berkeley musical around a corpse, moving the dead body of a dictator like it was a couch from room to room. Iannucci indulges in a dozen miniature classes in film comedy all while maintaining his deadpan docudrama method of shooting. Every performance shoots for the moon vis-à-vis a lack of empathy and relatability none more so than Michael Palin's crusty Molotov, who accidentally calls his disappeared wife a traitor before her 'miraculous' resurrection and who spits on a colleague as he's being executed. Somewhere between <i>Paths of Glory</i> and <i>Dr. Strangelove</i> sits this <i>Man Bites Dog-</i>style provocation. </span><br />
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<span style="font-size: large;">54.<span style="white-space: pre;"> </span>Ray Meets Helen</span><br />
<span style="font-size: large;">by Alan Rudolph</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31aAivYiUcKq8pNFPu6CItDCk1m5H4NRFX3_L6_2UbGjJh1pd4ZRlfWHoHieBwD8UhOjYTAmwK_rTeq8WVZQ4gyYTJBKix03T5gi76e8x2Z8668617Epq0nJ76hOKvzhBnwZWpYP5Qjo/s1600/maxresdefault+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31aAivYiUcKq8pNFPu6CItDCk1m5H4NRFX3_L6_2UbGjJh1pd4ZRlfWHoHieBwD8UhOjYTAmwK_rTeq8WVZQ4gyYTJBKix03T5gi76e8x2Z8668617Epq0nJ76hOKvzhBnwZWpYP5Qjo/s640/maxresdefault+%25281%2529.jpg" width="640" /></a></div>
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<span style="font-size: large;">Fireworks for lovers on a hot streak, Alan Rudolph takes his romantic language out of storage and gifts us a valentine. Keith Carradine, Keith David, Samantha Mathis, Jennifer Tilly and, may she rest in peace, Sondra Locke are given his full attention and care, allowed to play to and against type and have oodles of clearly visible fun doing so. Carradine's eternal boyhood peers out from his sly eyes and a million dollar wardrobe at the bird-like Locke, who conquers a fear of sensation to accept the many delights the world may offer her. The film is a ballet of newly discovered confidence, lost potential and late love, a rhyme with late Malick in its decidedly un-Hollywood priorities and intrepid lyricism. </span></div>
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<span style="font-size: large;">55.<span style="white-space: pre;"> </span>Shadow</span><br />
<span style="font-size: large;">by Zhang Yimou</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-4_sKqVthC9iIaHAizHyIhhaxHg6CtpN57LnBS0jcmXMYcRq6V9S8p2mHzhP_qSKzcPtXRtI9CH_TALL4nMdaDRHtwiqOic4X5joXlwL4IQ6qAWSHlRzm5JK2pAv5G9OwfDYHsb6JZ8/s1600/shadow_-_4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-4_sKqVthC9iIaHAizHyIhhaxHg6CtpN57LnBS0jcmXMYcRq6V9S8p2mHzhP_qSKzcPtXRtI9CH_TALL4nMdaDRHtwiqOic4X5joXlwL4IQ6qAWSHlRzm5JK2pAv5G9OwfDYHsb6JZ8/s640/shadow_-_4.jpg" width="640" /></a></div>
<span style="font-size: large;">Embracing his inner futurist was the smartest choice Zhang ever made, not that his historical dramas weren't <i>good</i> it's just that so few people do these presentational action epics as well as he does. He presents himself with limitations he gleefully conquers - the colour palette is essentially monochromatic - turning the whole thing into a marbleized swirl of expressive shades of white and grey, a silken shimmer of fists and blades. The film has something of <i>Ran's</i> impressionistic sprawl and <i>Kagemusha's</i> palace intrigue, but maintains its singularity every chance it gets to spread its stylistic wings (or bladed umbrellas). </span><br />
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<span style="font-size: large;">56.<span style="white-space: pre;"> </span>The Predator</span><br />
<span style="font-size: large;">by Shane Black</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixuLFz38JSh8x1ApEd73jmvfSmIqPixoUZuAqBPa-LlK9AXV0tD1Y_DxUkl2s84waqYPodfTkxcLWBfgXl1J9hO1i3wonXNo6ScIDOCivsHPm4MjYDk8gEZhDhAaKyfg5vaEYlLyuG5gw/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixuLFz38JSh8x1ApEd73jmvfSmIqPixoUZuAqBPa-LlK9AXV0tD1Y_DxUkl2s84waqYPodfTkxcLWBfgXl1J9hO1i3wonXNo6ScIDOCivsHPm4MjYDk8gEZhDhAaKyfg5vaEYlLyuG5gw/s640/maxresdefault.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://www.rogerebert.com/mzs/the-unloved-part-61-the-predator">A Shane Black and Fred Dekker Halloween movie</a> is better than none at all, so even with the tampering and the bad reviews and the not-all-there CGI, I am grateful this film exists and that it gave Olivia Munn the role of a lifetime. </span><br />
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<span style="font-size: large;">57.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Little Drummer Girl</span><br />
<span style="font-size: large;">by Park Chan-Wook</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjSnQqgW_E5PSNZJAg8T0bdwI0ef0h0W2uCf_egXHeDrl1ofxW5jBJcvOTkw3SRAaJ8m9MBL40ayj-pYWkfmV_iYG3eQBpIOqUyE3nLLUtKhyphenhyphenVrcSQ1Z1wBr_eI3Y2nFZY49eqW_sz8GE/s1600/ignfirst-littledrummergirl-blogroll-1540482429438_1280w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjSnQqgW_E5PSNZJAg8T0bdwI0ef0h0W2uCf_egXHeDrl1ofxW5jBJcvOTkw3SRAaJ8m9MBL40ayj-pYWkfmV_iYG3eQBpIOqUyE3nLLUtKhyphenhyphenVrcSQ1Z1wBr_eI3Y2nFZY49eqW_sz8GE/s640/ignfirst-littledrummergirl-blogroll-1540482429438_1280w.jpg" width="640" /></a></div>
<span style="font-size: large;">Park is all business in this 6 hour John le Carré adaptation, his camera trapped in the machinery of espionage like an insect caught in a clock. He discovers every angle from which to capture and re-capture the mask work and intrigue, the personal betrayals at every turn, the flutter of discarded costumes and forgotten ideals. His most active technical exercise since <i>Lady Vengeance</i>, he finds a new angle for every spy cliche, beginning with openly spelling out the parallels between filmmaking and spying. A voyeur's delight. </span><br />
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<span style="font-size: large;">58.<span style="white-space: pre;"> </span>The Wild Pear Tree</span><br />
<span style="font-size: large;">by Nuri Bilge Ceylan</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjXzjmAaUw2NrCRQXJx6tBGcjHD-2LWKeHRsk7HDE3WSsx5y-_qoUoGM1DjEjDCO2q2bmu_Ob5MjaovbmP_SfhIYriTHl5UXhcqpxGrRxZuvxZTWF8Nyb70gaMiXZuCcRTIRXEJ0bXgmk/s1600/wild-pear-tree-1200-1200-675-675-crop-000000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjXzjmAaUw2NrCRQXJx6tBGcjHD-2LWKeHRsk7HDE3WSsx5y-_qoUoGM1DjEjDCO2q2bmu_Ob5MjaovbmP_SfhIYriTHl5UXhcqpxGrRxZuvxZTWF8Nyb70gaMiXZuCcRTIRXEJ0bXgmk/s640/wild-pear-tree-1200-1200-675-675-crop-000000.jpg" width="640" /></a></div>
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<span style="font-size: large;">Ceylan doubles down on the deliberately ponderous (but naturally thrilling because he can't film a highway shoulder without making it look like <i>Night of the Hunter</i>) <i>Winter Sleep</i>, which feints at Tarr-esque durationalism but is wilder than its schematic implies with the gargantuan <i>Wild Pear Tree</i>, which keeps threatening to locate Bergman-derived psychosexual refractory womb spaces, but everyone is entirely too vein. The film is ultimately a comedy, even if it looks like an overly forgiving roman à </span><span style="font-size: large;">clef on paper (appearances are always deceiving in Ceylan), it just happens that every joke is on us trying to take our lives seriously. His lustrous digital images of a town going to seed while its favourite son withers on the vine and rejects all but the most token support are ravishing enough that you expect them to stay around longer, for the film to become about the land, to film everything around the reams of dialogue and too-satisfied small-timers loitering the frame. <i>That </i>is the war at the heart of his films. Do we luxuriate in the natural beauty all around us (that most of us miss) or focus in on the petty bickering and posturing that tramps up and down its contours? Both spill out forever in his vision of Turkey and both are captivating. </span></div>
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<span style="font-size: large;">59.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Dark River</span><br />
<span style="font-size: large;">by Clio Barnard</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWEXD_JAF5y677vPraxJfLfXFqbmcxue0ovfyJJzJYq4o6mRmXmBIH6l6eGvuU-Hxa8PoEhiMcpm86iV7fXr3fjLSd1SLyx4AtAR7ygNg3Uc0Y9biaRkbMUWL4oSllr1nchRUUBi3Qok/s1600/DARK-RIVER-Ruth-Wilson-2_preview.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxWEXD_JAF5y677vPraxJfLfXFqbmcxue0ovfyJJzJYq4o6mRmXmBIH6l6eGvuU-Hxa8PoEhiMcpm86iV7fXr3fjLSd1SLyx4AtAR7ygNg3Uc0Y9biaRkbMUWL4oSllr1nchRUUBi3Qok/s640/DARK-RIVER-Ruth-Wilson-2_preview.jpeg" width="640" /></a></div>
<span style="font-size: large;">Barnard's lost soul narratives are a consistently gripping, if obviously tough proposition. Turning from the more clearly wounded and less defended characters of her early work to Ruth Wilson was, I must say, a good choice. She wears hardship better than most modern performers, she relishes the chance to have her anguish spill out from her singular expression, to let debasement seem like second nature. She's electric in <i>Dark River,</i> haunted by the ghost of her abusive father (a <i>brilliantly</i> utilized Sean Bean showing up in subliminal flashes of memory), needing to erase her sense of self before her last shred of property is taken from her. If she does the damage first she wins; she'll be empty either way, it might as well be because it was her choice. </span><br />
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<span style="font-size: large;">60.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Game Night</span><br />
<span style="font-size: large;">by </span><span style="font-size: large;">John Francis Daley & Jonathan Goldstein</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdhNiU3YTquYLMAdtSMC0UgIyPij7a_GresoEwPXJMT3u42A5KvlmRLUm4QptwE26tFBwzTthT9vwUoX1h-X_XU_VRFFYBPLv-yHIwfF1Tn4vVEXxgUeH0Hu_qMOzft76a1fyERXtoRI/s1600/game_night_still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="629" data-original-width="1500" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdhNiU3YTquYLMAdtSMC0UgIyPij7a_GresoEwPXJMT3u42A5KvlmRLUm4QptwE26tFBwzTthT9vwUoX1h-X_XU_VRFFYBPLv-yHIwfF1Tn4vVEXxgUeH0Hu_qMOzft76a1fyERXtoRI/s640/game_night_still.jpg" width="640" /></a></div>
<span style="font-size: large;">A cornucopia of incongruous reactions and semiotic humour, of <i>things that should not be!</i> <i>Game Night </i>threatens to rely on the sitcom humour its high-concept set-up would seem to suggest, but its infectious energy, its nocturnal voyage into criminal confidence is a sort of power trip masquerading as comedy. It allows you to laugh at ordinary cinematic ideas (what's more <i>exclusively </i>cinematic than a set-up that's basically a parody of David Fincher's <i>The Game?</i>) while acknowledging that <i>these people </i>(read: the audience) don't belong near them. There are certain things that certain characters shouldn't do. It's a delectable textual navigation for the price of a screamingly funny comedy. </span><br />
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<span style="font-size: large;">61.<span style="white-space: pre;"> </span>Waiting for the Barbarians</span><br />
<span style="font-size: large;">by Eugène Green</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJcfNkiZlNFFr1agw8vU30-mJwMktMPAUk0FUNzAoxusQrcAyI7suUSIx1DW9kmKWVS_fk3PkIaLZ2-HYdAmqtGtaAwtnCvPMF0NtYQN9Qa-x9XAcgGjj4Oo3kJ56aX2_iEW-kaEKQqAY/s1600/Waiting-for-the-Barbarians.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJcfNkiZlNFFr1agw8vU30-mJwMktMPAUk0FUNzAoxusQrcAyI7suUSIx1DW9kmKWVS_fk3PkIaLZ2-HYdAmqtGtaAwtnCvPMF0NtYQN9Qa-x9XAcgGjj4Oo3kJ56aX2_iEW-kaEKQqAY/s640/Waiting-for-the-Barbarians.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="http://frame.land/rendez-vous-with-french-cinema/">Chamber drama a la Brooklyn's forgotten son</a>. Wry, profane and delightfully ahistorical. </span><br />
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<span style="font-size: large;">62.<span style="white-space: pre;"> </span>Manhunt</span><br />
<span style="font-size: large;">by John Woo</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBUz50b0kk9HFPFcYkqA_FQ9HOPLODKDPqASqNEnJ_EYTD5Xkri3tVLH78gLpmLfXx_zYhQgs51H2O1bL3YfYRA5nGJHHMBghZ3ElpkeaK57lMpiSxtpwVydE30tEPSkxa-F0f5ZhlN0Y/s1600/manhunt_01.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBUz50b0kk9HFPFcYkqA_FQ9HOPLODKDPqASqNEnJ_EYTD5Xkri3tVLH78gLpmLfXx_zYhQgs51H2O1bL3YfYRA5nGJHHMBghZ3ElpkeaK57lMpiSxtpwVydE30tEPSkxa-F0f5ZhlN0Y/s640/manhunt_01.0.jpg" width="640" /></a></div>
<span style="font-size: large;">John Woo's anniversary tour is as ingratiating as you'd imagine, the old rockstar playing hits with renewed fervor and shiny new instruments. His nerdy enthusiasm for his own best played tropes and devices is palpable and catches. You find yourself screaming for more doves, more jetskis, more, more, MORE! </span><br />
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<span style="font-size: large;">63.<span style="white-space: pre;"> </span>Isle of Dogs</span><br />
<span style="font-size: large;">by </span><span style="font-size: large;">Wes Anderson</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9noGRqpKEHILeWU4SQCPaN4h9DbsYL04y8_ljRxyxVWc6S_GRJDifJEYgLkYK4sJzcLansK6jiiEkRdyE_swd72MAODPt0fhqNU-bH01Khg6BFgyKCz7zFZ83llgr2l2GpRTDhS1-2kQ/s1600/isle1.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9noGRqpKEHILeWU4SQCPaN4h9DbsYL04y8_ljRxyxVWc6S_GRJDifJEYgLkYK4sJzcLansK6jiiEkRdyE_swd72MAODPt0fhqNU-bH01Khg6BFgyKCz7zFZ83llgr2l2GpRTDhS1-2kQ/s640/isle1.0.jpg" width="640" /></a></div>
<span style="font-size: large;">I have no defense for the accusations of appropriation and I'm not going around begging people to watch this curate's egg in the making. <i>But</i> this is the closest he's come to reckoning with his fascination with craggy, unknowable bastards, the closest he's come to reproducing real sexual tension, the most human he's ever seemed. The animation is beautiful, the music stunning and strange, and Bryan Cranston finally works on film. I'll let everyone else decide whether it should have been made, I'm just glad it did, because I got to sit with my friend Nick Allen after Ebertfest and watch it with a cocktail in my hand, feeling like I'd found my place.</span><br />
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<span style="font-size: large;">64.<span style="white-space: pre;"> </span>Don't Worry, He Won't Get Far On Foot</span><br />
<span style="font-size: large;">by Gus Van Sant</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv_jk0rkdLB9YYpBWg0c3OvShFo_C0qWCcV_M82ltfIcjKucoC6GrBRgq_7hAj5tZuuNaPVE0-60e_B5DbNh-qaacXNGdR9RrbFFzsMcyVyx-p7rMob0luMqUY9IM4hlH-kJn5XSfm76Y/s1600/Dont-Worry-He-Wont-Get-Far-on-Foot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv_jk0rkdLB9YYpBWg0c3OvShFo_C0qWCcV_M82ltfIcjKucoC6GrBRgq_7hAj5tZuuNaPVE0-60e_B5DbNh-qaacXNGdR9RrbFFzsMcyVyx-p7rMob0luMqUY9IM4hlH-kJn5XSfm76Y/s640/Dont-Worry-He-Wont-Get-Far-on-Foot.jpg" width="640" /></a></div>
<span style="font-size: large;">Gus Van Sant always seems to walk about 8 miles out of his way but he always comes back to what he does well. It's years later but there's no denying what this film means in his canon. His first study of the heedless addict's quest for betterment <i>Drugstore Cowboy </i>is almost 30, and <i>Last Days,</i> his look at a rockstar who never pumped the breaks on his own delusion and dependancies is almost 15. It was time to show the outcome it's possible to achieve if you can truly get a hold of yourself, and learn to replace the needs with something else. Recovery is a tough thing to dramatize, it's not quite as the descent into oblivion, but Van Sant made group therapy into jazz music, his expert collection of battle-hardened eccentrics teaching a wily asshole (Joaquin Phoenix, who's had quite a year) that everyone has seen what he's dealing with before. Nothing about him is special, even less reason to find his journey compelling in and of itself. It's to Van Sant's credit that he does find Phoenix's transformation and slow generation of empathy worth caring about and films it in 70s Laurel Canyon magic hour light, like overcoming addiction were like entering a hippie's vision of paradise. Heaven can just be knowing you did your best that day. Phoenix's cohorts (Jack Black, Jonah Hill, Beth Ditto, <i>Kim Gordon,</i> I could go on) are all up to the task of drawing his buried fears and neuroses out to help him deal with what he did to himself. This film is just about the herculean effort of trying to do right by yourself, and it turns out that can be more captivating than the descent that brought you here. </span>
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<span style="font-size: large;">65.<span style="white-space: pre;"> </span>Incident in a Ghostland</span><br />
<span style="font-size: large;">by Pascal Laugier</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7V5M3JBCrlAOcqu3Tkh2yciWh49zeci2XzRDgEwcLxunLgPGvSa5nay6J4nvVxZKh93Kn6OdVzxvGBkokUmI8bCtKHSJJMZGu5feigSy7qIBTW1zOLl6Uv44jpMb9BHT9jMCIwJ4zBdY/s1600/la-1529540398-mv9x2th26r-snap-image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7V5M3JBCrlAOcqu3Tkh2yciWh49zeci2XzRDgEwcLxunLgPGvSa5nay6J4nvVxZKh93Kn6OdVzxvGBkokUmI8bCtKHSJJMZGu5feigSy7qIBTW1zOLl6Uv44jpMb9BHT9jMCIwJ4zBdY/s640/la-1529540398-mv9x2th26r-snap-image.jpeg" width="640" /></a></div>
<span style="font-size: large;">Laugier returns to the US for another tale of lost children. Here he strands young women in a fantasy that they erect rather than handle loss. No film has ever quite been structured like this, where the reveal is waiting before the third act and the resulting push isn't furhter into the unknown, and certainly not with the inky goth aesthetic he's trademarked. This film, like his earlier <i>The Tall Man</i> should be classics for the Ally Sheedys-in-John Hughes-movies of the world if only anyone ever talked about them. </span><br />
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<span style="font-size: large;">66.<span style="white-space: pre;"> </span>Laplace's Witch & Jojo's Bizarre Adventure: Diamond is Unbreakable</span><br />
<span style="font-size: large;">by Takashi Miike</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOU6UpGAU01bnaqNTVC8VuGSYdPREW41AbOG6oJkxqztoHtkehEw9aXtQKef8rGTOyd8LrCwF56mfmSADQqtdbBgF0VDDgMwlVtxU5ySeaO58NvQ1Ud9mqzGVhqFjwymBizcHRMO2kr0s/s1600/Laplaces-Witch-Encore-Films9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOU6UpGAU01bnaqNTVC8VuGSYdPREW41AbOG6oJkxqztoHtkehEw9aXtQKef8rGTOyd8LrCwF56mfmSADQqtdbBgF0VDDgMwlVtxU5ySeaO58NvQ1Ud9mqzGVhqFjwymBizcHRMO2kr0s/s640/Laplaces-Witch-Encore-Films9.jpg" width="640" /></a></div>
<span style="font-size: large;">It wouldn't be a year in film without at least one Miike. The master's pace has slowed for the first time in his life but the benefits of that are interesting considerations I would never have thought to come to him for: dueling close-ups, post-enhanced supertext and fourth wall breaking, and a more melancholy tone. Without my realizing it he seems to have entered his late Coppola phase, sending young people and their older, wiser guides on missions of fantastical mercy. Conspiracies need unraveling and the mightiest among us still need help from mortals and rubes. That's always been Miike's life, incidentally, he just didn't always make movies about it, and the reflection-heavy style into which he's slowly settled since the turn of last decade suits him well. He's now the Jun Kunimura character in <i>Jojo</i>, lifting weights by himself, hoping he can still 'protect the town.' Introspection suits him well. </span><br />
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<span style="font-size: large;">67.<span style="white-space: pre;"> </span>Unrest</span><br />
<span style="font-size: large;">by Phillipe Grandrieux</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXATBPH8LRhyphenhyphenUko0Ibz1YstF_yab1W_VZjr4COWI-E38a8rH3nTr8TakGEw15BAz9qQGZ93Slu4g53yHTMye2uuIM3G5WatBBQAVTslFfvjIaOjmmmTHXs8GdpASU6FpdhL4gzxmBUf98/s1600/Unrest1_source.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXATBPH8LRhyphenhyphenUko0Ibz1YstF_yab1W_VZjr4COWI-E38a8rH3nTr8TakGEw15BAz9qQGZ93Slu4g53yHTMye2uuIM3G5WatBBQAVTslFfvjIaOjmmmTHXs8GdpASU6FpdhL4gzxmBUf98/s640/Unrest1_source.jpg" width="640" /></a></div>
<span style="font-size: large;">Grandrieux's latest study of dispossessed bodies overflows with rapturous texture and free motion, a drunken push into erotic projection, dance and unrelated images spying on one another in the edit. Grandrieux's knack for making every image feel like something you're spying on in darkness is perhaps best utilized in his short work where he doesn't need to give his images purpose beyond how they interact with one another. This haunting spell in his id is precisely what French cinema's been exploring and pioneering for a hundred years, if perhaps never with this murky fervor. </span><br />
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<span style="font-size: large;">68.<span style="white-space: pre;"> </span>The 15:17 To Paris</span><br />
<span style="font-size: large;">by Clint Eastwood</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-nua4tVAoxBYvoVg6R7W1UE8Kpaw95xrGjRKcmUmFUb6IGd9pEFsOjnRVf8OZO3ZSd1ZNOKqyM-Pz_syTXl-N6Qnsp7OkG9j49O_KA1I7z-co9dLvJFLMiB7oF6usUUs9FysxjpmG1XI/s1600/the-15-17-to-paris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-nua4tVAoxBYvoVg6R7W1UE8Kpaw95xrGjRKcmUmFUb6IGd9pEFsOjnRVf8OZO3ZSd1ZNOKqyM-Pz_syTXl-N6Qnsp7OkG9j49O_KA1I7z-co9dLvJFLMiB7oF6usUUs9FysxjpmG1XI/s640/the-15-17-to-paris.jpg" width="640" /></a></div>
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<span style="font-size: large;">Never count an old director out, he might still find ways to shock you. Clint waited a long time to enter his anything-goes experimental phase and now might be done directing for good, but I'm so grateful this period produced <i>Sully</i> and <i><a href="https://www.rogerebert.com/mzs/the-unloved-part-60-the-1517-to-paris">The 15:17 to Paris</a></i>, twin narratives about average guys whose instincts saved lives. There's something fascinating going on the film's approach to recreations but I haven't quite cracked what makes them so enrapturing. Maybe it's enough that they are. </span></div>
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<span style="font-size: large;">69.<span style="white-space: pre;"> </span>Disobedience</span><br />
<span style="font-size: large;">by Sebastián Lelio</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXA97vfwvW2H67dfeDqJzrv2CBW20oDjQQ_zW29JgKSsds_C1N5SaAYXSi5gH6gbLm4w3Cs451z-gimjuDPA0PprfPMb3fBemPgAMCog23QUmM2ZnfGtR8_lzBfwu44TzLEQtk5Jn-09Y/s1600/disobedience.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXA97vfwvW2H67dfeDqJzrv2CBW20oDjQQ_zW29JgKSsds_C1N5SaAYXSi5gH6gbLm4w3Cs451z-gimjuDPA0PprfPMb3fBemPgAMCog23QUmM2ZnfGtR8_lzBfwu44TzLEQtk5Jn-09Y/s640/disobedience.jpg" width="640" /></a></div>
<span style="font-size: large;">There's something about the going home for a funeral narrative that I can't shake. Something about the wash of nostalgia, the seductive shelter of a familiar home regained, of faces you once knew willing to to put aside all but the most comforting emotional responses to your presence. And so I looked past the too-obvious way that Rachel McAdams married out of convenience despite feeling nothing for her husband, who is plainly <i>far </i>more committed to their religion than she would have any interest in faking for as many years as she has. I overlooked the too-brisk and too-familiar meltdown montage with which Rachel Weisz's character is introduced. I overlooked a dozen other infarctions because when the score swells and these two troubled souls embrace for the first time in decades, this movie gets everything right. Walking through their adolescent fantasy, stopping to breathlessly kiss, knowing someone might catch them, that's why films like this exist. It's perhaps got nothing on the other Rachel Weisz erotic daydream from this year, but this film gets the particulars of wishing for one more minute with someone you love and know intimately exactly right. </span><br />
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<span style="font-size: large;">70.<span style="white-space: pre;"> </span>Crazy Rich Asians</span><br />
<span style="font-size: large;">by Jon M. Chu</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP0xG9pduqON3Fe-W7XZx3vVLkRCXwsLIorTWC_t2S-9si2jQnh5YnqAXru-ifc5WPCOdZghGk3B7bwm_iUYve3ToyehpXihEW4JWbdYFTwI8lavJ920ujFrTrvMQWWuTXmgPry6GxFyg/s1600/crazy_rich_asians_constance_wu_1524264444.1524519689.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP0xG9pduqON3Fe-W7XZx3vVLkRCXwsLIorTWC_t2S-9si2jQnh5YnqAXru-ifc5WPCOdZghGk3B7bwm_iUYve3ToyehpXihEW4JWbdYFTwI8lavJ920ujFrTrvMQWWuTXmgPry6GxFyg/s640/crazy_rich_asians_constance_wu_1524264444.1524519689.jpg" width="640" /></a></div>
<span style="font-size: large;">A 30s melodrama/musical in one delectably gaudy package. There are a few too-big notes and performances that break the spell of mean-girl drama and actualization, which the film does <i>spectacularly</i> well, but for the most part this is a simple story told well. As in <i>Wolf of Wall Street</i> it's best to remind oneself that the movie knows money isn't the answer to life's problems. And as in <i>Wolf of Wall Street</i> this movie is machine tooled to be a good time. </span>
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<span style="font-size: large;">71.<span style="white-space: pre;"> </span>Unsane </span><br />
<span style="font-size: large;">by Steven Soderbergh</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfbk0LX5rFbkxKHutRDrV4wSTWdMAK9AQcYEieaSLSwxgCdDeZjakxM45JmEGdd4rT4qZAyrCVKuRtiHxSQ0dUzFTC70BSr7cAFscqFibx5TQZvCWgWNkvwUJIMHbBCoAxBsap_z-z-s0/s1600/U_00071_R.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfbk0LX5rFbkxKHutRDrV4wSTWdMAK9AQcYEieaSLSwxgCdDeZjakxM45JmEGdd4rT4qZAyrCVKuRtiHxSQ0dUzFTC70BSr7cAFscqFibx5TQZvCWgWNkvwUJIMHbBCoAxBsap_z-z-s0/s640/U_00071_R.0.jpg" width="640" /></a></div>
<span style="font-size: large;">Presumably between rounds of golf, dance lessons on cruise ship decks, and brewery tours, Soderbergh's retirement's been uhhh eventful. <i>Mosaic </i>had already basically redefined the TV movie when <i>Unsane</i> hit theatres, a joyously acidic little pill, whose side effects include nodding one's head as the story's paranoid strands form a coherent shape and the iPhone aesthetics pull their weight. Claire Foy is ideally cast as a brittle professional, the kind who are expected to never complain about sexual harassment or being paid less than their male counterparts. Her forceful personality means it's only a matter of time before she's freed, unless the conspiracy she smells really <i>is</i> true. Soderbergh puts her in alien-seeming frames (courtesy of the bizarre look provided by the phone) to hammer home her dislocation from everyone around her. She trusted no one on the outside, and now, trapped, she has to learn to use people without them sensing they're being used. Soderbergh's female characters don't get enough credit for their expressive inner lives and Foy is no exception. Like Jennifer Lopez's Karen Sisco, Sharon Stone's Olivia Lake, Eve Hewson's Nurse Elkins, Sasha Grey's Christine and Gina Carano's Mallory Kane, Foy's Sawyer Valentini contains multitudes and despite a life-changing adventure, very realistically keeps her nervous, untrustworthy behavior even after everything. Trauma doesn't always make us stronger. </span>
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<span style="font-size: large;">72.<span style="white-space: pre;"> </span>Cruise</span><br />
<span style="font-size: large;">by Robert D. Siegel</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrkWVQrJC-qEf-WOD8ABsGPmtAfvdNcNuYbiYUF4IhIJoVo3uAvpoGTQOsvz1CCsbWADIdH1PdpGHRV1S1DjFwTRpGcF1CwaxhvjKJxJvXvJ2wjD-0wCfhCZ0-KKcKHQ1SyUkOmGoxU8/s1600/Cruise-Robert-Siegel-Emily-Ratajkowski.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="1200" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDrkWVQrJC-qEf-WOD8ABsGPmtAfvdNcNuYbiYUF4IhIJoVo3uAvpoGTQOsvz1CCsbWADIdH1PdpGHRV1S1DjFwTRpGcF1CwaxhvjKJxJvXvJ2wjD-0wCfhCZ0-KKcKHQ1SyUkOmGoxU8/s640/Cruise-Robert-Siegel-Emily-Ratajkowski.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://read.kinoscope.org/2018/12/28/2018-impressions/">Siegel returns</a> with another story of small-timers realizing that their dreams aren't only unrealistic but just about gone. His sense of the deep New York milieu is loving and complete, from the debris-strewn sidewalks to the cavernous parking garages and crowded greasy diners, this is a living, breathing time and place, and its non-judgmental look at a class problem between lovers is a snaky, sensuous thing. </span><br />
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<span style="font-size: large;">73.<span style="white-space: pre;"> </span>Paddington 2</span><br />
<span style="font-size: large;">by Paul King</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOkpdYsZITw4sflKgoFjkrECJM_c2IFVqRAfWTbMIV4iD0tSx4hGmaNEjuO1GIUX-rx0sqimNLbhtTgQ5kJ-mnac-5m-MPO-eMOS7GPErFAt9AP4pHz2MOaxyndIc4k8AlyLr83ZQ_4E/s1600/Paddington5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="983" data-original-width="1600" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOkpdYsZITw4sflKgoFjkrECJM_c2IFVqRAfWTbMIV4iD0tSx4hGmaNEjuO1GIUX-rx0sqimNLbhtTgQ5kJ-mnac-5m-MPO-eMOS7GPErFAt9AP4pHz2MOaxyndIc4k8AlyLr83ZQ_4E/s640/Paddington5.jpg" width="640" /></a></div>
<span style="font-size: large;">There isn't much to say about this film at this point. Everyone loves it and they're right. The hyperbole is appropriate, the memes have their heart in the right place, the fans are correct. This film is practically weaponized delight, so pure of heart and generous in its very core that you can easily overlook that it's a major studio sequel, an idea that's pure evil. This film was made for rainy days, for kids and sad adults, for everyone and everything, and it makes every old idea in the script feel new. It even earns a beat so potentially devastating it enters <i>Toy Story 3</i> territory. This is how it's done. </span><br />
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<span style="font-size: large;">74.<span style="white-space: pre;"> </span>Hotel By The River</span><br />
<span style="font-size: large;">by Hong Sang-soo</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_T6r5txup8qNrfQidYXakq9dG8R8pYiGUYEkZooFeFoSSgrYsYUl3lboE3e8ZriUgExL32-iBhl7JSshyh31H7qFqcm7s9C-MPfz2ddOZRmKW3e2R2CjiVGNc0CRzyLVQ1LhtxxYkYE/s1600/gangbyun-hotel1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu_T6r5txup8qNrfQidYXakq9dG8R8pYiGUYEkZooFeFoSSgrYsYUl3lboE3e8ZriUgExL32-iBhl7JSshyh31H7qFqcm7s9C-MPfz2ddOZRmKW3e2R2CjiVGNc0CRzyLVQ1LhtxxYkYE/s640/gangbyun-hotel1.jpg" width="640" /></a></div>
<span style="font-size: large;">Hong's very public personal strife (public for an arthouse middleweight, I should say, it's not like he's made the cover of tabloids in the states or anything) seems to have pinioned him to exceedingly personal narratives. <i>Claire's Camera</i> and <i>On The Beach Alone At Night</i> take the side of the women who's life he's affected and <i>The Day After</i> and now <i>Hotel By The River</i> attempt to sort out <i>his</i> unwieldy feelings. An old poet tries to conduct his legacy to whomever's nearby as he senses he might die at any moment, and the odd glint in his eyes says he might try to hasten the process if he can get his affairs in order. Life won't get better than seeing the look in young women's eyes as they're affected by his work. Hong doesn't necessarily buy into the old man's self-mythologizing or self-pity, but you can see him wrestling with just what it is he's meant to feel or supposed to say when it's his voice we hear and not anyone else in his life. It's a hopeful cry into an uncertain void, but it still works. We can't ever determine our legacy by anything but our actions, but for some of us it's too late. We've done what we were going to. It's too late to change. </span><br />
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<span style="font-size: large;">75.<span style="white-space: pre;"> </span>Between Worlds</span><br />
<span style="font-size: large;">by Maria Pulera</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXYsH7Ns73xdMy8IRVwfhK-MppRwoeVXprToJxbbfrsNliFZKb93DZ1cB17m6YmifnRcMKVb0LkdgunsLCHJtjcQHqQfibaVpULePiXqNaP7YvmekCPs5wGQq9fcsbSTFBil1bo-Iw__Q/s1600/between+world+movie+nicolas+cage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXYsH7Ns73xdMy8IRVwfhK-MppRwoeVXprToJxbbfrsNliFZKb93DZ1cB17m6YmifnRcMKVb0LkdgunsLCHJtjcQHqQfibaVpULePiXqNaP7YvmekCPs5wGQq9fcsbSTFBil1bo-Iw__Q/s640/between+world+movie+nicolas+cage.jpg" width="640" /></a></div>
<span style="font-size: large;">Keep your <i>Mandy, </i>I say<i>! </i>This is the bughouse Nicolas Cage movie for me, the midnight movie-in waiting. This is a film that fears nothing, no plot development, no offense, no faux pas, no genre's mile-markers, and it isn't wrapped in self-consciousness, aware of the jokes even as it kills an innocent woman to set a pointless and foregone conclusion of a revenge plot in motion. There are surprises here, too many to count, not least that any film that opens this busily and forcefully can sustain its energy over a runtime longer than 15 minutes. It behaves simply as it pleases, running from psychodrama to melodrama and collapsing in a heap of battered bodies and bruised egos. But more than that and the reason I'll remember this movie years from now is because after watching Nicolas Cage go dour or crazy for the last 8 years of direct-to-video projects and the odd studio picture...<i>Between Worlds</i> lets him laugh like a human being again. Lets him sit and drink and smoke pot and seem like a man actually enjoying himself. That is the Nic Cage I love, and the one I want to remember. </span><br />
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<span style="font-size: large;">76.<span style="white-space: pre;"> </span>Cold Skin</span><br />
<span style="font-size: large;">by Xavier Gens</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaFFSxx3WcyAA24UZ0bfHSswBM8q2c-aNAp3zzMGe8jUcBWMyz_CZ5oYF0y1WTEEO1ffmntb_64lc-CsKSkSounEsNxzWKgZllylrXZstYfYNa3BrNpDCKblDkYgpN842FuNFUa_P6YJM/s1600/l_1c25f491-19e1-420c-8bd8-1105fc154109.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaFFSxx3WcyAA24UZ0bfHSswBM8q2c-aNAp3zzMGe8jUcBWMyz_CZ5oYF0y1WTEEO1ffmntb_64lc-CsKSkSounEsNxzWKgZllylrXZstYfYNa3BrNpDCKblDkYgpN842FuNFUa_P6YJM/s640/l_1c25f491-19e1-420c-8bd8-1105fc154109.jpg" width="640" /></a></div>
<span style="font-size: large;">From the opening Nietzsche quote to the hoards of inhuman barbarians washing up on a beach, we're firmly in John Milius territory. The women are inhuman fish monsters and fundamentally different from the men, the men are violent, short-tempered drunks with one purpose in life: kill. The film's rinse & repeat style of sci-fi action pyrotechnics is very much the purpose of the exercise; a life lived in thrall to violence and warfare is doomed to be a hellacious ouroboros, an unyielding scraping of viscera off one's boots and preparing for the next onslaught. The film is a nifty metaphor for WWI, but works for all time periods. Surrender the need to kill, to be right about your prejudices, and you may find substance, something like joy between sunrise and sunset. Gens' best film to date, a stunningly bent creation. </span><br />
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<span style="font-size: large;">77.<span style="white-space: pre;"> </span>A Bread Factory</span><br />
<span style="font-size: large;">by Patrick Wang</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfsYDFfBCWAaFHYlssQppKPTdTS_UpJGujdbPBeZUA5A5dTGSg2Pv2BIv29S1s0Ns-VoIOUATDebjeVn_YFpyLkoXcLGLBbEKQx1chap_yI2zXr5mOX0FwO-HXcH1CGlaP1blDTIseCYY/s1600/ABF+P1+Still+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="970" data-original-width="1600" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfsYDFfBCWAaFHYlssQppKPTdTS_UpJGujdbPBeZUA5A5dTGSg2Pv2BIv29S1s0Ns-VoIOUATDebjeVn_YFpyLkoXcLGLBbEKQx1chap_yI2zXr5mOX0FwO-HXcH1CGlaP1blDTIseCYY/s640/ABF+P1+Still+1.jpg" width="640" /></a></div>
<span style="font-size: large;">Patrick Wang is an artist who directs like he might drop dead at any minute. Nothing is off limits, nothing is forbidden, no subject is taboo, no stylistic choice too outlandish, and the results are never shy of completely thrilling. What's it like watching a movie in which anything could happen? Characters break into song and dance without warning, the credits transpire over a sad folk song that re-contextualizes snippets of dialogue from the film, characters vanish from the narrative to teach their neighbors (and we in the audience) a much-needed lesson, celebrity guest stars drop in out of the clear blue. It is <i>marvelous</i> lawlessness, like a wild west town, as if the energy of the set bled into the fabric of the film, down to the thrilling courtroom climax of part 1. But when to make of the spellbindingly raw family troubles, the infidelity and in-fighting, the sense of longing for a life easier than the one these people have chosen? <i>A Bread Factory</i> could have easily run another 4 hours without ever losing its engrossing rhythms and anything-goes spirit, because for all of the welcome lunacy, it's rooted in two people who have chosen to grow old together, even if trouble seems to follow them no matter what they do. </span><br />
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<span style="font-size: large;">78.<span style="white-space: pre;"> </span>Transit</span><br />
<span style="font-size: large;">by Christian Petzold</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Aqr73xmqDB6cZTyS74jVWsEkC9cClZvL_mKMyY38D3iHfMKIfqR3FF2SxuJ3_-hIxq_tbKRdXOkSNzjSGTFi-P7qiyN2T-0-EebQ7I5ZmzCYp3RsiFzKuD4M2_y-GcE9F8O1FFUd0QU/s1600/images-w1400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="957" data-original-width="1200" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Aqr73xmqDB6cZTyS74jVWsEkC9cClZvL_mKMyY38D3iHfMKIfqR3FF2SxuJ3_-hIxq_tbKRdXOkSNzjSGTFi-P7qiyN2T-0-EebQ7I5ZmzCYp3RsiFzKuD4M2_y-GcE9F8O1FFUd0QU/s640/images-w1400.jpg" width="640" /></a></div>
<span style="font-size: large;">Petzold leaves a direct post-war period and fashions one of his own imagining, a purgatorial hellscape that looks and feels exactly like ours. Go figure. He radically transposes a holocaust narrative into modern dress like he were shifting Shakespeare into the present, trying to <i>wake us up </i>about our hideous policies on immigration. That he locates a reserved love story, a tapestry of tiny betrayals and wandering eyes while he's there is simply because Petzold can't help but find passion in the moments before peril and death, it's in his bones. <i>Transit</i> is one of his most useful romances as well as one of his most pressing social tales because it turns the mistakes we make into apparitions, our romantic regrets like walking ghosts storming in and out of our lives at their leisure. That's how it feels, they can come back at any moment and we'll have no clue but to chase them into the street to see if they were real. They'll always have a little control over us. </span><br />
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<span style="font-size: large;">79.<span style="white-space: pre;"> </span>Classical Period</span><br />
<span style="font-size: large;">by Ted Fendt</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXDGfi8nL_fCHpYAe7m4QwxOjqt6czBFCIvu3BJVYqdblsYdqlDTubicvyzTlGBYkooTuN3ZND_9377fqz05MNbkfqkuJowfxgJ1F0R3hq_2hNZN4RiiXexm4aJckkRM31TCpr4MnebL4/s1600/classical-period-still-1170x875.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="875" data-original-width="1170" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXDGfi8nL_fCHpYAe7m4QwxOjqt6czBFCIvu3BJVYqdblsYdqlDTubicvyzTlGBYkooTuN3ZND_9377fqz05MNbkfqkuJowfxgJ1F0R3hq_2hNZN4RiiXexm4aJckkRM31TCpr4MnebL4/s640/classical-period-still-1170x875.jpg" width="640" /></a></div>
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<span style="font-size: large;">The pleasure of hearing a 16mm camera whirring contentedly in the background of conversations about Borges are myriad if you're the biggest dork on Earth. Lucky me, reader, lucky me. Fendt's autumnal celluloid images and poky sound design make the film seem like it might become science fiction at any moment, but of course the mere fact of its existence in the digital age makes it a kind of science fiction artifact itself. Arcane technology to record arcane theory, like a discovery from another era or timeline. </span></div>
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<span style="font-size: large;">80.<span style="white-space: pre;"> </span>In My Room</span><br />
<span style="font-size: large;">by Ulrich Köhler</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk3r4vf3-w3pQAktWlD037eNP5p_G2DgjdAqBpcBMzIM_0Lb5oB-3h-GY_mYHfVt6AuSq3Aw9wlCQxJqs4lTXFCCBfGVQpuWQdGhYU-TYO4m3lceOYgsMpd2VqI7c1ohMs1ZqaUQYDPMc/s1600/in-my-room-ulrich-koehler-cannes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk3r4vf3-w3pQAktWlD037eNP5p_G2DgjdAqBpcBMzIM_0Lb5oB-3h-GY_mYHfVt6AuSq3Aw9wlCQxJqs4lTXFCCBfGVQpuWQdGhYU-TYO4m3lceOYgsMpd2VqI7c1ohMs1ZqaUQYDPMc/s640/in-my-room-ulrich-koehler-cannes.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://www.rogerebert.com/festivals-and-awards/nyff-2018-the-slows-in-my-room-sorry-angel-too-late-to-die-young">A film that heroically refuses</a> to make its hero learn from his mistakes. A grim delight that never stops becoming something new and exciting, revealing its design in the most bittersweet manner imaginable, with mere seconds left to learn what men infrequently get to. He can do everything but change. </span><br />
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<span style="font-size: large;">81.<span style="white-space: pre;"> </span>They Shall Not Grow Old</span><br />
<span style="font-size: large;">by Peter Jackson</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMduPPvYo3_ifDGWm9R2tatg0NRbwyCdAJBM99wAolnJku8dcuAjob7_tIBgEEnV3S0N_E3gPTXXlADg5ykV4RuGB3J_Bn150HhTGHqcH7D5mx0WKF9kpCeepr_1l4aFRONk34v_OW6g0/s1600/they-shall-not-grow-old.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="774" data-original-width="1440" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMduPPvYo3_ifDGWm9R2tatg0NRbwyCdAJBM99wAolnJku8dcuAjob7_tIBgEEnV3S0N_E3gPTXXlADg5ykV4RuGB3J_Bn150HhTGHqcH7D5mx0WKF9kpCeepr_1l4aFRONk34v_OW6g0/s640/they-shall-not-grow-old.jpg" width="640" /></a></div>
<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/they-shall-not-grow-old/">In which the dead smile for the camera</a>. </span><br />
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<span style="font-size: large;">82.<span style="white-space: pre;"> </span>¡Las Sandinistas!</span><br />
<span style="font-size: large;">by Jenny Murray</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIgglPOMxE6U_ZRVHsLOfYGNom1ieRSI9cueB_WlAMK14DqZAXhBvnrhMuFWSNqHDg6baUU5PuJuRoyCW6du1vOglz13L-rqa-cYMjSdTA_BGCKfREEAO_M0VJP7FYCpj0X9uEF7PFdU/s1600/las_sandinistas_still_2_dora_maria.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIgglPOMxE6U_ZRVHsLOfYGNom1ieRSI9cueB_WlAMK14DqZAXhBvnrhMuFWSNqHDg6baUU5PuJuRoyCW6du1vOglz13L-rqa-cYMjSdTA_BGCKfREEAO_M0VJP7FYCpj0X9uEF7PFdU/s640/las_sandinistas_still_2_dora_maria.jpg" width="640" /></a></div>
<span style="font-size: large;">A damning indictment of revolutionary sexism, corruption and American imperialism. Not even the solution to a country's biggest problem found a way to be inclusive or intersectional. Communism can't work where gendered supremacy is stitched into social hierarchies. Women could have saved an undeserving nation, but men wouldn't let them. </span><br />
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<span style="font-size: large;">83.<span style="white-space: pre;"> </span>Upgrade</span><br />
<span style="font-size: large;">by Leigh Whannell</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJh7z0EJq4xQ-YCmjfJQOMs7iZgTEQmVwGlX_hbfv0Lnr4guMjaPpan0Unl34mIm_OYxDaeHb1ooTMYyMMxwI40zKc9yIe6KKKvsa_rLdlSzniDUT_iLa0Q_7QYHAN_bqVW1sLQs3QfwQ/s1600/upgrade-movie-review-gq.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJh7z0EJq4xQ-YCmjfJQOMs7iZgTEQmVwGlX_hbfv0Lnr4guMjaPpan0Unl34mIm_OYxDaeHb1ooTMYyMMxwI40zKc9yIe6KKKvsa_rLdlSzniDUT_iLa0Q_7QYHAN_bqVW1sLQs3QfwQ/s640/upgrade-movie-review-gq.jpg" width="640" /></a></div>
<span style="font-size: large;">HAL-9000 comes back as bluetooth and gets to murder people the old fashioned way: with human hands, knives and firearms. Whannell has such old school pre-code fun filming this, landing somewhere between an Astaire Rogers dance-off and a Lionel Atwill horror movie, that I didn't mind that it's the biggest bummer of the year, sub-textually speaking. A total riot, what b-movies are supposed to be. </span>
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<span style="font-size: large;">84.<span style="white-space: pre;"> </span>Ash Is Purest White</span><br />
<span style="font-size: large;">by Jia Zhangke</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocsxIK5_foIanNC5SXtWEQJ6y0mNHnhrA1tO1ygavgwfooIPaH_byV5-fAf85y_GE4ISKstW8zNH_kB8XHMldzl5g_Fgu26lKeLxqgcyf_PLMrD3OCvIY50LsIVi7NMKMHkvNKjWnxKc/s1600/ashes08020203-r-c-h_2018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjocsxIK5_foIanNC5SXtWEQJ6y0mNHnhrA1tO1ygavgwfooIPaH_byV5-fAf85y_GE4ISKstW8zNH_kB8XHMldzl5g_Fgu26lKeLxqgcyf_PLMrD3OCvIY50LsIVi7NMKMHkvNKjWnxKc/s640/ashes08020203-r-c-h_2018.jpg" width="640" /></a></div>
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<span style="font-size: large;">A film that seems to have flown clear out of space, a look at the changing shape of China through its economic development, through the mammoth pieces of land it abandons or destroys, through the gambling that makes the world go around. His heroine can't quit the place that made her, nor the man that did the same and then left her to die. Jia can't either, stuck to his themes, his rhythms, and the places he knows. Dressed like a crime film but unfolding like an arch picaresque, the film starts and ends at the same strange place but everything in between has changed, faded, gone away. </span></div>
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<span style="font-size: large;">85.<span style="white-space: pre;"> </span>Three Faces</span><br />
<span style="font-size: large;">by Jafar Panahi</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXGsmeWrKsnnZRzlzAcJJpPXd_B9CU7N9o1tu3y6wbeuCgVVlsDi1YmVL4ZWkhlqWtagDEfTrWlNR2r_iwb1RFM9nDE00fW9bjtqwuJdu5k2qmzT_z9ROeGj0wXwJi4dPkd2GeAQ6wI1M/s1600/Three_Faces.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXGsmeWrKsnnZRzlzAcJJpPXd_B9CU7N9o1tu3y6wbeuCgVVlsDi1YmVL4ZWkhlqWtagDEfTrWlNR2r_iwb1RFM9nDE00fW9bjtqwuJdu5k2qmzT_z9ROeGj0wXwJi4dPkd2GeAQ6wI1M/s640/Three_Faces.jpg" width="640" /></a></div>
<span style="font-size: large;">Jafar Panahi still making movies is one of those things that will always make me happy, like Ryuichi Sakamoto still drawing breath or the polar ice caps refusing to fully melt (yet). This one shows him at ease enough to change genres and modes at every act break, beginning like a mystery, becoming an anthropological study of a town and ending as a portrait of womanhood on the verge of escape. A lovely film about boundaries, communally and self-imposed, and how difficult it can be to break them and/or convince people who can't see them that they're there. </span>
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<span style="font-size: large;">86.<span style="white-space: pre;"> </span>The Captain</span><br />
<span style="font-size: large;">by Robert Schwentke</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwl3oMbBI9LtqPd43SNNDjEo0yzTQJtvy0L7sr6DDdkTwbfxcHm41zH6x4dA_D63Z41TvNDc7stRUsUc5cK3E6VIHHZ7S6EHI9kQpdzy8RWMmZ5RasGlaYGvKh8WLKqAo9UHHu80aoPEc/s1600/ZTXRZSYQYJGKJPJU2PLP3DHQBY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1400" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwl3oMbBI9LtqPd43SNNDjEo0yzTQJtvy0L7sr6DDdkTwbfxcHm41zH6x4dA_D63Z41TvNDc7stRUsUc5cK3E6VIHHZ7S6EHI9kQpdzy8RWMmZ5RasGlaYGvKh8WLKqAo9UHHu80aoPEc/s640/ZTXRZSYQYJGKJPJU2PLP3DHQBY.jpg" width="640" /></a></div>
<span style="font-size: large;">Delirious social parody barreling headlong into the blackest truth about fascism: people are just looking for permission. Once they've got it, what's to stop them? We needed this film in 2018 and we're going to need it for a long time after. </span><br />
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<span style="font-size: large;">87.<span style="white-space: pre;"> </span>A Very English Scandal</span><br />
<span style="font-size: large;">by Stephen Frears</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7lXlF0CsdEuZ3OCZRx1gWcH6kjZrPoN9_88QtigGoeU-mytv9vfS7hbepnFtWhKT2nSjPwCRMCJTeTh3g-BOnukjUlzBr_X_NmLWHxo4lbmnrQscX8k-wx5FzDNujwU3_couXXlO2EY/s1600/averyenglishscandal_amazon_16x9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv7lXlF0CsdEuZ3OCZRx1gWcH6kjZrPoN9_88QtigGoeU-mytv9vfS7hbepnFtWhKT2nSjPwCRMCJTeTh3g-BOnukjUlzBr_X_NmLWHxo4lbmnrQscX8k-wx5FzDNujwU3_couXXlO2EY/s640/averyenglishscandal_amazon_16x9.jpg" width="640" /></a></div>
<span style="font-size: large;">Frears on fire after a decade long nap is a <i>sight</i> to behold, though he's got two of the most cunning lead performances of the year to aid him in unearthing the bodies under parliament. Like a bespoke <i>Fargo</i>, this film shows that even the wealthiest and most educated men on earth act like children when they feel fate start to squeeze them. In between learning which forks go with what meal, no one told Hugh Grant's marvelously decrepit Jeremy Thorpe empathy or caution. </span>
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<span style="font-size: large;">88.<span style="white-space: pre;"> </span>Sol Alegria</span><br />
<span style="font-size: large;">by Tavinho Teixeira</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKN0TFDV-Lxbt-McVk4BX1qGW-LJnji6I_jxOGv57CeusVsN29nJkh1_Cnaov1REbYxJgziLaG1TXoHbLNoU36VlpSfTyu8eq2lpyI20PPvWnK7pTKT9RYh6PIp7fJUwrA-7FiQYoKWI/s1600/Sol-Alegria_BangBang.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzKN0TFDV-Lxbt-McVk4BX1qGW-LJnji6I_jxOGv57CeusVsN29nJkh1_Cnaov1REbYxJgziLaG1TXoHbLNoU36VlpSfTyu8eq2lpyI20PPvWnK7pTKT9RYh6PIp7fJUwrA-7FiQYoKWI/s640/Sol-Alegria_BangBang.jpg" width="640" /></a></div>
<span style="font-size: large;">Godard, Almodovar and Fassbinder are the three fathers here, gifting a reposed aesthetic of sun-kissed sexual freedom, gleeful sacreligious anti-iconography, and lusty performance to the proceedings. <a href="https://nylon.com/articles/lgbtq-brazil-films">A non-stop parade of just enough "too much."</a></span><br />
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<span style="font-size: large;">89.<span style="white-space: pre;"> </span>The Glass Note</span><br />
<span style="font-size: large;">by Mary Helena Clark</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbgWxQJX3d2IhnhOSPmIKiuOJmigY6EuRrSBuyQEm-BJ3T0ItLzrGAY_XzLPnkK37o4SukfO-W_0vFHhxLzRAs2SlDtjxNuQ3nFkAM3DcU8PtuX-4OB50_42KSAp1-GCdBuAp-7-1ZtG0/s1600/glass-note_-the_0HERO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbgWxQJX3d2IhnhOSPmIKiuOJmigY6EuRrSBuyQEm-BJ3T0ItLzrGAY_XzLPnkK37o4SukfO-W_0vFHhxLzRAs2SlDtjxNuQ3nFkAM3DcU8PtuX-4OB50_42KSAp1-GCdBuAp-7-1ZtG0/s640/glass-note_-the_0HERO.jpg" width="640" /></a></div>
<span style="font-size: large;">Clark's aural examination, which unfolds with the blissed detachment of a national geographic special, finds connections floating in mid air between sounds, people and places, the neat surfaces she photographs or reproduces a resting place for impossible phenomenon. Her trippy rumination packs a lot of unconscious connection and surprising tenderness into just a few minutes. </span><br />
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<span style="font-size: large;">90.<span style="white-space: pre;"> </span>Outrage Coda</span><br />
<span style="font-size: large;">by Takeshi Kitano</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbjXK5VQ1JFtsJPP-SOt094zJyKE9XbgULJ2lIjb87OEaVQ6h8KDJ0Wrmy5x-e8zPo59CudFWE4jlLMoVjo0gJWYOcXb_z9bYwfpzU4ex3_Owt79aBlRfh6aOyGOdNC6Vh0lA0ZsJGvY/s1600/MV5BZDU3ZWMxYmItYmU2NS00Njg3LTk5MmItNmRkNDE5ZjczNTFhXkEyXkFqcGdeQXVyNzg0OTg0OTI%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="681" data-original-width="1600" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbjXK5VQ1JFtsJPP-SOt094zJyKE9XbgULJ2lIjb87OEaVQ6h8KDJ0Wrmy5x-e8zPo59CudFWE4jlLMoVjo0gJWYOcXb_z9bYwfpzU4ex3_Owt79aBlRfh6aOyGOdNC6Vh0lA0ZsJGvY/s640/MV5BZDU3ZWMxYmItYmU2NS00Njg3LTk5MmItNmRkNDE5ZjczNTFhXkEyXkFqcGdeQXVyNzg0OTg0OTI%2540._V1_.jpg" width="640" /></a></div>
<span style="font-size: large;">Kitano, like Eastwood, winds down a career staring death in the face with a crooked smile and unbreakable confidence. <i>Outrage Coda</i>, like all of his <i>Outrage</i> movies, tightens a series of nooses on a passel of yakuza jackals and watches everyone try to bargain their way out. His calming mise-en-scène is the best vehicle for his creative bloodshed and misfiring masculine synapses. The cool grey frame a canvas waiting for blood and debris to colour it. </span><br />
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<span style="font-size: large;">91.<span style="white-space: pre;"> </span>A Gentle Creature</span><br />
<span style="font-size: large;">by Sergey Loznitsa </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoN4BBTsvqD_vdmcVn_uLG2CwcdHxpFpR7heyegU3kSwIFmgzOha7HoTmS65YC8rtPCnlfe97dVxDnhKgQsdu5J73mWfqTIl090S3epkBa6X-jpsOV2hXClBdEOG9VN6MtsERvHymfAow/s1600/A119C004_160816_R1O4.00435893-retouche-e1486632756598.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1600" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoN4BBTsvqD_vdmcVn_uLG2CwcdHxpFpR7heyegU3kSwIFmgzOha7HoTmS65YC8rtPCnlfe97dVxDnhKgQsdu5J73mWfqTIl090S3epkBa6X-jpsOV2hXClBdEOG9VN6MtsERvHymfAow/s640/A119C004_160816_R1O4.00435893-retouche-e1486632756598.jpg" width="640" /></a></div>
<span style="font-size: large;">Kafka's match is met in Loznitsa's dispiriting parade of bleak interiors, dazed victims of bureaucracy, and broken bodies. The 20th century laps itself. </span>
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<span style="font-size: large;">92.<span style="white-space: pre;"> </span>Halloween / </span><span style="font-size: large;">Mission: Impossible - Fallout</span><span style="font-size: large;"> </span><br />
<span style="font-size: large;">by David Gordon Green / </span><span style="font-size: large;">Christopher McQuarrie</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVQA1IEDAGDmoSwAv-BsR6_MCAjetAPBaggdKyn26pok_kY_GbSjOh7o815I06M2872fSRAsbcbuF33iZgY7ppRZEIhMSrLr-X8-z_X28jufMIixOvAa6tjOaDJlTfL4UQodY809AiK0/s1600/mission-impossible-fallout-bathroom_1532613716903.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixVQA1IEDAGDmoSwAv-BsR6_MCAjetAPBaggdKyn26pok_kY_GbSjOh7o815I06M2872fSRAsbcbuF33iZgY7ppRZEIhMSrLr-X8-z_X28jufMIixOvAa6tjOaDJlTfL4UQodY809AiK0/s640/mission-impossible-fallout-bathroom_1532613716903.jpg" width="640" /></a></div>
<span style="font-size: large;">Unstoppable forces that should by all rights be dead plowing into destiny, through fire and chaos, towards the women by which they're obsessed and the inevitable continuation of their sagas. Resist, if you must, but they'll keep moving. They will never stop. </span><br />
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<span style="font-size: large;">93.<span style="white-space: pre;"> </span>Outlaw King / Apostle</span><br />
<span style="font-size: large;">by David MacKenzie / Gareth Evans</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPN-Jxj27VlKOuiD5hdIAHXu9lxDoc-K6OP0cP4DoVIZRv2YgoYWZB7GWJ34kzv5FXqgPKKu2AdlOEI2wWggNnlPcQcWT8S5_mFFCUjK0nREmSCJiZYTwEJG5ayCxGkNDsIJzm62UoeY/s1600/MV5BNTMxMTA5MGUtMzlmOS00Y2E2LThjZGUtYzFiZmZhMjdlZDdkXkEyXkFqcGdeQXVyMjUyNDk2ODc%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTPN-Jxj27VlKOuiD5hdIAHXu9lxDoc-K6OP0cP4DoVIZRv2YgoYWZB7GWJ34kzv5FXqgPKKu2AdlOEI2wWggNnlPcQcWT8S5_mFFCUjK0nREmSCJiZYTwEJG5ayCxGkNDsIJzm62UoeY/s640/MV5BNTMxMTA5MGUtMzlmOS00Y2E2LThjZGUtYzFiZmZhMjdlZDdkXkEyXkFqcGdeQXVyMjUyNDk2ODc%2540._V1_.jpg" width="640" /></a></div>
<span style="font-size: large;">Two strong takes on ancient masculinity looking for a foothold in the wake of bloody violence, each rooted in a different tradition, historically and grammatically. </span><br />
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<span style="font-size: large;">94. Thunder Road</span><br />
<span style="font-size: large;">Jim Cummings</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEithIGEJb_obEQ6T3N3rJaUXCfp50nmTU5VUq3nUeySZ47Rm1Gj35IfmLrwfOdqbC1LwcoEG1IbKyHw7CExOWyPJv8FYQEYujwjYjYVNoJDuTptevnp5nmNFjtiLawGYppG2DiaEZbcu1o/s1600/hero_Thunder-Road-2018-1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEithIGEJb_obEQ6T3N3rJaUXCfp50nmTU5VUq3nUeySZ47Rm1Gj35IfmLrwfOdqbC1LwcoEG1IbKyHw7CExOWyPJv8FYQEYujwjYjYVNoJDuTptevnp5nmNFjtiLawGYppG2DiaEZbcu1o/s640/hero_Thunder-Road-2018-1.jpeg" width="640" /></a></div>
<span style="font-size: large;">A deeply effective study of a nervous breakdown, of an aggrieved man who did everything right and has yet to be rewarded. The anger, the seething, bald, uncontainable anger of the white male is drawn out into sunlight, no chivalry to hide behind, no higher power to blame it on. Only honesty can save you, or a series of accidental deaths. Cummings finds an honestly earnest language to deal with his troubling hero, sorting out good intentions from bad impulses and leaving us, wisely, to sort out our feelings for this mess of a man. </span><br />
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<span style="font-size: large;">95.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Mom and Dad</span><br />
<span style="font-size: large;">by Brian Taylor</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKE5sfO-XXuXgooX0HNCfgEuyRMNVqzNJPv0DEvAM5gRL8v9oyTEWBr3AsS1VXGYQcR8pgQEnEDQhBArjdbLI8CLOLfYCWQT4TDsznpHEQO9amluvTAHwOc0BdrN_fk4vyxwu8C_ECgc/s1600/mom-and-dad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="1000" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMKE5sfO-XXuXgooX0HNCfgEuyRMNVqzNJPv0DEvAM5gRL8v9oyTEWBr3AsS1VXGYQcR8pgQEnEDQhBArjdbLI8CLOLfYCWQT4TDsznpHEQO9amluvTAHwOc0BdrN_fk4vyxwu8C_ECgc/s640/mom-and-dad.jpg" width="640" /></a></div>
<span style="font-size: large;">I'd foolishly assumed that the formal side of Neveldine/Taylor was all Mark Neveldine on his rollerblades, anxiously chasing their black metal avatars into hell. But then Taylor made <i>Mom and Dad</i> and proved me wrong and then some. Taylor was no slouch behind the camera (helped by <i>Daniel Pearl!!! The man who shot The Texas Chainsaw Massacre</i> shooting in digital!) and he had creative energy to burn. <i>Mom and Dad </i>is a non-stop riot, one of the few films that can reasonably lay claim to the throne vacated by the likes of <i>Class of 1984 </i>and <i>Repo Man. </i>Youth and experience finally have it out, and a parasite takes the restraint away from the elderly contingent. Taylor's anarchic sway finds its richest expression watching suburbia implode into cracked skulls and exploding living rooms. </span><br />
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<span style="font-size: large;">96.<span style="white-space: pre;"> </span>The Inhabitant / The Witch In The Window</span><br />
<span style="font-size: large;">by Guillermo Amoedo / Andy Mitton</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwxSHyfs0Hm0Ggw91xZogD9E7IOxrJZuT0vssehscHdBFwqyy0uuWf4SIz3k_PunvOvJXQp0P-7DCi35E6xS4-WOHG70MgazWYT7GpEF0q8aKB2aFbdwkkOBacOq0Fil4YpSnAWTikFMg/s1600/El-Habitante1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwxSHyfs0Hm0Ggw91xZogD9E7IOxrJZuT0vssehscHdBFwqyy0uuWf4SIz3k_PunvOvJXQp0P-7DCi35E6xS4-WOHG70MgazWYT7GpEF0q8aKB2aFbdwkkOBacOq0Fil4YpSnAWTikFMg/s640/El-Habitante1.jpg" width="640" /></a></div>
<span style="font-size: large;">Ghosts and devils taken out of their crypts and given a modern and post-modern spin respectively. Amoedo's accidental exorcists are punk in appearance yet still battered by age-old questions of faith. Mitton's father and son ghostbusters seem like they can outsmart an ancient evil (its ambitions seem so small after all) but there's a reason these stories are so often told. Evil never changes even if the trappings and costumes do. </span><br />
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<span style="font-size: large;">97.<span style="white-space: pre;"> </span>The Misandrists</span><br />
<span style="font-size: large;">by Bruce LaBruce</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVU_NyC80RpSgkp6K-med8yqE57wGRB80QsOvmy-sxJMEaZiZd0RDo6pRAGlJ6UXmQO0czf3f6XDEiysEj8KvtF-bNxcNid0DYARIe18q9gDPbBSkoo5eSs1umr1F9o4uu3D6az_u6WyQ/s1600/the-misandrists.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1440" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVU_NyC80RpSgkp6K-med8yqE57wGRB80QsOvmy-sxJMEaZiZd0RDo6pRAGlJ6UXmQO0czf3f6XDEiysEj8KvtF-bNxcNid0DYARIe18q9gDPbBSkoo5eSs1umr1F9o4uu3D6az_u6WyQ/s640/the-misandrists.jpeg" width="640" /></a></div>
<span style="font-size: large;">LaBruce back in the communes that he so loves after a season away telling May-December romance stories and watching decaying loners look for closure and completion. His winking lesbian chamber piece (which makes <i>The Little Hours</i> look like the prank it is) is awash with his trademark obscura and fury, but does find a productive model for society, even if it pretends it's too hermetic for its own good. So few filmmakers speak LaBruce's language, it's so refreshing to be trapped in his version of a convent with him and his guerrilla familiars. </span><br />
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<span style="font-size: large;">98.<span style="white-space: pre;"> </span>Winchester</span><br />
<span style="font-size: large;">by Michael & Peter Spierig</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih81BAA1ezdsFSpXr82BOYlVLy_Dcf1CZtlYWM4R01vf2YSvH8vTIz8FAUykb7OY1RbZlvRtS9fVC86S1IlsLAr7HWV50-_7HR134L-sTROrPd3SaBPlhUkYSyp5ZUSOOOsiYQsa3H4ZM/s1600/hero_Winchester-Ghosts-2018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih81BAA1ezdsFSpXr82BOYlVLy_Dcf1CZtlYWM4R01vf2YSvH8vTIz8FAUykb7OY1RbZlvRtS9fVC86S1IlsLAr7HWV50-_7HR134L-sTROrPd3SaBPlhUkYSyp5ZUSOOOsiYQsa3H4ZM/s640/hero_Winchester-Ghosts-2018.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="font-size: medium;">An uber-elegant haunted house story that does </span><i>something</i><span style="font-size: medium;"> with the specter of gun violence as the ultimate evil in America. Naturally it took too Australians to say all this and it was laughed off screens but this honest (and beautiful) story rightly reckons that we have done nothing but apologize to ghosts when it comes to our fixation on guns. </span></span></div>
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<span style="font-size: large;">99.<span style="white-space: pre;"> </span>Marfa Girl 2</span><br />
<span style="font-size: large;">by Larry Clark</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtOYURZjiFWAPWNqkVOdunmSXMcWDCgOxHcEhF1Q5_SOOwaUWQHKenkk_9KDPscnPvNId7_YdbWPHBA3LAFtLGQ7P37VnHEaiX27ybnW4Pm-mv6NaTjytrKsFg2QgdQKwV6KNjsnWvtSE/s1600/3-1-1534271609-726x388.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="388" data-original-width="726" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtOYURZjiFWAPWNqkVOdunmSXMcWDCgOxHcEhF1Q5_SOOwaUWQHKenkk_9KDPscnPvNId7_YdbWPHBA3LAFtLGQ7P37VnHEaiX27ybnW4Pm-mv6NaTjytrKsFg2QgdQKwV6KNjsnWvtSE/s640/3-1-1534271609-726x388.png" width="640" /></a></div>
<span style="font-size: large;">If you'd told me that a Larry Clark movie would ever wind up on my list of favourite anythings (it's been over two decades since he last made a movie I like) I'd have scoffed. Well I'm not scoffing now. On a whim I caught up with his <i>Marfa Girl </i>movies and while I wasn't impressed with the usual aimlessly violent self-discovery of the first entry, it was deeply satisfying and altogether comforting to watch people he'd happily objectified have to become full-fledged adults with renewed agency in the sequel. This is what happens when you come back to the scene of the crime, people have to learn how to live, children born of youthful passion have to be raised and cared for, lives that could once be comfortably empty have to be filled with <i>something</i>. And it's the rooting around for that something, for meaning, that makes up the bulk of this gentle and lovely study of a place. If you took the spine out of a Sam Shepherd play, leaving nothing but lost boys and broke girls, you'd have this. </span><br />
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<span style="font-size: large;">100.<span style="white-space: pre;"> </span></span><span style="font-size: large;">Gemini</span><span style="font-size: large;"> </span><br />
<span style="font-size: large;">by Aaron Katz</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89JefQ3k2ZWG7a0ESACB1uDbticalUMME7OicBH5G_Gb6WMjYDh20KsPZ_WkAWb-PlQY5JcQKq1HKZM-JFWyYQqumkccPTQTsRHw-xmMy6F22oBbtf97Ux7IrpVHBvg9qzDXF7T62WzI/s1600/180329-han-gemini-tease_gh0kna.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="833" data-original-width="1480" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89JefQ3k2ZWG7a0ESACB1uDbticalUMME7OicBH5G_Gb6WMjYDh20KsPZ_WkAWb-PlQY5JcQKq1HKZM-JFWyYQqumkccPTQTsRHw-xmMy6F22oBbtf97Ux7IrpVHBvg9qzDXF7T62WzI/s640/180329-han-gemini-tease_gh0kna.jpeg" width="640" /></a></div>
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<span style="font-size: large;">Katz, whose career I've been watching rapt for a decade now, dips another toe in generic waters for another neo-noir, a companion piece to his remarkably fun <i>Cold Weather</i>. <i>Gemini</i> lets the routine post-war crime film's notion of replacement (<i>Double Indemnity, The Postman Always Rings Twice</i>) play out in slow motion as a woman discovers herself, her strength, her buried identity, when she has to find the woman who made her bury it all in the first place. Ice cold compositions of red hot passion for the person you might be around the next corner. </span></div>
Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com2tag:blogger.com,1999:blog-8048150012419794149.post-9024920432147083932018-12-29T19:51:00.000-05:002019-01-20T15:40:30.367-05:00The 2018 Monsieur Oscars<span style="font-size: x-large;">Favourite Fiction Film</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip4HV20rDww3wbzUFcU2ss9n-B3Rw1Q6CVtgDLeatyHB8FsPUj-bkzoGrlVZU5Mm0cCglT5tL1vUYyuOMqL_5o9dIwr1-ORJ4dCIvK40j2lvpVXuDWWJ8KJisSPSAo2-MHQrpEDmIj9dQ/s1600/1ef66a714e908b0d33ef94e475ff58f3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip4HV20rDww3wbzUFcU2ss9n-B3Rw1Q6CVtgDLeatyHB8FsPUj-bkzoGrlVZU5Mm0cCglT5tL1vUYyuOMqL_5o9dIwr1-ORJ4dCIvK40j2lvpVXuDWWJ8KJisSPSAo2-MHQrpEDmIj9dQ/s640/1ef66a714e908b0d33ef94e475ff58f3.jpeg" width="640" /></a></div>
<span style="font-size: large;">1. Widows</span><br />
<span style="font-size: large;">2. If Beale Street could Talk</span><br />
<span style="font-size: large;">3. Barbara</span><br />
<span style="font-size: large;">4. High Life</span><br />
<span style="font-size: large;">5. Scarred Hearts</span><br />
<span style="font-size: large;">6. First Reformed</span><br />
<span style="font-size: large;">7. Shoplifters</span><br />
<span style="font-size: large;">8. The Ballad of Buster Scruggs</span><br />
<span style="font-size: large;">9. Leave No Trace</span><br />
<span style="font-size: large;">10. You Were Never Really Here</span><br />
<span style="font-size: large;">11. Sweet Country</span><br />
<span style="font-size: large;">12. The Guardians</span><br />
<span style="font-size: large;">13. BlacKkKlansman</span><br />
<span style="font-size: large;">14. Sorry Angel</span><br />
<span style="font-size: large;">15. Creed II</span><br />
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<span style="font-size: x-large;">Favourite Non-Fiction Film</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQcm3ibyqZ3ChYbQ0Yd-iWK0VHuZk1egQTliuG-yMfXh6290nyOH7KnxCnNVdVQ4lplceBUy1QEMNYtaFzExjYfn2ojwtGgmVHou9x4ycD309beewmSWoSG6jJpEQVYQh4CiWQPIjFr48/s1600/359897.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQcm3ibyqZ3ChYbQ0Yd-iWK0VHuZk1egQTliuG-yMfXh6290nyOH7KnxCnNVdVQ4lplceBUy1QEMNYtaFzExjYfn2ojwtGgmVHou9x4ycD309beewmSWoSG6jJpEQVYQh4CiWQPIjFr48/s640/359897.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Black Mother</span><br />
<span style="font-size: large;">2. Your Face</span><br />
<span style="font-size: large;">3. Bisbee '17</span><br />
<span style="font-size: large;">4. Mr. Soul</span><br />
<span style="font-size: large;">5. Hale County This Morning, This Evening</span><br />
<span style="font-size: large;">6. Monrovia, Indiana</span><br />
<span style="font-size: large;">7. They Shall Not Grow Old</span><br />
<span style="font-size: large;">8. Searching for Ingmar Bergman</span><br />
<span style="font-size: large;">9. ¡Las Sandinistas!</span><br />
<span style="font-size: large;">10. Pass Over</span><br />
<span style="font-size: large;">11. Bobby Kennedy for President</span><br />
<span style="font-size: large;">12. King Cohen</span><br />
<span style="font-size: large;">13. Bixa Travesty</span><br />
<span style="font-size: large;">14. 12 Days</span><br />
<span style="font-size: large;">15. Shirkers</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Favourite Avante-Garde Film</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiatQK_xaS9PNWGZrS3C8fhsz11EEiyXdERbGazkIV-aZ_TzQNMB2R9lz0B9MzjZtF5lrXOzcd6Y4blTXTJ5ZKgblG8SbMZ_S3FKm7Kk3h6OhnmdQX1PFTzhXDQzpHQ9JanTGo6cq35pzs/s1600/download.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiatQK_xaS9PNWGZrS3C8fhsz11EEiyXdERbGazkIV-aZ_TzQNMB2R9lz0B9MzjZtF5lrXOzcd6Y4blTXTJ5ZKgblG8SbMZ_S3FKm7Kk3h6OhnmdQX1PFTzhXDQzpHQ9JanTGo6cq35pzs/s640/download.jpeg" width="640" /></a></div>
<span style="font-size: large;">1. Piu Piu</span><br />
<span style="font-size: large;">2. 24 Frames </span><br />
<span style="font-size: large;">3. The Image Book</span><br />
<span style="font-size: large;">4. Dark</span><br />
<span style="font-size: large;">5. Music For When The Lights Go Out</span><br />
<span style="font-size: large;">6. The Green Fog</span><br />
<span style="font-size: large;">7. Waiting for the Barbarians</span><br />
<span style="font-size: large;">8. Unrest</span><br />
<span style="font-size: large;">9. The Glass Note</span><br />
<span style="font-size: large;">10. Douvan Jou Ka Leve</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Favourite Adapted Screenplay</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTd0mY5SvvyRB6kHlVnOfHKTUCi5lV0u9BwQgpg8q2-G0QdGHDzSeQ92jJ8UhUMCRFdu4LId4NdezTzmIgo3qyz9jqoF2DZ0v5nFHWUcWk4kdfE3qi7tECmnwONTh7kXYP9Zuur-Bu16A/s1600/if-beale-street-could-talk-3-2000.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTd0mY5SvvyRB6kHlVnOfHKTUCi5lV0u9BwQgpg8q2-G0QdGHDzSeQ92jJ8UhUMCRFdu4LId4NdezTzmIgo3qyz9jqoF2DZ0v5nFHWUcWk4kdfE3qi7tECmnwONTh7kXYP9Zuur-Bu16A/s640/if-beale-street-could-talk-3-2000.jpg" width="640" /></a></div>
<span style="font-size: large;">1.<i> If Beale Street Could Talk - Barry Jenkins</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">2. </span><i>Leave No Trace - </i><span style="font-size: medium;">Debra Granik & </span><span style="font-size: medium;">Anne Rosellini</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">3. </span><i>The Death of Stalin - </i><span style="font-size: medium;">Peter Fellows, Fabien Nury, Ian Martin, David Schneider & Armando Iannucci</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">4. </span><i>BlacKkKlansman - </i><span style="font-size: medium;"><i>C</i>harlie Wachtel, </span><span style="font-size: medium;">David Rabinowitz, </span><span style="font-size: medium;">Kevin Willmott & </span>Spike Lee</span><br />
<span style="font-size: large;"><span style="font-size: medium;">5. </span><i>Land of Steady Habits - </i><span style="font-size: medium;">Nicole Holofcener</span></span><br />
<span style="font-size: large;">6. <i>A Very English Scandal </i>- Russell T. Davies & John Preston</span><br />
<span style="font-size: large;"><span style="font-size: medium;">7. </span><i>Creed II - </i><span style="font-size: medium;">Juel Taylor & Sylvester Stallone</span></span><br />
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<span style="font-size: large;"><span style="font-size: medium;">8.</span><span style="font-size: medium;"> </span><i>The Predator - </i><span style="font-size: medium;">Shane Black & Fred Dekker</span></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">9. <i>Puppet Master: The Littlest Reich - </i>S. Craig Zahler</span><span style="font-size: medium;"> </span></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">10. <i>Cold Skin</i> - </span><span style="font-size: medium;">Eron Sheean & Jesús Olmo</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">11. </span><i>The Miseducation of Cameron Post - </i><span style="font-size: medium;">Cecilia Frugiuele & Desiree Akhavan</span></span><br />
<span style="font-size: large;">12. <i>Don't Worry, He Won't Get Far On Foot - </i>Gus Van Sant</span><br />
<span style="font-size: large;">13. <i>A Gentle Creature</i> - Sergey Loznitsa</span><br />
<span style="font-size: large;">14. <i>Love, Simon</i> - Isaac Aptaker & Elizabeth Berger</span><br />
<span style="font-size: large;">15. <i>Lean on Pete</i> - Andrew Haigh </span></div>
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<i style="font-size: x-large;"><br /></i>
<span style="font-size: x-large;">Favourite Original Screenplay</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTGVH0NS1GeiL1_d2-V48SkzNwxRXf_lIDOVm4e7EEKjCACvmbL4a0PyNXslIHRVSgKzxrGvlqsvHGmFywpRcZcYhqijJkqrf4TsdrlqKE2us7vjAl3WOsr9JXqmsGh5FaevwJzwGIkQU/s1600/download+%25281%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTGVH0NS1GeiL1_d2-V48SkzNwxRXf_lIDOVm4e7EEKjCACvmbL4a0PyNXslIHRVSgKzxrGvlqsvHGmFywpRcZcYhqijJkqrf4TsdrlqKE2us7vjAl3WOsr9JXqmsGh5FaevwJzwGIkQU/s640/download+%25281%2529.jpeg" width="640" /></a></div>
<span style="font-size: large;"><span style="font-size: medium;">1. </span><i>Piu Piu - </i><span style="font-size: medium;">Naima Ramos-Chapman</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">2.</span><i> The Ballad of Buster Scruggs - </i><span style="font-size: medium;">Joel & Ethan Coen</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">3.</span><i> </i><i>The Endless - </i><span style="font-size: medium;">Justin Benson</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">4.<i> </i></span><i>First Reformed -</i><span style="font-size: medium;"> Paul Schrader</span></span><br />
<span style="font-size: large;">5.<i> Barbara - </i>Philippe Di Folco & Mathieu Amalric</span><br />
<span style="font-size: large;">6.<i> All Square - </i>Timothy Brady</span><br />
<span style="font-size: large;">7.<i> Shoplifters - </i>Hirokazu Kore-eda </span><br />
<span style="font-size: large;"><span style="font-size: medium;">8.</span><i> Support the Girls - </i><span style="font-size: medium;">Andrew Bujalski</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">9.</span><i> Sorry To Bother You - </i><span style="font-size: medium;">Boots Riley</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">10. </span><i>Sweet Country - </i><span style="font-size: medium;">Steven McGregor & David Tranter</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">11.</span><i> Blockers - </i><span style="font-size: medium;">Jim & Brian Kehoe</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">12</span><i>. Waiting for the Barbarians - </i><span style="font-size: medium;">Eugène Green</span></span><br />
<span style="font-size: large;">13.<i> Monday</i> - Alejandro Montoya Marín</span><br />
<span style="font-size: large;">14. <i>Early Man</i> - Mark Burton & James Higginson</span><br />
<span style="font-size: large;">15. <i>Ray Meets Helen</i> - Alan Rudolph</span><br />
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<span style="font-size: x-large;">Favourite Performance by a Director</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoc86p8MDIsCC0M2cPi-PW9mCW8FJFXl8P6HlguuYHUHc_2CCAUjgQVQqGLSWtw_U-crbbaKA20N1rR6hj_UmypN2mVKyqaS7VXBbwSlDJVf6run-BuJcnr7ZIQhfncwBNROmzosEMGSA/s1600/you-were-never-really-here.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoc86p8MDIsCC0M2cPi-PW9mCW8FJFXl8P6HlguuYHUHc_2CCAUjgQVQqGLSWtw_U-crbbaKA20N1rR6hj_UmypN2mVKyqaS7VXBbwSlDJVf6run-BuJcnr7ZIQhfncwBNROmzosEMGSA/s640/you-were-never-really-here.jpg" width="640" /></a></div>
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<div>
<div>
<span style="font-size: large;">1. Lynne Ramsay - <i>You Were Never Really Here</i></span></div>
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<span style="font-size: large;">2. Khalik Allah - <i>Black Mother </i></span></div>
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<span style="font-size: large;">3. Claire Denis - <i>High Life</i></span></div>
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<span style="font-size: large;">4. Mathieu Amalric - <i>Barbara</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">5. </span><span style="font-size: medium;">Naima Ramos-Chapman - </span><i>Piu Piu</i></span></div>
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<span style="font-size: large;">6. Joel & Ethan Coen - <i>The Ballad of Buster Scruggs</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">7. </span><span style="font-size: medium;">Abbas Kiarostami - </span><i>24 Frames</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">8. Steve McQueen - </span><i>Widows </i></span></div>
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<span style="font-size: large;">9. Phillippe Grandrieux - <i>Unrest</i></span></div>
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<span style="font-size: large;">10. Barry Jenkins - <i>If Beale Street Could Talk</i></span></div>
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<span style="font-size: large;">11. Xavier Beauvois - <i>The Guardians</i></span></div>
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<span style="font-size: large;">12. Steven Caple Jr. - <i>Creed II</i></span></div>
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<div>
<span style="font-size: large;"><span style="font-size: medium;">13. </span><span style="font-size: medium;">Paul Schrader - </span><i>First Reformed & Dark</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">14. </span><span style="font-size: medium;">Spike Lee - </span><i>BlacKkKlansman</i></span></div>
<div>
<span style="font-size: large;">15. Clint Eastwood - <i>The 15:17 To Paris & The Mule</i></span></div>
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<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Best Performance by an Actor in a Lead Role</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbv6nnkralGvooWlbYOKDJWy8wCUfGXZoOQXTfJNzwdqgKh-_01chzBwIPE0jTpF3PznYFd5RAx-EhDJCrdzxLNVZNi_rqznWQ2cMKOMjuR29gNk9pJLedj5GnN5T6jMlqI2HtJY2jHM/s1600/csm_Ray_Meets_Helen__10__351ddb9e02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbv6nnkralGvooWlbYOKDJWy8wCUfGXZoOQXTfJNzwdqgKh-_01chzBwIPE0jTpF3PznYFd5RAx-EhDJCrdzxLNVZNi_rqznWQ2cMKOMjuR29gNk9pJLedj5GnN5T6jMlqI2HtJY2jHM/s640/csm_Ray_Meets_Helen__10__351ddb9e02.jpg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">1. Keith Carradine - </span><i>Ray Meets Helen</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">2. Nicolas Cage - </span><i>Mom and Dad, Between Worlds & Dark</i></span></div>
<div>
<div>
<span style="font-size: large;">3. Ethan Hawke - <i>First Reformed</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">4. Bryan Cranston - </span><i>Isle of Dogs</i></span></div>
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<span style="font-size: large;">5. Adam Horowitz - <i>Golden Exits</i></span></div>
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<span style="font-size: large;">6. Michael Kelly - <i>All Square</i></span></div>
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<span style="font-size: large;">7. Simon Russell Beale & Steve Buscemi - <i>The Death of Stalin</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">8. Willem Dafoe - </span><i>At Eternity's Gate</i></span></div>
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<span style="font-size: large;">9. Hugh Grant - <i>A Very English Scandal</i></span></div>
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<span style="font-size: large;">10. Max Hubacher - <i>The Captain</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">11. Robert Pattinson - </span><i>High Life & Damsel</i></span></div>
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<span style="font-size: large;">12. Jean-Pierre Leaud - <i>The Lion Sleeps Tonight</i></span></div>
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<span style="font-size: large;">13. Joaquin Phoenix - <i>You Were Never Really Here</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">14. John Cena - </span><i>Blockers</i></span></div>
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<span style="font-size: large;">15. Dave Bautista - <i>Final Score</i></span></div>
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<span style="font-size: large;">16. Jason Momoa - <i>Braven</i></span></div>
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<span style="font-size: large;">17. Ben Mendelsohn - <i>Land of Steady Habits</i></span></div>
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<span style="font-size: large;">18. Ben Foster - <i>Leave No Trace & Galveston</i></span></div>
</div>
<div>
<span style="font-size: large;">19. Stephan James - <i>If Beale Street Could Talk</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">20. Jason Clarke - </span><i>Winchester</i></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Best Performance by an Actress in a Lead Role</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwwvj1gqWODm2sgHAsLApDh3zUS5BZa5DROZF6OBz4lERH4evrFqI-D3ngJhkAXPpmQ8yNckZlwOVGJlA1-ya20IgkEEv34Ex6-KCbCtDuPp8nP8ogqgtqf2YyXcDLBKyHfIITBb6ki_c/s1600/ray_meets_helen_neon-h_2018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwwvj1gqWODm2sgHAsLApDh3zUS5BZa5DROZF6OBz4lERH4evrFqI-D3ngJhkAXPpmQ8yNckZlwOVGJlA1-ya20IgkEEv34Ex6-KCbCtDuPp8nP8ogqgtqf2YyXcDLBKyHfIITBb6ki_c/s640/ray_meets_helen_neon-h_2018.jpg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. Sandra Locke - <i>Ray Meets Helen</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">2. </span><span style="font-size: medium;">Olivia Munn - </span><i>The Predator</i></span></div>
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<div>
<span style="font-size: large;">3. Lise Leplat Prudhomme - <i>Jeannette: The Childhood of Joan of Arc</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">4. Olivia Colman - </span><i>The Favourite</i></span></div>
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<span style="font-size: large;">5. Melanie Lynskey & Sophia Mitri Schloss - <i>Sadie</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">6. Thomasin McKenzie-Harcourt - </span><i>Leave No Trace</i></span></div>
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<span style="font-size: large;">7. Jamie Lee Curtis - <i>Halloween</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">8. Michelle Pfeiffer - </span><i>Where is Kyra?</i></span></div>
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<span style="font-size: large;">9. Selma Blair - <i>Mom and Dad</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">10. </span><span style="font-size: medium;">Isabelle Nelisse & Laura Dern - </span><i>The Tale</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">11. Hailee Steinfeld - </span><i>Bumblebee</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">12. Mary Kay Place - </span><i>Diane</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">13. Ruth Wilson - </span><i>Dark River</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">14. Regina Hall - </span><i>Support the Girls</i></span></div>
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<span style="font-size: large;">15. Florence Pugh - <i>Little Drummer Girl</i></span></div>
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<span style="font-size: large;">16. Kaniehtiio Horn - <i>Mohawk</i></span></div>
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<span style="font-size: large;">17. Zhe Gong - <i>A Family Tour</i></span></div>
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<span style="font-size: large;">18. Emma Thompson & Emily Watson - <i>King Lear</i></span></div>
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<span style="font-size: large;">19. Alicia Vikander - <i>Tomb Raider</i></span></div>
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<span style="font-size: large;">20. Madeleine Brewer - <i>Cam</i></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><br /></span></div>
<div>
<div>
<span style="font-size: x-large;">Best Performance by an Actor in a Supporting Role</span></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93O5dvwDm6b_Lni8pell80J6BiHShvwDvObia56UH_UKhHBA2LJBYD8JVsljnY-BerWXyoLVxDNDijkpkKrEfF8JVS6Qq1QqHGtSxWTQzTokik2VoLI8vDBU8q3EtjJlIrkh8tHiyX1I/s1600/image.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="431" data-original-width="768" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93O5dvwDm6b_Lni8pell80J6BiHShvwDvObia56UH_UKhHBA2LJBYD8JVsljnY-BerWXyoLVxDNDijkpkKrEfF8JVS6Qq1QqHGtSxWTQzTokik2VoLI8vDBU8q3EtjJlIrkh8tHiyX1I/s640/image.jpeg" width="640" /></a></div>
</div>
<div>
<div>
<span style="font-size: large;">1. Jason Ritter - <i>The Tale</i></span></div>
<div>
<span style="font-size: large;">2. Ronnie Gene Blevins - <i>Death Wish</i></span><br />
<span style="font-size: large;">3. Michael B. Jordan & Andy Serkis - <i>Black Panther</i></span></div>
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<span style="font-size: large;">4. Rupert Friend - <i>At Eternity's Gate & The Death of Stalin</i></span></div>
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<span style="font-size: large;">5. Jason Isaacs - <i>The Death of Stalin</i></span></div>
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<span style="font-size: large;">6. Mathieu Amalric - <i>Barbara & At Eternity's Gate</i></span></div>
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<span style="font-size: large;">7. Anton Yelchin - <i>Dark & Thoroughbreds</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">8. </span><span style="font-size: medium;">Jake Gyllenhaal - </span><i>The Sisters Brothers</i></span><br />
<span style="font-size: large;"><i>9. </i><span style="font-size: medium;">Tim Blake Nelson & Tom Waits - </span><i>The Ballad of Buster Scruggs</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">10. </span><span style="font-size: medium;">Dolph Lundgren - <i>Creed II</i></span></span><br />
<span style="font-size: large;">11. Ike Barinholtz - <i>Blockers</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">12. </span><span style="font-size: medium;">Sean Bean - <i>Dark River</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">13.<i> </i></span><span style="font-size: medium;">Nicolas Cage - <i>Arsenal</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">14. </span><span style="font-size: medium;">Sterling K. Brown - <i>The Predator</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">15. </span><span style="font-size: medium;">Brian Tyree Henry & Kevin J. O'Connor - <i>Widows</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">16. </span><span style="font-size: medium;">Richard Brake - <i>Mandy</i> & <i>The Death of Stalin</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">17.<i> </i></span><span style="font-size: medium;">John Cho - <i>Gemini</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">18. </span><span style="font-size: medium;">Corey Stoll, Brian Dennehy & John Tenney - The Seagull</span></span><br />
<span style="font-size: large;"><span style="font-size: medium;">19. </span><span style="font-size: medium;">Jesse Plemons - </span><i>Game Night</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">20. </span><span style="font-size: medium;">Steven Yuen - Burning</span></span><br />
<div>
<span style="font-size: large;">21. Jonah Hill - <i>Don't Worry, He Won't Get Far On Foot</i></span></div>
<span style="font-size: large;">22. Stephen Lang - <i>Braven</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">23. Ray Stevenson - </span><i>Cold Skin & Final Score</i></span></div>
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<span style="font-size: large;">24. Cliff Curtis - <i>The Meg</i></span></div>
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<span style="font-size: large;">25. Ernie Hudson - <i>Nappily Ever After</i></span></div>
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<br /></div>
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<br /></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Best Performance by an Actress in a Supporting Role</span></div>
</div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgammAa4HOiysB9WCFH9JlxQV93lAXsXVix2A_t1_nnkoxHOb9CZYNiPlDTQGt9fSfGB1K9-XQBcDjmqAkXgNY48chOGNv_2ZQ-mpuAQJBSMEhEVTYXFgf7_DPj-JbOJ0rleOFsooHWiuw/s1600/sorry_to_bother_you_stby__1_82_1_00000001_R_rgb.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgammAa4HOiysB9WCFH9JlxQV93lAXsXVix2A_t1_nnkoxHOb9CZYNiPlDTQGt9fSfGB1K9-XQBcDjmqAkXgNY48chOGNv_2ZQ-mpuAQJBSMEhEVTYXFgf7_DPj-JbOJ0rleOFsooHWiuw/s640/sorry_to_bother_you_stby__1_82_1_00000001_R_rgb.0.jpg" width="640" /></a></div>
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<div>
<span style="font-size: large;"><span style="font-size: medium;">1. </span><span style="font-size: medium;">Tessa Thompson - </span><i>Sorry to Bother You, Annihilation & Creed II</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">2. Andrea Martin - </span><i>Diane</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">3. Haley Lu Richardson & Shayna McHayle</span><span style="font-size: medium;"> - </span><i>Support the Girls</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">4. </span><span style="font-size: medium;">Elizabeth Debicki - </span><i>The Tale & Widows</i></span></div>
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<span style="font-size: large;"><span style="font-size: medium;">5. Gina Rodriguez & </span><span style="font-size: medium;">Jennifer Jason Leigh</span><span style="font-size: medium;"> - <i>Annihilation</i></span></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">6. </span><span style="font-size: medium;">Michelle Rodriguez & Cynthia Erivo - </span><i>Widows</i></span><br />
<span style="font-size: large;"><i>7. </i><span style="font-size: medium;">Andrea Riseborough - </span><i>The Death of Stalin</i></span></div>
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<span style="font-size: large;">8. Ellen Burstyn - <i>Nostalgia</i></span></div>
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<span style="font-size: large;">9. Aura Garrido - <i>Cold Skin</i></span><br />
<span style="font-size: large;">10. Zoe Kazan & Tyne Daly - <i>The Ballad of Buster Scruggs</i></span><br />
<span style="font-size: large;">11. Angela Winkler & Sylvie Testud -<i> Suspiria</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">12. </span><span style="font-size: medium;">Nai An - </span><i>A Family Tour</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">13. </span><span style="font-size: medium;">Florence Pugh - </span><i>King Lear & Outlaw King</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">14.</span><i> </i><span style="font-size: medium;">Eva Green - </span><i>Based on a True Story</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">15.</span><i> </i><span style="font-size: medium;">Pamela Adlon & Yeardley Smith</span><i> - All Square</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">16.</span><i> </i><span style="font-size: medium;">Candice Bergen & Jane Fonda - </span><i>Book Club</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">17.</span><i> </i><span style="font-size: medium;">Barbara Crampton - </span><i>Puppet Master: The Littlest Reich</i></span></div>
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<span style="font-size: large;">18. Sarah Vowell - <i>Incredibles 2</i></span></div>
<div>
<span style="font-size: large;">19. Elisabeth Moss & Annette Bening - <i>The Seagull</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">20. Isabela Moner - </span><i>Sicario: Day of the Soldado</i></span></div>
<div>
<span style="font-size: large;">21. Dale Dickey -<i> Leave No Trace</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">22. Isabelle Furhman - </span><i>Down a Dark Hall</i></span><br />
<span style="font-size: large;">23. Rebecca Ferguson - <i>Mission: Impossible: Fallout</i></span><br />
<span style="font-size: large;">24.<i> </i>Judy Greer<i> - Halloween & The 15:17 To Paris</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;"><i>25. </i>Franka Potente<i> - </i></span><span style="font-size: medium;"><i>Between Worlds</i></span></span><br />
<span style="font-size: large;"><span style="font-size: medium;"><i><br /></i></span></span></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Best Performance by an Ensemble</span></div>
<div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4V1LWWO-NNd1FuNWJMoS7qNheMEc6K3J5vXLaI9Vgn85uywN_i1snDfbwrXtW1YnndwyZKhQ0L-ZIBvWBysOvfROYOz_YZA027cmr-TG6v5pbHV0axaugM_AIGFJG19lDZYJA0bGfESk/s1600/Shoplifters-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4V1LWWO-NNd1FuNWJMoS7qNheMEc6K3J5vXLaI9Vgn85uywN_i1snDfbwrXtW1YnndwyZKhQ0L-ZIBvWBysOvfROYOz_YZA027cmr-TG6v5pbHV0axaugM_AIGFJG19lDZYJA0bGfESk/s640/Shoplifters-1600x900-c-default.jpg" width="640" /></a></div>
<span style="font-size: large;">1. Shoplifters</span><br />
<span style="font-size: large;">2. All Square</span></div>
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<span style="font-size: large;">3. Nancy</span></div>
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<span style="font-size: large;">4. Game Night</span></div>
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<span style="font-size: large;">5. BlacKkKlansman</span></div>
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<span style="font-size: large;">6. Land of Steady Habits</span></div>
<div>
<span style="font-size: large;">7. Bisbee '17</span></div>
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<span style="font-size: large;">8. Support the Girls</span></div>
<div>
<span style="font-size: large;">9. The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">10. The Predator</span></div>
</div>
<div>
<span style="font-size: large;">11. The Miseducation of Cameron Post</span></div>
<div>
<span style="font-size: large;">12. Don't Worry, He Won't Get Far On Foot</span></div>
<div>
<span style="font-size: large;">13. The Death of Stalin</span></div>
<div>
<span style="font-size: large;">14. </span><span style="font-size: large;">Jeannette: The Childhood of Joan of Arc</span></div>
<div>
<span style="font-size: large;">15. Blockers</span></div>
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<br /></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div>
<span style="font-size: x-large;">Achievement in Cinematography</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio4-1j_xiLYB_Qw29rSmhn3UUBkthf-sKoyHOozVWLaxm2H0Ns43rbJOgiW4k39F7EWlkYeLn9bg-pYIokrlcjQo81UQhkO4SJaGPied5ADtI25RgBg-pMlLbyeJzDbqs1ugVSe9rnFZc/s1600/black-mother.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="483" data-original-width="780" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio4-1j_xiLYB_Qw29rSmhn3UUBkthf-sKoyHOozVWLaxm2H0Ns43rbJOgiW4k39F7EWlkYeLn9bg-pYIokrlcjQo81UQhkO4SJaGPied5ADtI25RgBg-pMlLbyeJzDbqs1ugVSe9rnFZc/s640/black-mother.png" width="640" /></a></div>
<span style="font-size: large;">1. Khalik Allah - <i>Black Mother</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">2. </span><span style="font-size: medium;">Steven Soderbergh - </span><i>Mosaic & Unrest</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">3. </span><span style="font-size: medium;">Bruno Delbonnel - </span><span style="font-size: medium;"><i>The Ballad of Buster Scruggs</i></span></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">4. </span><span style="font-size: medium;">Yorick Le Saux & </span><span style="font-size: medium;">Tomasz Naumiuk - </span><span style="font-size: medium;"><i>High Life </i></span></span><br />
<span style="font-size: large;">5. RaMell Ross - <i>Hale County This Morning, This Evening</i></span><br />
<span style="font-size: large;">5. Chayse Irvin - <i>BlacKkKlansman</i></span><br />
<span style="font-size: large;">6. Gökhan Tiryaki - <i>The Wild Pear Tree</i></span></div>
<div>
<span style="font-size: large;">7. Ping Bin Lee - <i>Endangered Species</i></span></div>
<div>
<span style="font-size: large;">8. Thomas Townend - <i>You Were Never Really Here</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">9. </span><span style="font-size: medium;">Christophe Beaucarne - </span><span style="font-size: medium;"><i>Barbara</i></span></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">10. Rob Hardy - </span><span style="font-size: medium;"><i>Annihilation</i></span></span></div>
<div>
<span style="font-size: large;">11. Jarred Alterman - <i>Bisbee '17</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">12. </span><span style="font-size: medium;">Daniel Pearl - </span><i>Mom and Dad</i></span></div>
<div>
<span style="font-size: large;">13. Philippe Grandrieux - <i>Unrest</i></span></div>
<div>
<span style="font-size: large;">14. Wyatt Garfield - <i>Diane</i></span></div>
<div>
<span style="font-size: large;"><span style="font-size: medium;">15. </span><span style="font-size: medium;">Dylan River & </span><span style="font-size: medium;">Warwick Thornton</span><span style="font-size: medium;"> - </span><i>Sweet Country</i></span></div>
<div>
<span style="font-size: large;">16. Dariusz Wolski - <i>Sicario: Day of the Soldado</i></span></div>
<div>
<span style="font-size: large;">17. Manuel Dacosse - <i>Let The Corpses Tan</i></span></div>
<div>
<span style="font-size: large;">18. Pawel Edelman - <i>Based on a True Story</i></span><br />
<span style="font-size: large;"><span style="font-size: medium;">19. Daniel Aranyó - </span><span style="font-size: medium;"><i>The Crucifixion & Cold Skin</i></span></span><br />
<span style="font-size: large;">20. Martin Gschlacht - <i>Alpha</i></span><br />
<span style="font-size: large;"><i><br /></i></span></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div>
<span style="font-size: x-large;">Achievement in Editing</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy5kiyMwWv8JB5IkRhVPdBx69-hAPiBYi8hZFgsQcUDeb2B4dZD4UqnA9_kNs-EzGHa8IcJ2vX62z61hyZKg4Y54-P1spfyNhLNq3puP8o5-UhXWDP-bBD3dh_TeNWNcxnEkMnn0QnLCk/s1600/High-Life-Claire-Denis-5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="780" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy5kiyMwWv8JB5IkRhVPdBx69-hAPiBYi8hZFgsQcUDeb2B4dZD4UqnA9_kNs-EzGHa8IcJ2vX62z61hyZKg4Y54-P1spfyNhLNq3puP8o5-UhXWDP-bBD3dh_TeNWNcxnEkMnn0QnLCk/s640/High-Life-Claire-Denis-5.jpeg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. </span><span style="font-size: large;">High Life</span><br />
<span style="font-size: large;">2. Sweet Country</span></div>
<div>
<span style="font-size: large;">3. Dark</span></div>
<div>
<span style="font-size: large;">4. You Were Never Really Here</span><br />
<span style="font-size: large;">5. The Commuter</span></div>
<div>
<span style="font-size: large;">6. </span><span style="font-size: large;">Hale County This Morning, This Evening</span></div>
<div>
<span style="font-size: large;">7. </span><span style="font-size: large;">The Crucifixion</span></div>
<div>
<span style="font-size: large;">8. Mom and Dad</span></div>
<div>
<span style="font-size: large;">9. The Green Fog</span></div>
<div>
<span style="font-size: large;">10. Bisbee '17</span></div>
<div>
<span style="font-size: large;">11. Unrest</span></div>
<div>
<span style="font-size: large;">12. The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">13. Diane</span></div>
<div>
<span style="font-size: large;">14. Your Face</span></div>
<div>
<span style="font-size: large;">15. Mosaic</span></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div>
<span style="font-size: x-large;">Achievement in Production Design</span><span style="font-size: large;"> </span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnhgP1x_tIX7y73B-Y9dQtyoYBp8wENQdu773l0bRCGGzlvNcsyIImyuUo9AiKlmrAtxHVQGLI_oIKqXS4E2RmxlJFfaihaArvKdrwj8rNX_falsJgnwJTnC52605T_JXwYa83Dzm25xc/s1600/shadow_-_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnhgP1x_tIX7y73B-Y9dQtyoYBp8wENQdu773l0bRCGGzlvNcsyIImyuUo9AiKlmrAtxHVQGLI_oIKqXS4E2RmxlJFfaihaArvKdrwj8rNX_falsJgnwJTnC52605T_JXwYa83Dzm25xc/s640/shadow_-_2.jpg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. Shadow</span></div>
<div>
<span style="font-size: large;">2. First Reformed</span></div>
<div>
<span style="font-size: large;">3. Incredibles 2</span></div>
<div>
<span style="font-size: large;">4. High Life</span></div>
<div>
<span style="font-size: large;">5. BlacKkKlansman</span></div>
<div>
<span style="font-size: large;">6. The Favourite</span></div>
<div>
<span style="font-size: large;">7. The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">8. The Sisters Brothers</span></div>
<div>
<span style="font-size: large;">9. Based on a True Story</span></div>
<div>
<span style="font-size: large;">10. 7 Days in Entebbe</span></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div>
<span style="font-size: x-large;">Achievement in Costume Design </span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeV2TSctfiOmoP-c13Pl2A4WQZU8f0Xb8Z_IcSe-IsSIPwBSr28eMwcmN9kYZNsx8AEDNa7-wIxo_cMUDwvgFIy4MhVIl6e6B-3GV-SSTqMy5tbD56kL4kypOK9qHQo3Wc1mNvc_b2MU/s1600/blacckkklansmanend.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeV2TSctfiOmoP-c13Pl2A4WQZU8f0Xb8Z_IcSe-IsSIPwBSr28eMwcmN9kYZNsx8AEDNa7-wIxo_cMUDwvgFIy4MhVIl6e6B-3GV-SSTqMy5tbD56kL4kypOK9qHQo3Wc1mNvc_b2MU/s640/blacckkklansmanend.0.jpg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. </span><span style="font-size: large;">BlacKkKlansman</span></div>
<div>
<span style="font-size: large;">2. </span><span style="font-size: large;">The Favourite</span></div>
<div>
<span style="font-size: large;">3. The Little Drummer Girl</span></div>
<div>
<span style="font-size: large;">4. </span><span style="font-size: large;">The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">5. </span><span style="font-size: large;">Cold Skin</span></div>
<div>
<span style="font-size: large;">6. The Sisters Brothers</span></div>
<div>
<span style="font-size: large;">7. If Beale Street Could Talk</span><br />
<span style="font-size: large;">8. 7 Days in Entebbe</span><br />
<span style="font-size: large;">9. Sorry To Bother You</span><br />
<span style="font-size: large;">10. Shadow</span></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<div>
<span style="font-size: x-large;">Achievement in Art Direction</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGLDRBEOHwf1ecJnWOzuhRcw7vY3Xkz38_mN-jpH7EjOwUbOkqOTpygHmV_lqN0f2w1xfKcXIS-o0BHkYNGfJ1FVLEOP-J_R_1byFEZK2gsVRFYHi-zNRx7pWMULr7WN-mMyLZanUYYc/s1600/locarno-festival_scarred_hearts_publicity_still_h_2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqGLDRBEOHwf1ecJnWOzuhRcw7vY3Xkz38_mN-jpH7EjOwUbOkqOTpygHmV_lqN0f2w1xfKcXIS-o0BHkYNGfJ1FVLEOP-J_R_1byFEZK2gsVRFYHi-zNRx7pWMULr7WN-mMyLZanUYYc/s640/locarno-festival_scarred_hearts_publicity_still_h_2016.jpg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. Scarred Hearts</span><br />
<span style="font-size: large;">2. </span><span style="font-size: large;">Shadow</span></div>
<div>
<span style="font-size: large;">3. The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">4. High Life</span></div>
<div>
<span style="font-size: large;">5. </span><span style="font-size: large;">Incredibles 2</span></div>
<div>
<span style="font-size: large;">6. </span><span style="font-size: large;">Cold Skin</span></div>
<div>
<span style="font-size: large;">7. BlacKkKlansman</span></div>
<div>
<span style="font-size: large;">8. Alpha</span></div>
<div>
<span style="font-size: large;">9. The Favourite</span></div>
<div>
<span style="font-size: large;">10. Sorry to Bother You</span></div>
</div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Favourite Original Score</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj93EDnB86kDMFLDx52vc2vbIHB7nbBp1DIezNKK8QfpyKDVOj2QRxKLKulxJZ3YfZkJMxh4uwwfQpyKVJId767SUB2ylkS0WtrCtOsKvoiKJzRbk9urpd-Mv6o9p2yaIygQH6tN4rhaX0/s1600/httpsstatic2.srcdn_.comwordpresswp-contentuploads201810Jamie-Lee-Curtis-as-Laurie-Strode-in-Halloween-2018-Movie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj93EDnB86kDMFLDx52vc2vbIHB7nbBp1DIezNKK8QfpyKDVOj2QRxKLKulxJZ3YfZkJMxh4uwwfQpyKVJId767SUB2ylkS0WtrCtOsKvoiKJzRbk9urpd-Mv6o9p2yaIygQH6tN4rhaX0/s640/httpsstatic2.srcdn_.comwordpresswp-contentuploads201810Jamie-Lee-Curtis-as-Laurie-Strode-in-Halloween-2018-Movie.jpg" width="640" /></a></div>
</div>
<div>
<div>
<span style="font-size: large;">1. </span><span style="font-size: large;">Halloween</span></div>
<div>
<span style="font-size: large;">2. </span><span style="font-size: large;">The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">3. </span><span style="font-size: large;">Incredibles 2</span></div>
<div>
<span style="font-size: large;">4. </span><span style="font-size: large;">Your Face</span></div>
<div>
<span style="font-size: large;">5. High Life</span></div>
<div>
<span style="font-size: large;">6. Prospect</span></div>
<div>
<span style="font-size: large;">7. </span><span style="font-size: large;">Damsel</span></div>
<div>
<span style="font-size: large;">8. Disobedience</span></div>
<div>
<span style="font-size: large;">9. Creed II</span></div>
</div>
<div>
<span style="font-size: large;">10. Between Worlds</span></div>
<div>
<span style="font-size: large;">11. Teen Titans Go To The Movies</span></div>
<div>
<span style="font-size: large;">12. Alpha</span></div>
<div>
<span style="font-size: large;">13. The Sisters Brothers</span></div>
<div>
<span style="font-size: large;">14. A Bread Factory</span></div>
<div>
<span style="font-size: large;">15. Paddington 2</span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Achievement in Sound Design</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigI4ZxBKrg2o7uQmk4Il32u0pVFpgRCvHxe43rFfrPCdf-l3zcRV2AsLVLnBJzMrnXVKVGXT2DMHjMPsw3bzQzkDC0Hp8o6FlfysHfrPwcCmvTc8q56y81sjcYYuGc0YX6rq3KJ2WOEIQ/s1600/PUI_PUI_523x2751.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="523" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigI4ZxBKrg2o7uQmk4Il32u0pVFpgRCvHxe43rFfrPCdf-l3zcRV2AsLVLnBJzMrnXVKVGXT2DMHjMPsw3bzQzkDC0Hp8o6FlfysHfrPwcCmvTc8q56y81sjcYYuGc0YX6rq3KJ2WOEIQ/s640/PUI_PUI_523x2751.jpg" width="640" /></a></div>
</div>
<div>
<div>
<span style="font-size: large;">1. Piu Piu</span></div>
<div>
<span style="font-size: large;">2. Widows</span></div>
<div>
<span style="font-size: large;">3. Black Mother</span></div>
<div>
<span style="font-size: large;">4. Hale County This Morning, This Evening</span></div>
<div>
<span style="font-size: large;">5. The Ballad of Buster Scruggs</span></div>
<div>
<span style="font-size: large;">6. The Guilty</span></div>
<div>
<span style="font-size: large;">7. Barbara</span></div>
<div>
<span style="font-size: large;">8. Sorry To Bother You</span></div>
<div>
<span style="font-size: large;">10. Music For When The Lights Go Out</span></div>
<div>
<span style="font-size: large;">11. The Other Side of the Wind</span></div>
<div>
<span style="font-size: large;">12. If Beale Street Could Talk</span></div>
<div>
<span style="font-size: large;">13. First Reformed</span></div>
<div>
<span style="font-size: large;">14. Let The Corpses Tan</span></div>
<div>
<span style="font-size: large;">15. Blood Paradise</span></div>
<div>
<br /></div>
</div>
<div>
<div>
<span style="font-size: x-large;">Achievement in Visual Effects</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWG5HGrZWgk6EY02GWmnpDKHGrEPncNsx4lOHf5OPbcNuACDA66NkIYSlLwF1-Wp39t-X2CYZpqh1dBtsaju1w_0Vbihcy2kwwk8D-BV5YZ1UoUXHNq1GdMmHvH8k1ANYNfUK7ck0NhgY/s1600/04-the-endless.w1200.h630.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="629" data-original-width="1200" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWG5HGrZWgk6EY02GWmnpDKHGrEPncNsx4lOHf5OPbcNuACDA66NkIYSlLwF1-Wp39t-X2CYZpqh1dBtsaju1w_0Vbihcy2kwwk8D-BV5YZ1UoUXHNq1GdMmHvH8k1ANYNfUK7ck0NhgY/s640/04-the-endless.w1200.h630.jpg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. The Endless</span></div>
<div>
<span style="font-size: large;">2. Piu Piu</span></div>
<div>
<span style="font-size: large;">3. Gogol Viy</span></div>
<div>
<span style="font-size: large;">4. Tigers Are Not Afraid</span></div>
<div>
<span style="font-size: large;">5. </span><span style="font-size: large;">24 Frames</span></div>
<div>
<span style="font-size: large;">6. The Ritual</span></div>
<div>
<span style="font-size: large;">7. </span><span style="font-size: large;">Annihilation</span></div>
<div>
<span style="font-size: large;">8. Possum</span></div>
<div>
<span style="font-size: large;">9. Prospect</span></div>
<div>
<span style="font-size: large;">10. Alpha</span></div>
<div>
<span style="font-size: large;">11. Unfriended: Dark Web</span></div>
<div>
<span style="font-size: large;">12. Transit</span></div>
<div>
<span style="font-size: large;">13. They Shall Not Grow Old</span></div>
<div>
<span style="font-size: large;">14. High Life</span></div>
<div>
<span style="font-size: large;">15. Cold Skin</span></div>
<div>
<span style="font-size: large;">16. Paddington 2</span></div>
<div>
<span style="font-size: large;">17. </span><span style="font-size: large;">A Wrinkle In Time</span></div>
<div>
<span style="font-size: large;">18. </span><span style="font-size: large;">Diamantino</span></div>
<div>
<span style="font-size: large;">19. The House That Jack Built</span><br />
<span style="font-size: large;">20. The Crucifixion </span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Achievement in Make-up Effects</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_JWjjrtM4UsD9uVWK1tnUggwQSfW0ZPeJLEQ5__iqEakWx9AKDnE0RAGIdBKRWYG8eLJnBH2gfniyCSEhYj07_ieSkq1ufIsN0ghpIsk5pfOywCttDF_EEulESJlxsKle9L0fEcFD8tY/s1600/download+%25282%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_JWjjrtM4UsD9uVWK1tnUggwQSfW0ZPeJLEQ5__iqEakWx9AKDnE0RAGIdBKRWYG8eLJnBH2gfniyCSEhYj07_ieSkq1ufIsN0ghpIsk5pfOywCttDF_EEulESJlxsKle9L0fEcFD8tY/s640/download+%25282%2529.jpeg" width="640" /></a></div>
</div>
<div>
<span style="font-size: large;">1. Piu Piu</span></div>
<div>
<span style="font-size: large;">2. Upgrade </span></div>
<div>
<span style="font-size: large;">3. Boar</span></div>
<div>
<span style="font-size: large;">4. The House That Jack Built</span></div>
<div>
<span style="font-size: large;">5. </span><span style="font-size: large;">What Keeps You Alive</span></div>
<div>
<span style="font-size: large;">6. Mohawk</span></div>
<div>
<span style="font-size: large;">7. Possum</span></div>
<div>
<span style="font-size: large;">8. Hurt</span></div>
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<span style="font-size: large;">9. Satan's Slaves</span></div>
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<span style="font-size: large;">10. Apostle</span></div>
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<span style="font-size: large;">11. Cold Skin</span></div>
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<span style="font-size: large;">12. You Were Never Really Here</span></div>
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<span style="font-size: large;">13. First Reformed</span><br />
<span style="font-size: large;">14. </span><span style="font-size: large;">Good Manners</span><br />
<span style="font-size: large;">15. The Night Comes For Us</span></div>
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</style>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-78196714047220514352018-12-05T15:39:00.002-05:002018-12-05T15:39:15.141-05:00A Time for Resurrection <span style="font-size: large;">There was a piece published a bit ago in the Washington Post about the death of a streaming service. Filmstruck offered a lot of canonical titles and a smattering of true, worthy rarities from the history of art cinema and classic studio filmmaking. I couldn't afford it because I'm a movie critic but I have some fond memories of watching movies on the service in other people's apartments. It was a public good. I was happier knowing it was out there even if I couldn't use it. I steal most of the films I watch anyway because it's one of the only ways I can see the movies I need to see in order to write about them and afford rent. Sue me. You won't get a dime because I don't have one to give. Because I love movies. I make nothing singing their praises, spend what little I have making them and seeing them. They've taken everything from me but believe me when I say I've still got more to give. </span><br />
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<span style="font-size: large;">I'll never forsake the medium because we're in the middle of a 30 year conversation I happen to enjoy, even though while we were talking a huge portion of my life left my body. But this is what I love so it doesn't feel like a loss. Film talks to me and the movies talk to each other and they let me listen. Hirokazu Kore-Eda's <i>Shoplifters</i> and Deniz Gamze Ergüven's <i>Kings</i> prop each other up, their tales of makeshift families on society's margins merge to form one giant family. How do you say no to that? Adds a year to your life. That's why I was most excited to see Orson Welles' newly restored and truly towering meta-diary entry <i>The Other Side of the Wind</i> come back to life. I knew what that film was going to be, but seeing it was still so important. The thing can be imagined forever but only seen once, if you catch my drift. Imagining a Welles decision just doesn't hold a candle to seeing one and experiencing that ecstatic melancholy that only his edits and close-ups provide. Not merely because he was a profoundly talented director, one of the finest, born with a camera in his mind, but because Welles is almost metonymic with stolen vision. He tried, time and again, to give us the gift of art, and moneymen, audiences and critics alike turned up their noses like they'd get another artist like him. As of 2018 we're still waiting. </span></div>
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<span style="font-size: large;"><i>The Other Side of the Wind</i> is a cacophonous journey towards death. The death of film, of many careers, of film appreciation, of the mystery of art, of its creator, its stars and its chances of being completed. A film about itself, failing to become real. It's also a log flume ride into a bottle of whiskey, one of the finest portrayals of professional alcoholics ever made - more interesting and surreal than Clint Eastwood's <i>White Hunter, Black Heart</i> on roughly the same subjects. A man who staved off dysentery by accident because he only ever drank liquor playing a man who drank away every meaningful relationship he ever formed directed by a man who died penniless, knowing his legacy would be misused if we ever found it. This could only really have come out now (despite the fact that it could have come out literally decades ago if anyone with money had cared enough) because it happens to be a funhouse mirror with our image frozen in its cold glass surface. </span></div>
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<span style="font-size: large;">John Huston plays a director going to his own funeral, the guests just don't know it yet. He drinks and smokes and gives flippant, evasive answers to every question fired at him. His hangers-on watch him trundle through life like the giant in N.C. Wyeth's painting of the same name (the second time I've had recourse to mention this work this year), painted with their backs to us, staring in wonder at a man ten thousand feet tall. Their identities are fashioned in his reflection, their art never discussed without his name on any critic's tongue. That exposure chafes bad. Journalists are stuck asking third-rate Cahier-du-cinema-style questions, old friends are stuck in his shadow, and he's stuck in skin he doesn't recognize. He drinks, his lips purse like a chimpanzee's (Huston was gifted one on the occasion of his wedding to Evelyn Keyes and it trashed his apartment - an ominous sign of things to come. Monkeys know), and out spills a cagey taunt to beloved and hated alike blanketed in cigar smoke. The silken black-and-white coffin in which he finds himself is perhaps the best a Welles-image has ever looked. Even better than the gorgeous and purposely dated faux-nioni film Huston is directing and trying to find money for. Art imitated life. Welles spent years trying to find a home for his film. No one bit. Spielberg bought the Rosebud sleigh instead. Little did he know it was one of 12. Even the myth was a disappointment. </span></div>
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<span style="font-size: large;">The film is thus about the pieces everyone tries to grab from an unknowable artist. The tragedy was Welles never hid. He told Bogdanovich a story once about D.W. Griffith washing dishes at the Brown Derby or some such place in the 40s. Anyone who wanted to know how to make films just had to know which joint he was cleaning and go ask him, but no one cared, even as<i> Birth of a Nation</i> and<i> Intolerance</i> became the yin and yang of silent cinema. I'm not positive Welles knew when he died. He had his own troubles. And for them, he wound up washing dishes of his own, narrating bunk documentaries about Nostradamus, playing generals and dying pimps and fat robots. He was trying to hand back his crown of thorns and no one would take it. He was right there, arms open, if anyone wanted him. </span></div>
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<span style="font-size: large;">There's another rosebud in the razor-wire genius of <i>The Other Side of the Wind</i>, the perfect surface in his film-within-a-film. Bob Random, the Canadian heart-throb eating Huston's director alive from the inside like a cancer, plays a rich cypher who lied about being poor to get cast in his work. And just as soon as he joined the circus, he ran off in the middle of making the movie. Random's own career isn't extremely dissimilar. He worked for a few decades and then vanished. I could see Welles projecting a thousand things onto him. The beauty that changed with the times. He looks like a zillion mumbling beauties who graced the screen around then. His look was almost a type in-and-of-itself, square jaw, pouty lips, sad eyes, long curly hair. Maybe it's my mind playing tricks on me but I don't think he says a word in the whole movie. He's Welles inner beauty, the beautiful star he only got to be for a little while. The man full of promise who can't possibly deliver (he did, but no one told Welles that).</span></div>
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<span style="font-size: large;">Perhaps that's why it was so shocking to see him barking threats in Budd Boetticher's final fiction film, <i>A Time For Dying</i>. Boetticher had a career about diametrically opposed to Welles'. He was a studio director who made cheap b-movies (some of our very best cheap b-movies, it begs pronouncement) who found himself in a unique position to become a kind of cult figure. He, producer Harry Joe Brown and star Randolph Scott collaborated on some of the finest westerns ever made. <i>Seven Men From Now, Westbound, The Tall T, Ride Lonesome, Buchanan Rides Alone, Commanche Station</i>, lean, poetic things. All beauty and clenched courage. Westerns were in a sort of a golden age, and even among such tall company they stand out. Scott retired in 1962 after making <i>Ride The High Country</i>, rightly believing few people would know what to do with him and his enormous image after that. Times were changing. Scott looked a hundred years old when he threw in the towel, you'd never guess he lived another 25 years from looking at him. Boetticher hung in after his star quit on him, but either no one wanted him or he didn't know what to do with anyone who did. </span></div>
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<span style="font-size: large;">Then it's 1969 and he decides to try one last Western before tossing in the sweat-soaked towel. <i>A Time For Dying</i> can be thought of as Boetticher's <i>Psycho</i>. It's got TV-budget sets and actors, it's discursive and seemingly easily distracted, it's got no real heroes, and it's darker than compost. Random plays a kid who's hooked up with Jesse James. James is played by Audie Murphy in his final screen performance, though he's really only got one scene - what they called a Guest Star back in the day. Murphy only really stands out because he seems like a <i>star</i>. It's not that he's any better than the rest of the cast - Random's got him beat for charisma, no mistake. He's just got that bigness; he smiles and you want to grab sunglasses. Random looks like a surfer who got lost and stumbled onto the set. He's electrifying, but it helps that the leads of the film - Richard Lapp and Anne Randall - just sit there waiting for the end credits. Randall's a posable doll in gingham skirts and Lapp looks like clay waiting for the sculptor. He looks like the Quay Brothers tried to make Barry Keoghan, got reasonably close and called it quits to get drunk. Lapp and Randall wind up married through no real fault of their own and so he's got to woo her after the fact with a display of his shooting skills. James and his gang are impressed and offer him a spot on the crew, while his courage sweats out of his body. Pay close attention to that sweat, it comes back. </span></div>
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<span style="font-size: large;">Boetticher by this point hasn't done much to indicate he's awake back there. Film kind of looks like a painting someone forgot to start so he tosses a bucket of red just before calling "Action!" But then the fucking strangest thing happens. Ebert called the film the "damndest" western he'd ever seen and I was starting to wonder what he meant until the final reel. Lapp challenges Random to a duel in the street, reasoning if he can't kill Jesse James he could at least kill his youngest disciple, and that ought to prove his mettle. Here's where it becomes clear Boetticher's been playing possum. Why would this hideous kid with a gorgeous, loving paramour for an accidental wife need to prove anything to anyone? He's just some bumpkin. James and his gang ride into silver city to raise hell and rob their bank and for a minute it kinda sorta looks like Lapp's going to stop them. Which is absurd. The James gang fell on hard times but they weren't stopped by some lumpen pipsqueak. And then he calls Random out and they're in the street, the movie's got 8 minutes left. It's got to go one way, you think, but the guns slip out of Lapp's hand and Random fucking kills him. Shoots him twice and then goes back and finishes him off with a shotgun. When Randall wakes up she's in the town whorehouse about to be groomed, and you know she knows it because her eyes go wide with terror just before the edit, just as another gal just like her rides into town on the stage and every man in a town cleaned out and shamed by Jesse James (who just saw a kid gunned down in the street) walks in after her. The charitable thing to do would be to burn the cathouse down with all of them inside of it, but Boetticher just watches 'em file in. Roll credits. Welcome to Hell. The 70s started the minute that movie ended. The damndest western ever made.</span></div>
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<span style="font-size: large;">Boetticher and Welles knew before we did that their time was up, that they'd be misplaced, their memories dry cleaned for whatever rich schmo needed to compare himself to someone dead. Steve Bannon infamously tried to insert himself into Welles' The Chimes at Midnight in the middle of Errol Morris' punch-pulling <i>American Dharma</i>. The rich always see themselves as aggrieved. Boetticher and Welles were at their mercy and at least had the tact to not whine like drunken derelicts when their fortunes dried up. It was over. Welles, to his last, put on a good face ("I get to play a whole planet!" he chortled as he took his last paycheck to grace the <i>Transformers</i> movie) even as he knew it was over. Movies, which Welles understood better than anyone alive at the time of his death in the mid-80s (can you imagine dying in 1985?), had taken it all away from him. He was no longer as handsome or thin, no longer praised, his genius no longer whispered about by sibilant industry goons, his friends no longer coming to him for work or advice. His nest was empty and so were his coffers. Boetticher at least had fans tracking him down, reminding him he had done great work and he'd gotten to roll a grenade into the genre he'd helped perfect before he stopped. That had to count for something. Welles left a dozen projects hanging in the wind, whichever side, and then couldn't hang onto life anymore. Everything caught up with him. </span></div>
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<span style="font-size: large;">Strangest goddamn thing is that when I look at pictures of Welles just as he was starting to age, I see myself. We have similar facial features, our hair grows the same way, he seems to be looking at me with a knowing sort of grin. Is there a phrase for a face that ages like your own? An inverse Dorian Gray? A roadmap to your mortality? Naturally I'd change some of the contours, but I guess it's good to make peace with what life and the cinema CAN do to someone, just in case they decide to. But until I find myself voicing Unicron the eater of planets, the last stop before death as foretold by Nostradamus in the ancient book of prophecy, old when the seas drank Atlantis, I'll keep having the conversation because I know film will always answer back. </span></div>
Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-24267105573759863632018-06-30T13:15:00.002-04:002018-06-30T13:16:11.599-04:00The 100 Best Songs of the Millenium<span style="font-size: large;">Rolling Stone did a list like this a second ago and I disagreed with everything about it so rather than get mad I just made my own. No order, one per artist/identity. Honorable mention: "Sports" by Tim & Eric.</span><br />
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<span style="font-size: large;"><span style="white-space: pre;"> </span>1.<span style="white-space: pre;"> </span>"My body is a cage" - Arcade Fire</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>2.<span style="white-space: pre;"> </span>"Sky starts falling" - Doves</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>3.<span style="white-space: pre;"> </span>"We do not fuck around" - Viva Voce</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>4.<span style="white-space: pre;"> </span>"I know the law" - Wye Oak</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>5.<span style="white-space: pre;"> </span>"1000 deaths" - D'Angelo</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>6.<span style="white-space: pre;"> </span>"Grenades" - Torche</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>7.<span style="white-space: pre;"> </span>"Because I'm Me" - The Avalanches</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>8.<span style="white-space: pre;"> </span>"Love Play" - School of Seven Bells</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>9.<span style="white-space: pre;"> </span>"Rehab" - Amy Winehouse</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>10.<span style="white-space: pre;"> </span>"Bluebird" - The Rapture</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>11.<span style="white-space: pre;"> </span>"Middle Cyclone" - Neko Case</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>12.<span style="white-space: pre;"> </span>"Bitches in Tokyo" - Stars</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>13.<span style="white-space: pre;"> </span>"Is there a ghost?" - Band of Horses</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>14.<span style="white-space: pre;"> </span>"Musicology" - Prince</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>15.<span style="white-space: pre;"> </span>"Gravel Pit" - Wu-Tang Clan</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>16.<span style="white-space: pre;"> </span>"Abel" - The National</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>17.<span style="white-space: pre;"> </span>"I’ll believe in anything" - Wolf Parade</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>18.<span style="white-space: pre;"> </span>"Generation why" - Weyes Blood</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>19.<span style="white-space: pre;"> </span>"We the people..." - Tribe Called Quest</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>20.<span style="white-space: pre;"> </span>"No future part 3: Escape from No Future" - Titus Andronicus</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>21.<span style="white-space: pre;"> </span>"Glowing Man" - Swans</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>22.<span style="white-space: pre;"> </span>"You are the blood" - Sufjan Stevens</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>23.<span style="white-space: pre;"> </span>"Piano Fire" - Sparklehorse</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>24.<span style="white-space: pre;"> </span>"First Wave Intact" - Secret Machines</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>25.<span style="white-space: pre;"> </span>"Daydreaming" - Radiohead</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>26.<span style="white-space: pre;"> </span>"Continental shelf" - Vietcong/Preoccupations</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>27.<span style="white-space: pre;"> </span>"Rodent" - Pharoah Overlord</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>28.<span style="white-space: pre;"> </span>"Color me badd" - Land of Talk</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>29.<span style="white-space: pre;"> </span>"The most beautiful fear" - Laura Jorgensen</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>30.<span style="white-space: pre;"> </span>"I Like That" - Janelle Monae</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>31.<span style="white-space: pre;"> </span>"Somebody that I used to know" - Elliott Smith</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>32.<span style="white-space: pre;"> </span>"Trains to Brazil" - Guillemots</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>33.<span style="white-space: pre;"> </span>"Maps" - Julie Fader</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>34.<span style="white-space: pre;"> </span>"Angel duster" - Run The Jewels</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>35.<span style="white-space: pre;"> </span>"Tough luck" - Eagulls</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>36.<span style="white-space: pre;"> </span>"Nothin' left" - Death From Above</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>37.<span style="white-space: pre;"> </span>"Mission creep" - Cheatahs</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>38. "On the Bus Mall" - The Decemberists</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>39.<span style="white-space: pre;"> </span>"Young urban" - Ambulance LTD.</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>40.<span style="white-space: pre;"> </span>"The Fear" - Lily Allen</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>41.<span style="white-space: pre;"> </span>"One of us" - Wire</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>42.<span style="white-space: pre;"> </span>"Heartbreaker" - MSTRKRFT & John Legend</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>43.<span style="white-space: pre;"> </span>"Single ladies" - Beyoncé</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>44.<span style="white-space: pre;"> </span>"The Beast and dragon, adored" - Spoon</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>45.<span style="white-space: pre;"> </span>"Brain/stem" - Lower Dens</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>46.<span style="white-space: pre;"> </span>"Angel mom" - Jesca Hoop</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>47.<span style="white-space: pre;"> </span>"Bang theory" - World Leader Pretend</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>48.<span style="white-space: pre;"> </span>"14th Street" - Rufus Wainright</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>49.<span style="white-space: pre;"> </span>"Human of the Year" - Regina Spektor</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>50.<span style="white-space: pre;"> </span>"Stadiums and shrines II" - Sunset Rubdown</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>51.<span style="white-space: pre;"> </span>"Paper planes" - M.I.A.</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>52.<span style="white-space: pre;"> </span>"Simple" - Gauntlet Hair</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>53.<span style="white-space: pre;"> </span>"All these things I’ve done" - The Killers</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>54.<span style="white-space: pre;"> </span>"Dance in the Water" - Danny Brown</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>55.<span style="white-space: pre;"> </span>"Super rich kids" - Frank Ocean</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>56.<span style="white-space: pre;"> </span>"Fast Lane" - King Geedorah</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>57.<span style="white-space: pre;"> </span>"No Occasion" - J. Tillman</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>58.<span style="white-space: pre;"> </span>"The Mountain" - The Stills</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>59.<span style="white-space: pre;"> </span>""Yeah" is what we had" - Grandaddy</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>60.<span style="white-space: pre;"> </span>"Burnt" - The Futureheads</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>61.<span style="white-space: pre;"> </span>"England Will Just Not Let You Recover" - French Kicks</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>62.<span style="white-space: pre;"> </span>"Fix Up, Look Sharp" - Dizzee Rascal</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>63.<span style="white-space: pre;"> </span>"National Disgrace" - Atmosphere</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>64.<span style="white-space: pre;"> </span>"All Caps" - Madvillain</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>65.<span style="white-space: pre;"> </span>"List of Demands" - Saul Williams</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>66.<span style="white-space: pre;"> </span>"One Thing" - Amerie</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>67.<span style="white-space: pre;"> </span>"Lewis Takes Off His Shirt" - Final Fantasy</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>68.<span style="white-space: pre;"> </span>"Who Were We?" - Kylie Minogue</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>69.<span style="white-space: pre;"> </span>"Banished" - JJ Doom</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>70.<span style="white-space: pre;"> </span>"Epizootics!" - Scott Walker</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>71.<span style="white-space: pre;"> </span>"Undiscovered First" - Feist</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>72.<span style="white-space: pre;"> </span>"The Beat & The Pulse" - Austra</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>73.<span style="white-space: pre;"> </span>"Modern Girls & Old Fashioned Men" - The Strokes & Regina Spektor</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>74.<span style="white-space: pre;"> </span>"5 Chords" - The Dears</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>75.<span style="white-space: pre;"> </span>"Stella Was A Diver And She Was Always Down" - Interpol</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>76.<span style="white-space: pre;"> </span>"Blackstar" - David Bowie</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>77.<span style="white-space: pre;"> </span>"Hoist That Rag" - Tom Waits</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>78.<span style="white-space: pre;"> </span>"Wait For Me" - Zola Jesus</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>79.<span style="white-space: pre;"> </span>"Helena" - My Chemical Romance</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>80.<span style="white-space: pre;"> </span>"Carry Me" - Nick Cave & The Bad Seeds</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>81.<span style="white-space: pre;"> </span>"Two Weeks" - Grizzly Bear</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>82.<span style="white-space: pre;"> </span>"Handjobs For The Holidays" - Broken Social Scene</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>83.<span style="white-space: pre;"> </span>"Queen" - Perfume Genius</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>84.<span style="white-space: pre;"> </span>"She’s a fucking angel (From Fucking heaven)" - The Martha's Vineyard Ferries</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>85.<span style="white-space: pre;"> </span>"Drowning" - Mick Jenkins</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>86.<span style="white-space: pre;"> </span>"Cosmic Bounce" - Madlib</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>87.<span style="white-space: pre;"> </span>"Scapegoat" - Kylesa</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>88.<span style="white-space: pre;"> </span>"Sleeping Witch" - Royal Thunder</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>89.<span style="white-space: pre;"> </span>"Champions of Red Wine" - The New Pornographers</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>90.<span style="white-space: pre;"> </span>"Eyesore" - Women</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>91.<span style="white-space: pre;"> </span>"Down Boy" - Yeah Yeah Yeahs</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>92.<span style="white-space: pre;"> </span>"Sick Sick Sick" - Queens of the Stone Age</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>93.<span style="white-space: pre;"> </span>"New brigade" - Iceage</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>94.<span style="white-space: pre;"> </span>"I Was A lover" - TV On The Radio</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>95.<span style="white-space: pre;"> </span>"Silent My Song" - Lykke Li</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>96.<span style="white-space: pre;"> </span>"345" - Supergrass</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>97.<span style="white-space: pre;"> </span>"A stone would cry out" - Sam Roberts Band</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>98.<span style="white-space: pre;"> </span>"Satisfaction" - Legendary Divorce</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>99.<span style="white-space: pre;"> </span>"Eva braun" - The A Frames</span><br />
<span style="font-size: large;"><span style="white-space: pre;"> </span>100.<span style="white-space: pre;"> </span>"The Good, The Bad, And The Queen" - The Good, The Bad, And The Queen</span><br />
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Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-49478771565435912122018-03-18T13:33:00.004-04:002018-03-18T15:39:07.547-04:00Under Electric Clouds - A Study in Stills<span style="font-size: large;">Even now that I've written a <a href="https://mubi.com/notebook/posts/slow-cinema-of-the-apocalypse-close-up-on-aleksei-german-jr-s-under-electric-clouds">thousand words or more on the subject,</a> I still find myself haunted by Aleksei German, Jr's dystopian daydream <i>Under Electric Clouds</i>. I'm still moved by it and scared of it in ways I can't parse, a film with life between silences, feeling hiding in drawing rooms and slushy landscapes. Jr's whole history seems to be sleeping like a giant under the earth as his drifters slowly traverse the expanse he's invented for them. The question of legacies and fathers hints that his own father, a titan, was on his mind while composing this freehand sketch of loss and the search for meaning. Naturally those concerned with our forebears, of the cause of these limitless depressive stretches of land, dotted with phantom skyscrapers and defined by the screams of the unseen, are the chapters that hit hardest.</span><br />
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Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-87771073674715151542018-01-23T18:18:00.001-05:002022-04-21T15:16:00.900-04:00The 2017 Monsieur Oscars<span style="font-size: x-large;">Best Fiction Feature</span><br />
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<ol>
<li><span style="font-size: large;">Phantom Thread</span></li>
<li><span style="font-size: large;">Twin Peaks: The Return</span></li>
<li><span style="font-size: large;">Lady Bird</span></li>
<li><span style="font-size: large;">The Rider</span></li>
<li><span style="font-size: large;">Zama</span></li>
<li><span style="font-size: large;">A Cure For Wellness</span></li>
<li><span style="font-size: large;">Call Me By Your Name</span></li>
<li><span style="font-size: large;">The Young Karl Marx</span></li>
<li><span style="font-size: large;">Éternité</span></li>
<li><span style="font-size: large;">My Happy Family</span></li>
<li><span style="font-size: large;">Alias Grace</span></li>
<li><span style="font-size: large;">Coco</span></li>
<li><span style="font-size: large;">Beach Rats</span></li>
<li><span style="font-size: large;">Slack Bay</span></li>
<li><span style="font-size: large;">Mimosas</span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Non-Fiction Feature</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTAtwGFdiOxNDAJPqMwolX99wQgMYP9AVOV-hTbNVwogwfVsYANOEZ8XcYiZ06OK5zVf5KWgB1YE_ynJo7cRghgjC3y6ak88Om08wUcAsatDhr-Cc3Fj0GE7izyTmz5-MzLMANKTIsPfo/s1600/ben-kaye-contemporary-color-money-mark-ad-rock-sommerville-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="806" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTAtwGFdiOxNDAJPqMwolX99wQgMYP9AVOV-hTbNVwogwfVsYANOEZ8XcYiZ06OK5zVf5KWgB1YE_ynJo7cRghgjC3y6ak88Om08wUcAsatDhr-Cc3Fj0GE7izyTmz5-MzLMANKTIsPfo/s640/ben-kaye-contemporary-color-money-mark-ad-rock-sommerville-2.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Contemporary Color</span></li>
<li><span style="font-size: large;">Behemoth</span></li>
<li><span style="font-size: large;">Wormwood</span></li>
<li><span style="font-size: large;">Faces Places</span></li>
<li><span style="font-size: large;">The Rape of Recy Taylor</span></li>
<li><span style="font-size: large;">Dawson City Frozen Time</span></li>
<li><span style="font-size: large;">Sleep Has Her House</span></li>
<li><span style="font-size: large;">Good Luck</span></li>
<li><span style="font-size: large;">Voyage of Time</span></li>
<li><span style="font-size: large;">I Called Him Morgan </span></li>
<li><span style="font-size: large;">Let it Fall: Los Angeles 1982-1992</span></li>
<li><span style="font-size: large;">Whose Streets</span></li>
<li><span style="font-size: large;">Strong Island</span></li>
<li><span style="font-size: large;">Ex-Libris: The New York Public Library</span></li>
<li><span style="font-size: large;">Joan Didion: The Center Will Not Hold</span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Outstanding Performance by a Director</span><br />
<div class="separator" style="clear: both; text-align: center;">
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<ol>
<li><span style="font-size: large;">David Lynch - <i>Twin Peaks: The Return</i></span></li>
<li><span style="font-size: large;">Paul Thomas Anderson - <i>Phantom Thread</i></span></li>
<li><span style="font-size: large;">Chloé Zhao - <i>The Rider</i></span></li>
<li><span style="font-size: large;">Gore Verbinski - <i>A Cure For Wellness</i></span></li>
<li><span style="font-size: large;">Greta Gerwig - <i>Lady Bird</i></span></li>
<li><span style="font-size: large;">Lucrecia Martel - <i>Zama</i></span></li>
<li><span style="font-size: large;">Matt Johnson - <i>Operation Avalanche</i></span></li>
<li><span style="font-size: large;">Luca Guadanigno - <i>Call Me By Your Name</i></span></li>
<li><span style="font-size: large;">Gillian Robespierre - <i>Landline</i></span></li>
<li><span style="font-size: large;">Oliver Laxe - <i>Mimosas</i></span></li>
<li><span style="font-size: large;">Joshua and Benny Safdie - <i>Good Time</i></span></li>
<li><span style="font-size: large;">Eliza Hittman - <i>Beach Rats</i></span></li>
<li><span style="font-size: large;">Tran Anh Hung - <i>Éternité</i></span></li>
<li><span style="font-size: large;">Michael Almereyda - <i>Marjorie Prime</i></span></li>
<li><span style="font-size: large;">Bruno Dumont - <i>Slack Bay</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Original Screenplay</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqZ-wQJH6Ndb5nwVgM9wzOiOw0v_sXg3IDXejfzChP-6uZ6y2BhIFAOtXDrnak6PpXj7vxel8ZZ4s11yng9jKIWW11bPNqP7Fr_g3AVvVoZhpd8_d0T_zgcgI4T3FhqAhRlmIaoGKZO8/s1600/Brody-Twin-Peaks-1200x630-1495464017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqZ-wQJH6Ndb5nwVgM9wzOiOw0v_sXg3IDXejfzChP-6uZ6y2BhIFAOtXDrnak6PpXj7vxel8ZZ4s11yng9jKIWW11bPNqP7Fr_g3AVvVoZhpd8_d0T_zgcgI4T3FhqAhRlmIaoGKZO8/s640/Brody-Twin-Peaks-1200x630-1495464017.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">David Lynch & Mark Frost - <i>Twin Peaks: The Return</i></span></li>
<li><span style="font-size: large;">Greta Gerwig <i>- Lady Bird</i></span></li>
<li><span style="font-size: large;">Chloé Zhao - <i>The Rider</i></span></li>
<li><span style="font-size: large;">Asghar Farhadi - <i>The Salesman</i></span></li>
<li><span style="font-size: large;">Gillian Robespierre & Elizabeth Holm - <i>Landline</i></span></li>
<li><span style="font-size: large;">Adrian Molina & </span><span style="font-size: large;">Matthew Aldrich - <i>Coco</i></span></li>
<li><span style="font-size: large;">John Ridley - <i>Guerilla</i></span></li>
<li><span style="font-size: large;">Paul Thomas Anderson - <i>Phantom Thread</i></span></li>
<li><span style="font-size: large;">Nana Ekvtimishvili - <i>My Happy Family</i></span></li>
<li><span style="font-size: large;">Kieran Fitzgerald, Steven Hathaway & Molly Rokosz - <i>Wormwood</i></span></li>
</ol>
<div>
<ol>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Adapted Screenplay</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3x-vtnbCNMQtwWNfg56XPK_KEEM3LvcQjvhyphenhyphenU7NXDh71PW0F1Gd9zUMUMkVmye0lKiC-KiBNCLblQ2u_NlD45X5MvEGO5oczQI2omty49ye07gmQWNPJR8xp6cnA41nD1NRb_8f63JCk/s1600/call-me-by-your-name-1-1600x900-c-default1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3x-vtnbCNMQtwWNfg56XPK_KEEM3LvcQjvhyphenhyphenU7NXDh71PW0F1Gd9zUMUMkVmye0lKiC-KiBNCLblQ2u_NlD45X5MvEGO5oczQI2omty49ye07gmQWNPJR8xp6cnA41nD1NRb_8f63JCk/s640/call-me-by-your-name-1-1600x900-c-default1.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">James Ivory<i> - Call Me By Your Name</i></span></li>
<li><span style="font-size: large;">Tran Anh Hung - <i>Éternité</i></span></li>
<li><span style="font-size: large;">Lucrecia Martel<i> - Zama</i></span></li>
<li><span style="font-size: large;">Sarah Polley - <i>Alias Grace</i></span></li>
<li><span style="font-size: large;">Michael Almereyda<i> - Marjorie Prime</i></span></li>
<li><span style="font-size: large;">Claire Denis<i> - Let The Sun Shine In</i></span></li>
<li><span style="font-size: large;">Tetsuya Oishi - <i>Blade of the Immortal</i></span></li>
<li><span style="font-size: large;">John Pollono - <i>Stronger</i></span></li>
<li><span style="font-size: large;">Sofia Coppola - <i>The Beguiled</i></span></li>
<li><span style="font-size: large;"><i>Alice Birch - Lady Macbeth</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Achievement in Cinematography</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cYOUj4J1xBwDrIrXsdkVQOlKLrNo9O9_2AgaUtEm-GYxjucgm8Ka_xesACgpF-bEWYR4C7AXhnUXL5coBJ7TFMN-j4ghTwIaRk1913QRBz8Ul10r-Kny_NM7EAXiUEpumFCXOX4CUzc/s1600/1280x720-posterframephantomthread.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cYOUj4J1xBwDrIrXsdkVQOlKLrNo9O9_2AgaUtEm-GYxjucgm8Ka_xesACgpF-bEWYR4C7AXhnUXL5coBJ7TFMN-j4ghTwIaRk1913QRBz8Ul10r-Kny_NM7EAXiUEpumFCXOX4CUzc/s640/1280x720-posterframephantomthread.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Paul Thomas Anderson - <i>Phantom Thread</i></span></li>
<li><span style="font-size: large;">Bojan Bazelli - <i>A Cure For Wellness</i></span></li>
<li><span style="font-size: large;">Philippe Le Sourd - <i>The Beguiled</i></span></li>
<li><span style="font-size: large;">Ellen Kuras & </span><span style="font-size: large;">Igor Martinovic<i> - Wormwood</i></span></li>
<li><span style="font-size: large;">Sayombhu Mukdeeprom<i> - Call Me By Your Name</i></span></li>
<li><span style="font-size: large;">Darius Khondji - <i>Okja</i></span></li>
<li><span style="font-size: large;">Ping Bin Lee - <i>Éternité</i></span></li>
<li><span style="font-size: large;">Sean Price Williams - <i>Good Time</i></span></li>
<li><span style="font-size: large;">Hélène Louvart - <i>Beach Rats</i></span></li>
<li><span style="font-size: large;">Rui Poças - <i>Zama</i></span></li>
<li><span style="font-size: large;">Joshua James Richards - <i>The Rider</i></span></li>
<li><span style="font-size: large;">Roger Deakins - <i>Blade Runner 2049</i></span></li>
<li><span style="font-size: large;">Ed Lachman - <i>Wonderstruck</i></span></li>
<li><span style="font-size: large;">Guillaume Deffontaines - <i>Slack Bay</i></span></li>
<li><span style="font-size: large;">Dariusz Wolski - <i>All The Money In The World/Alien: Covenant</i></span></li>
</ol>
</div>
<div>
<ol>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Lead Performance by an Actress</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU9pAHCj_fKUQ7UhNRjKNbD9RvuiOhpkBVuOxtvi3qoVcN48iCuX6cq-_Igzyv00mRcQvO5tbsl_PTi4jnXiEIrg6djS7loeium1TGYgRQQIZ4MKPury1Ki-IoR4y_S0HPWB70snjhieY/s1600/tumblr_oxe7pnS6X11vukkv8o3_1280.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="1280" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU9pAHCj_fKUQ7UhNRjKNbD9RvuiOhpkBVuOxtvi3qoVcN48iCuX6cq-_Igzyv00mRcQvO5tbsl_PTi4jnXiEIrg6djS7loeium1TGYgRQQIZ4MKPury1Ki-IoR4y_S0HPWB70snjhieY/s640/tumblr_oxe7pnS6X11vukkv8o3_1280.png" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Alia Shawkat - <i>Paint It Black</i></span></li>
<li><span style="font-size: large;">Florence Pugh - <i>Lady Macbeth</i></span></li>
<li><span style="font-size: large;">Diane Kruger - <i>In The Fade</i></span></li>
<li><span style="font-size: large;">Seo-hyun Ahn - <i>Okja</i></span></li>
<li><span style="font-size: large;">Sarah Gadon - <i>Alias Grace</i></span></li>
<li><span style="font-size: large;">Ia Shugliashvili - <i>My Happy Family</i></span></li>
<li><span style="font-size: large;">Taraneh Alidoosti - The Salesman</span></li>
<li><span style="font-size: large;">Melanie Lynskey - <i>I Don't Feel At Home In This World Anymore</i></span></li>
<li><span style="font-size: large;">Gal Gadot - <i>Wonder Woman</i></span></li>
<li><span style="font-size: large;">Peyton Kennedy - <i>American Fable</i></span></li>
<li><span style="font-size: large;">Abby Quinn & Jenny Slate -<i> Landline</i></span></li>
<li><span style="font-size: large;">Teresa Palmer - <i>Berlin Syndrome</i></span></li>
<li><span style="font-size: large;">Gemma Arterton - <i>Their Finest</i></span></li>
<li><span style="font-size: large;">Michelle Rodriguez & Sigourney Weaver - <i>The Assignment</i></span></li>
<li><span style="font-size: large;">Haley Lu Richardson - <i>Columbus</i></span></li>
<li><span style="font-size: large;">Kim Min-Hee - <i>On The Beach At Night Alone</i></span></li>
<li><span style="font-size: large;">Tatiana Maslany - <i>Stronger</i></span></li>
<li><span style="font-size: large;">Lois Smith - <i>Marjorie Prime</i></span></li>
<li><span style="font-size: large;">Vicky Krieps - <i>Phantom Thread / The Young Karl Marx</i></span></li>
<li><span style="font-size: large;">Michelle Williams - <i>All The Money In The World</i></span></li>
<li><span style="font-size: large;">Trine Dyrholm - <i>The Commune</i></span></li>
<li><span style="font-size: large;">Elisabeth Moss - <i>Top of the Lake: China Girl</i></span></li>
<li><span style="font-size: large;">Simone Bucio & Ruth Ramos - <i>The Untamed</i></span></li>
<li><span style="font-size: large;">Cara Delevigne - <i>Valerian and the City of a Thousand Planets</i></span></li>
<li><span style="font-size: large;">Olivia Thirlby - <i>Between Us</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Supporting Performance by an Actress</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivuGoF3PY6-3N2FIl5tk2jO-MukqC7-BaDReXTaoKtAV7Sd9DXnpr2F0x9m3KaFty7tFcJWGQUKWechEUyOErHWopCnkR3SHjqK1RaECU3Rc5gDeSACVebSTbZ1PIumhNPXJB4FHtJvK0/s1600/paint_it_black_15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivuGoF3PY6-3N2FIl5tk2jO-MukqC7-BaDReXTaoKtAV7Sd9DXnpr2F0x9m3KaFty7tFcJWGQUKWechEUyOErHWopCnkR3SHjqK1RaECU3Rc5gDeSACVebSTbZ1PIumhNPXJB4FHtJvK0/s640/paint_it_black_15.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Janet McTeer - <i>Paint It Black</i></span></li>
<li><span style="font-size: large;">Lesley Manville - <i>Phantom Thread</i></span></li>
<li><span style="font-size: large;">Gillian Anderson - <i>Crooked House</i></span></li>
<li><span style="font-size: large;">Miranda Richardson - <i>Stronger</i></span></li>
<li><span style="font-size: large;">Carrie Fisher, Laura Dern & Kelly Marie Tran - <i>Star Wars: The Last Jedi</i></span></li>
<li><span style="font-size: large;">Michelle Pfeiffer - <i>The Wizard of Lies</i></span></li>
<li><span style="font-size: large;">Catherine Coulson & Laura Dern - <i>Twin Peaks: The Return</i></span></li>
<li><span style="font-size: large;">Bel Powley - <i>Detour</i></span></li>
<li><span style="font-size: large;">Edie Falco - <i>Landline</i></span></li>
<li><span style="font-size: large;">Jennifer Jason Leigh & Taliah Webster -<i> Good Time</i></span></li>
<li><span style="font-size: large;">Mackenzie Davis, Sylvia Hoeks, & Ana De Armas - <i>Blade Runner 2049</i></span></li>
<li><span style="font-size: large;">Holly Hunter - <i>The Big Sick/Song To Song</i></span></li>
<li><span style="font-size: large;">Juliette Binoche - <i>Slack Bay</i></span></li>
<li><span style="font-size: large;">Caitlin Gerard - <i>The Assignment</i></span></li>
<li><span style="font-size: large;">Meg Foster - <i>Jeepers Creepers 3</i></span></li>
<li><span style="font-size: large;">Martha Sofie Wallstrøm Hansen - <i>The Commune</i></span></li>
<li><span style="font-size: large;">Nicole Kidman & Gwendoline Christie - <i>Top of the Lake: China Girl</i></span></li>
<li><span style="font-size: large;">Lilly Jandreau - <i>The Rider</i></span></li>
<li><span style="font-size: large;">Geena Davis<i> - Marjorie Prime</i></span></li>
<li><span style="font-size: large;">Hana Sugisaki - <i>Blade of the Immortal</i></span></li>
<li><span style="font-size: large;">Elisabeth Moss<i> - The Square</i></span></li>
<li><span style="font-size: large;">Haley Lu Richardson<i> - Split</i></span></li>
<li><span style="font-size: large;">Bronislawa Zamachowska - <i>Afterimage</i></span></li>
<li><span style="font-size: large;">Dafne Keen <i>- Logan</i></span></li>
<li><span style="font-size: large;">Tiffany Haddish - <i>Girls Trip</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Lead Performance by an Actor</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCLYNMEKXpgSJTf6ZfxbFBCeFN1-7gAxExXp1IHs4LJ3hwqFB0K-iVEjhfjUuIEDANE7l2Un01Ry65tSEjTRafgos1JiyqxMVGUUxeFiQ_qtU0CJ64RtmYXxTZDkWOc9utYknlIJ8lF8A/s1600/Harry-Dean-Stanton-in-Lucky.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCLYNMEKXpgSJTf6ZfxbFBCeFN1-7gAxExXp1IHs4LJ3hwqFB0K-iVEjhfjUuIEDANE7l2Un01Ry65tSEjTRafgos1JiyqxMVGUUxeFiQ_qtU0CJ64RtmYXxTZDkWOc9utYknlIJ8lF8A/s640/Harry-Dean-Stanton-in-Lucky.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Harry Dean Stanton - <i>Lucky</i></span></li>
<li><span style="font-size: large;">Patton Oswalt - <i>Annihilation</i></span></li>
<li><span style="font-size: large;">Daniel Day-Lewis - <i>Phantom Thread</i></span></li>
<li><span style="font-size: large;">Peter Sarsgaard<i> - Wormwood</i></span></li>
<li><span style="font-size: large;">Kyle MacLachlan - <i>Twin Peaks The Return</i></span></li>
<li><span style="font-size: large;">Daniel Giménez Cacho - <i>Zama</i></span></li>
<li><span style="font-size: large;">Dave Bautista - <i>Bushwick</i></span></li>
<li><span style="font-size: large;">Robert Pattinson - <i>Good Time</i></span></li>
<li><span style="font-size: large;">Pat Healy - <i>Take Me</i></span></li>
<li><span style="font-size: large;">Michael Keaton - <i>The Founder</i></span></li>
<li><span style="font-size: large;">Shahab Hosseini - <i>The Salesman</i></span></li>
<li><span style="font-size: large;">Johnny Lee Miller - <i>T2: Trainspotting</i></span></li>
<li><span style="font-size: large;">Doug Jones - <i>The Shape of Water</i></span></li>
<li><span style="font-size: large;">James Franco - <i>The Disaster Artist</i></span></li>
<li><span style="font-size: large;">Mark Hamill - <i>Star Wars: The Last Jedi</i></span></li>
<li><span style="font-size: large;">Mark Strong - <i>6 Days</i></span></li>
<li><span style="font-size: large;">August Diehl - <i>The Young Karl Marx</i></span></li>
<li><span style="font-size: large;">Brady Jandreau<i> - The Rider</i></span></li>
<li><span style="font-size: large;">Julian Barrett - <i>Mindhorn</i></span></li>
<li><span style="font-size: large;">Alexander Skaarsgard - <i>War on Everyone</i></span></li>
<li><span style="font-size: large;">Jack O'Connell - <i>Godless</i></span></li>
<li><span style="font-size: large;">Matt Johnson & Owen Williams<i> - Operation Avalanche</i></span></li>
<li><span style="font-size: large;">Timothee Chalamet & Armie Hammer<i> - Call Me By Your Name</i></span></li>
<li><span style="font-size: large;">James McAvoy - <i>Split</i></span></li>
<li><span style="font-size: large;">Michael Fassbender - <i>Alien: Covenant</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Best Supporting Performance by an Actor</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP7CrF18xRiko9CUV8ME0VJH6ULV12QGLPR_KIlPazwgyTcQGqSduOHPSBgqj97yT48pRLMNJI7xojvMx2Z-kwaW5u4OmRnXcnvNMtMpsXJ0SJLuV94gGxI1HIb5BR_Gkjj62lYC3TpA/s1600/all-the-money-in-the-world-lg+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="600" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrP7CrF18xRiko9CUV8ME0VJH6ULV12QGLPR_KIlPazwgyTcQGqSduOHPSBgqj97yT48pRLMNJI7xojvMx2Z-kwaW5u4OmRnXcnvNMtMpsXJ0SJLuV94gGxI1HIb5BR_Gkjj62lYC3TpA/s640/all-the-money-in-the-world-lg+%25281%2529.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Romain Duris - <i>All The Money In The World</i></span></li>
<li><span style="font-size: large;">Willem Dafoe & Caleb Landry-Jones - <i>The Florida Project</i></span></li>
<li><span style="font-size: large;">Jon Bernthal - <i>Baby Driver / Pilgrimage / Wind River</i></span></li>
<li><span style="font-size: large;">Adewale Akinnuoye-Agbaje & Kevin Bacon - <i>Tour De Pharmacy</i></span></li>
<li><span style="font-size: large;">Nathan Fielder - <i>The Disaster Artist / Tour De Pharmacy</i></span></li>
<li><span style="font-size: large;">Jack Reynor - <i>Free Fire</i></span></li>
<li><span style="font-size: large;">David Yow - <i>I Don't Feel At Home In This World Anymore</i></span></li>
<li><span style="font-size: large;">Robert Forster - <i>Small Crimes</i></span></li>
<li><span style="font-size: large;">Takeshi Kitano - <i>Ghost in the Shell</i></span></li>
<li><span style="font-size: large;">Richard Schiff - <i>American Fable</i></span></li>
<li><span style="font-size: large;">Ed Harris - <i>In Dubious Battle</i></span></li>
<li><span style="font-size: large;">Iain Glenn - <i>My Cousin Rachel</i></span></li>
<li><span style="font-size: large;">Graham Greene & Gil Birmingham - <i>Wind River</i></span></li>
<li><span style="font-size: large;">Busdriver - <i>Kuso</i></span></li>
<li><span style="font-size: large;">John Cena - <i>The Wall</i></span></li>
<li><span style="font-size: large;">Adam Goldberg -<i> Between Us</i></span></li>
<li><span style="font-size: large;">David Cronenberg - <i>Alias Grace</i></span></li>
<li><span style="font-size: large;">Dave Bautista - <i>Enter The Warrior's Gate / Guardians of the Galaxy, Vol. 2</i></span></li>
<li><span style="font-size: large;">Michael Rooker - <i>Guardians of the Galaxy, Vol. 2/The Belko Experiment</i></span></li>
<li><span style="font-size: large;">Laurence Fishburne - <i>Last Flag Flying</i></span></li>
<li><span style="font-size: large;">Garrett Hedlund & Jason Mitchell - <i>Mudbound</i></span></li>
<li><span style="font-size: large;">Michael Stuhlbarg - <i>Call Me By Your Name / The Shape of Water / The Post</i></span></li>
<li><span style="font-size: large;">Richard Jenkins - <i>The Shape of Water</i></span></li>
<li><span style="font-size: large;">Jason Isaacs - <i>Cure For Wellness</i></span></li>
<li><span style="font-size: large;">Benny Safdie, Barkhad Abdi & Buddy Duress - <i>Good Time</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Best Performance by an Ensemble Cast</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQhoh-hdHd7cnEQdmhHPBhSLaYGoMOk8xe7KGOEHEBx2SxEmr69MpHkMjqDSRZ-gObnsLihsn7bBMcBbBGQzRtICg8I3hv0xkUU6cJoGYbOsvto0lpuL6Nkg33WYrwoXKrtMAYJyDMuw/s1600/hero_War-machine-2017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQhoh-hdHd7cnEQdmhHPBhSLaYGoMOk8xe7KGOEHEBx2SxEmr69MpHkMjqDSRZ-gObnsLihsn7bBMcBbBGQzRtICg8I3hv0xkUU6cJoGYbOsvto0lpuL6Nkg33WYrwoXKrtMAYJyDMuw/s640/hero_War-machine-2017.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">War Machine</span></li>
<li><span style="font-size: large;">Beach Rats</span></li>
<li><span style="font-size: large;">Twin Peaks: The Return</span></li>
<li><span style="font-size: large;">Three Billboards Outside Ebbing, Missouri</span></li>
<li><span style="font-size: large;">Lady Bird</span></li>
<li><span style="font-size: large;">Mimosas</span></li>
<li><span style="font-size: large;">Slack Bay</span></li>
<li><span style="font-size: large;">The Meyerowitz Stories (New & Selected)</span></li>
<li><span style="font-size: large;">Let The Sunshine In</span></li>
<li><span style="font-size: large;">The Beguiled</span></li>
</ol>
<div>
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<span style="font-size: large;"><br /></span><span style="font-size: x-large;">Best Original Film Score</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI44lOIG3rf475eGRk9v0fTygzq7Jx_GlWL29QZd3_4_VZ9_uI8UqseDffmiscX9NTvXgVZ_HETNTKDiJzxzPfjPId9M6GPdOj_sc5Jhkg4WfpE1PlkF5FI7Tcah41ePHps4FnwdE4ELQ/s1600/cureforwellness220.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="854" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI44lOIG3rf475eGRk9v0fTygzq7Jx_GlWL29QZd3_4_VZ9_uI8UqseDffmiscX9NTvXgVZ_HETNTKDiJzxzPfjPId9M6GPdOj_sc5Jhkg4WfpE1PlkF5FI7Tcah41ePHps4FnwdE4ELQ/s640/cureforwellness220.png" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Benjamin Wallfisch - <i>A Cure For Wellness</i></span></li>
<li><span style="font-size: large;">Jonny Greenwood - <i>Phantom Thread</i></span></li>
<li><span style="font-size: large;">David Byrne & Co. - <i>Contemporary Color</i></span></li>
<li><span style="font-size: large;">Phoenix - <i>The Beguiled</i></span></li>
<li><span style="font-size: large;">Clint Mansell - <i>Ghost in the Shell</i></span></li>
<li><span style="font-size: large;">Jon Ekstrand - <i>Life</i></span></li>
<li><span style="font-size: large;">Oneohtrix Point Never - <i>Good Time</i></span></li>
<li><span style="font-size: large;">Flying Lotus - <i>Kuso</i></span></li>
<li><span style="font-size: large;">Angelo Badalmenti - <i>Twin Peaks: The Return</i></span></li>
<li><span style="font-size: large;">Nicholas Leone - <i>Beach Rats</i></span></li>
<li><span style="font-size: large;">Michael Giacchino - <i>War for the Planet of the Apes</i></span></li>
<li><span style="font-size: large;">Nick Cave & Warren Ellis - <i>Wind River</i></span></li>
<li><span style="font-size: large;">Guro Skumsnes Moe & Lasse Marhaug et. al - <i>The Untamed</i></span></li>
<li><span style="font-size: large;">Daniel Pemberton - <i>All The Money In The World </i></span></li>
<li><span style="font-size: large;">John Williams<i> - Star Wars: The Last Jedi</i></span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Achievement in Art Direction</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yoCm-c2i1L1HVIPzZY0upNCZid_YZ1BlBm9hdBiWwbBL96X7t3a5NU7sO8SMwn23gXf-zWnixm-iJgWNpPExVuWB_p9jT5dUSObBwYJ3sqR9DA-NZhv90SRMSVOwE0OcCAuQjVNhps8/s1600/Coco-movie-image-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yoCm-c2i1L1HVIPzZY0upNCZid_YZ1BlBm9hdBiWwbBL96X7t3a5NU7sO8SMwn23gXf-zWnixm-iJgWNpPExVuWB_p9jT5dUSObBwYJ3sqR9DA-NZhv90SRMSVOwE0OcCAuQjVNhps8/s640/Coco-movie-image-2.jpg" width="640" /></a></div>
<ol>
<li><span style="font-size: large;">Coco</span></li>
<li><span style="font-size: large;">Phantom Thread</span></li>
<li><span style="font-size: large;">The Beguiled</span></li>
<li><span style="font-size: large;">Twin Peaks: The Return</span></li>
<li><span style="font-size: large;">A Cure For Wellness</span></li>
<li><span style="font-size: large;">The Florida Project</span></li>
<li><span style="font-size: large;">Blade Runner 2049</span></li>
<li><span style="font-size: large;">Star Wars: The Last Jedi</span></li>
<li><span style="font-size: large;">Alias Grace</span></li>
<li><span style="font-size: large;">Wormwood</span></li>
</ol>
<span style="font-size: large;"><br /></span>
<span style="font-size: x-large;">Achievement in Editing</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYEG68M9Fdmodi6-eOwarLpKJjUqrH1Uphn42IO6-GcCLeMdzhaLECWYZML_khKuHh3V9A6wM8f-wufMCOMgqt_B2EoFvoeEqMC4zIE5AndE4lNOYncc5_vZWFKhIlafS4EZT04XC2UmI/s1600/operation-avalanche-matt-johnson-interview-body-image-1474663518-size_1000.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="1000" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYEG68M9Fdmodi6-eOwarLpKJjUqrH1Uphn42IO6-GcCLeMdzhaLECWYZML_khKuHh3V9A6wM8f-wufMCOMgqt_B2EoFvoeEqMC4zIE5AndE4lNOYncc5_vZWFKhIlafS4EZT04XC2UmI/s640/operation-avalanche-matt-johnson-interview-body-image-1474663518-size_1000.jpg" width="640" /></a></div>
<div>
<div>
<ol>
<li><span style="font-size: large;">Operation Avalanche</span></li>
<li><span style="font-size: large;">Wormwood</span></li>
<li><span style="font-size: large;">Good Time</span></li>
<li><span style="font-size: large;">Guerilla</span></li>
<li><span style="font-size: large;">Beach Rats</span></li>
<li><span style="font-size: large;">Contemporary Color</span></li>
<li><span style="font-size: large;">Phantom Thread</span></li>
<li><span style="font-size: large;">Paint it Black</span></li>
<li><span style="font-size: large;">Alias Grace</span></li>
<li><span style="font-size: large;">Baby Driver</span></li>
</ol>
</div>
<div>
<br /></div>
<div>
<span style="font-size: x-large;">Achievement in Sound Design</span></div>
</div>
</div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6PlPIsM70-HJo8MvqhTLiezyq8hFojJqBrgeUS2lCXgeoJAtPI1AYmsDnSCZOnqmZ9lcXuM_18fTj1cxG6d7Hos6kLwNR5TenaBG-SMd-0_Wazi0XZuaD35B_kuSMu3ETnsFs27ZLK2k/s1600/Brody-Twin-Peaks-1200x630-1495464017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6PlPIsM70-HJo8MvqhTLiezyq8hFojJqBrgeUS2lCXgeoJAtPI1AYmsDnSCZOnqmZ9lcXuM_18fTj1cxG6d7Hos6kLwNR5TenaBG-SMd-0_Wazi0XZuaD35B_kuSMu3ETnsFs27ZLK2k/s640/Brody-Twin-Peaks-1200x630-1495464017.jpg" width="640" /></a></div>
</div>
<div>
<ol>
<li><span style="font-size: large;">Twin Peaks: The Return</span></li>
<li><span style="font-size: large;">Phantom Thread</span></li>
<li><span style="font-size: large;">Éternité</span></li>
<li><span style="font-size: large;">Baby Driver</span></li>
<li><span style="font-size: large;">Contemporary Color</span></li>
<li><span style="font-size: large;">The Untamed</span></li>
<li><span style="font-size: large;">Voyage of Time</span></li>
<li><span style="font-size: large;">Song to Song</span></li>
<li><span style="font-size: large;">Alien: Covenant</span></li>
<li><span style="font-size: large;">Beach Rats</span></li>
</ol>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: x-large;">Achievement in Costume Design</span></div>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVY3R1tgydekgJupbUJZndyADwcxHmBEJROWKss9440ZdlCRYB4qJshVALLDGtWS77YNzFWJChYXXNnbKsjoscd1gzi9q2fxEdwB298-j63LFqjeoEbE4kN6jLAev4q9ls-fPmPth3x1I/s1600/4107_D022_05694_R21498511672.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="429" data-original-width="644" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVY3R1tgydekgJupbUJZndyADwcxHmBEJROWKss9440ZdlCRYB4qJshVALLDGtWS77YNzFWJChYXXNnbKsjoscd1gzi9q2fxEdwB298-j63LFqjeoEbE4kN6jLAev4q9ls-fPmPth3x1I/s640/4107_D022_05694_R21498511672.jpg" width="640" /></a></div>
<div>
<ol>
<li><span style="font-size: large;">The Beguiled</span></li>
<li><span style="font-size: large;">Phantom Thread</span></li>
<li><span style="font-size: large;">Zama</span></li>
<li><span style="font-size: large;">The Young Karl Marx</span></li>
<li><span style="font-size: large;">Pilgrimage</span></li>
<li><span style="font-size: large;">Wormwood</span></li>
<li><span style="font-size: large;">Alias Grace</span></li>
<li><span style="font-size: large;">Tour De Pharmacy</span></li>
<li><span style="font-size: large;">Slack Bay</span></li>
<li><span style="font-size: large;">Blade of the Immortal</span></li>
</ol>
</div>
</div>
Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-78833011265599235612018-01-10T03:29:00.000-05:002018-01-10T16:38:16.739-05:00My Favourite Films of 2017<div class="separator" style="clear: both; text-align: left;">
<span style="font-size: large;">1. Phantom Thread</span></div>
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<span style="font-size: large;">by Paul Thomas Anderson</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinl7QLJp0dCHOxTQ-8zA98ArvSE6Dw_Sjs8ufO8-78fWnZLDtAEAIGzYgvzJekfrxkcyAcGLbF0wfNv2JhKmf9DH_GXydTPFH9g4Dfza2udbl5QcLMeIhgmB1UOcNBipw0dOro704lt1M/s1600/phantom-thread-movie-image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="768" data-original-width="1440" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinl7QLJp0dCHOxTQ-8zA98ArvSE6Dw_Sjs8ufO8-78fWnZLDtAEAIGzYgvzJekfrxkcyAcGLbF0wfNv2JhKmf9DH_GXydTPFH9g4Dfza2udbl5QcLMeIhgmB1UOcNBipw0dOro704lt1M/s640/phantom-thread-movie-image.jpg" width="640" /></a></div>
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<span style="font-size: large;">When a new movie is run through a projector, it's a rare and beautiful thing. It's more than just placing an image on a screen, it's throwing a little piece of the entire history of film onto a canvas. Seeing how an artist paints with that history, hearing sounds that have popped in the ears of cineastes for decades. Paul Thomas Anderson, by virtue of being the only director who insists his films be projected on film when they're first released, does us all a favour. He makes us remember everytime we've sat in front a projector watching 35mm film run by a stream of light. That alone would be enough. He also makes masterpieces. And I don't like that word, it's basically meaningless. I just don't know how else to begin. He begins by taking a fistful of early David Lean (<i>Brief Encounter, Passionate Friends, Blythe Spirit</i>) and stitching them together with fabric borrowed from Hitchcock. When we need to understand our heroes’ perspectives, we’ll suddenly find ourselves in a dynamic setting crib from <i>Psycho</i> or <i>Vertigo</i>. The two English directors are his passport to the setting, allowing him to know how tall to stand in cramped drawing rooms, how breakfast is served, how a man sits in a chair and how women know they’re being observed. And from that negative, that feeling of what is and isn’t, Anderson builds from little more than gray houses, white walls, orange halls and cancelled parties, a realm of defeat and unwanted attention, of perpetual annoyance that picks everyone up onto their toes and sets every spine straight. Anderson has made a film about the condition of being an artist that greets outright the hidden contract between every stormy male ‘genius’ and the people who care for them, every muse, wife, and wet nurse. If talent is a kind of degenerative disorder, one that requires quarantining from the rest of the world, then the only way in to their psychosis is through disease. Love must be a fever cabinet, and we must sweat out our perceived alienation from the touch of those who care. Flat on your back hallucinating one’s dead mother, we aren’t tortured geniuses, just tortured, and every prisoner needs a jailer and a doctor if they’re to live out the end of their sentence. Anderson makes no excuses for the perversity of his discovery, thank heaven, and the fetishistic parade the insane lovers lead is a tour of early sound cinema’s casual provocations. The films sounds and feels like the product of some mad fetishist from the '70s, a Losey or a Visconti, but it’s speaking to us in the present. I’ve never been more eager to answer.</span></div>
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<span style="font-size: large;">2. Twin Peaks: The Return</span></div>
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<span style="font-size: large;">by David Lynch</span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6IJficz6iv2nkoiz4-dJuH_wEW3D1RUnAQ0Az0a4p5T3dYLlV-c9YKiJ4u0yAyvMHrw7Lho99W4g38X0nDWvKssL498FOWhq0O-TYUwFzGBTjT06G4AwR4wGMPHCvQyFHoMKIVXktkE8/s1600/bomb.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="698" data-original-width="1240" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6IJficz6iv2nkoiz4-dJuH_wEW3D1RUnAQ0Az0a4p5T3dYLlV-c9YKiJ4u0yAyvMHrw7Lho99W4g38X0nDWvKssL498FOWhq0O-TYUwFzGBTjT06G4AwR4wGMPHCvQyFHoMKIVXktkE8/s640/bomb.png" width="640" /></a></span></div>
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<span style="font-size: large;">David Lynch’s retirement guarantees an altogether safer and less interesting artistic life for people all over the world. Just look at the outline of this 18 hour odyssey: people spent the last two decades waiting for him to fulfill the promise of a thoroughly compromised object he managed to half-sneak by networks and censors. He the </span></div>
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<span style="font-size: large;">spends the meantime making the most violent, sexual and a-rhythmic shadowplays any American had ever attempted. So then he returns to the project after a ten year silence spent doing little other than meditate and make music in his garage and what did viewers want? Catchphrases and cute behavior? What did he do? Make a deconstructionist myth about (sexual) evil in the United States, positing the loss of our soul as the minute we uncovered a way to end civilizations and turned it on ourselves simply to measure the potential damage. In a way we did stop advancing when we discovered the bomb. When we first learned how to unleash untold destruction and horror on our enemies, how to make sure they have American flag-hued radiation scars for generations to come, before we gave houses and food to each of our own beleaguered citizens. Who are the harbingers of this unspeakable intangible horror? Vagrants. Forgotten men. Our reckoning. The people abandoned by the state apparatus, naturally they will later haunt the FBI and its army of befuddled shadows, causing them to imagine they could undo the evil they protect. And that’s the show’s MO. Those of us who believe we understand the truth or protect some rosy dream of it will be the ones hurt most by its wooly lashing sting. It breaks free from cages and mutilates the ‘innocent’ and guilty alike because we believe in the state and prop it up, as we do with our religious beliefs and capitalism. We’re the ones keeping all the lies afloat. And the best we can do is ask that our art be identical to all previous work? Lynch posits that we deserve to be trapped in time reliving our greatest failures if all we want is empty nostalgia. After all, what are we pining for? A time before ours, even less enlightened ("gotta light?"), where women and people of colour couldn't walk a city block without certainty of white violence? Our nostalgia is a privilege we didn't earn. What we thought of as a cozier time was a nightmare, and our cute show about a town of oddballs was always about a father raping his daughter. Now we can't pretend. </span></div>
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<span style="font-size: large;">3. Lady Bird</span></div>
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<span style="font-size: large;">by Greta Gerwig</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJJSnZM4l-GBluoc2-nGdyfqmYBdGGrASjIW21jNSwtnDiDMmVtpgiDdU3qWGtLt1II8Nqpfvz6TRAkv26EKS-Snh5KzQTKe3-_aA4zHtEEp0iDn9Ky69BbLNlr4FGimJl8GJFxg7JXk/s1600/MV5BZDRhODE1NGQtOGMxZS00OGRkLWEzOGEtZDhjODdjNDQ5MGYzXkEyXkFqcGdeQXVyNDU3MjgwMDQ%2540._V1_SY1000_SX1500_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtJJSnZM4l-GBluoc2-nGdyfqmYBdGGrASjIW21jNSwtnDiDMmVtpgiDdU3qWGtLt1II8Nqpfvz6TRAkv26EKS-Snh5KzQTKe3-_aA4zHtEEp0iDn9Ky69BbLNlr4FGimJl8GJFxg7JXk/s640/MV5BZDRhODE1NGQtOGMxZS00OGRkLWEzOGEtZDhjODdjNDQ5MGYzXkEyXkFqcGdeQXVyNDU3MjgwMDQ%2540._V1_SY1000_SX1500_AL_.jpg" width="640" /></a></div>
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<span style="font-size: large;">Greta Gerwig has made a film as lovable, heedlessly emotional and improbably fluid and dextrous as she is as a performer, a slightly sunnier but no less honest prequel to her first film <i>Nights and Weekends</i>. She's captured the voice of white teenagers and their mothers as perfectly as I've ever seen it (I've seen these arguments, been in the room as the talking turns to shouting). Arguments and affection measuring as expressions of the horrific anxiety that comes with loving someone who stepped out of you/who made you accidentally in their image, perceived flaws and all. It's a beautifully open work about the carpeted battleground of suburban co-habitation, of worrying about money because it might mean your love changes when tuitions can't be paid. Every new idea is a war of egos, every new development in one life is a reminder of what's missing from the other. This honestly written, empathetically directed tug of war (our hero, a never-better Saoirse Ronan, rebels against her family, the idea that she herself might be overly entitled, both of her chosen boyfriends, even her own name) puts one very specifically between a mother and daughter, but also of anyone who grew up with aspirations bigger than their environment allowed. A tired priest staging Sondheim, a nun who pines for a little rebellion of her own, a Hispanic adoptee chafing against his white family. It's incredibly specific, but its spirit is universal. </span></div>
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<span style="font-size: large;">4. The Rider</span></div>
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<span style="font-size: large;">by Chloé Zhao</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizxOw7iMYk6VnEDIUXgp35oQ43oK-aA696Sw55eRS31G3M2NuHMmhq5XCIM7RQvsCwF0aH1_o7DgEc3G_3Sm_KKeGO8APjcOEoIEmgg35W_S61B7k9KxF0ZCfqcMw4Z2kJ733tIhp_9tM/s1600/Rider_02_-_Use_This_For_Announcement.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizxOw7iMYk6VnEDIUXgp35oQ43oK-aA696Sw55eRS31G3M2NuHMmhq5XCIM7RQvsCwF0aH1_o7DgEc3G_3Sm_KKeGO8APjcOEoIEmgg35W_S61B7k9KxF0ZCfqcMw4Z2kJ733tIhp_9tM/s640/Rider_02_-_Use_This_For_Announcement.jpg" width="640" /></a></div>
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<span style="font-size: large;">It's in this film's half-dozen tableaux of cowboys walking through an acre of dusk-lit wheat and dirt that the movie's singularity becomes overwhelming. You may have seen grainy images of lone western heroes carefully choosing the next step toward oblivion before, but when has the lead-up to these eternal footsteps felt quite so riddled with hard-fought and hard-lost emotional portent. Have we ever known so thoroughly the vituperative whim of fate as reflected through such heartbreakingly simple choices? All around our lead lie little signifiers that his freedom, his love for life, is about to come to a horrific, painful, protracted end. His sister and his best friend offer him clues of a life robbed of one's faculties. His father's weathered face and uneasy existence show the toll of unwanted responsibility. His young friends remind him of the promise he had just a few short years ago. And the horses for which he cares remind him that nothing ever stays free or wild. This film has a preternatural compassionate grace I'm not used to seeing from young filmmakers working in America. </span><span style="font-size: large;">Chloé Zhao is about to become one of the greatest filmmakers who ever lived. </span></div>
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<span style="font-size: large;">5. Zama</span></div>
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<span style="font-size: large;">by Lucrecia Martel</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV1rVgELJoSmHI6PfPZA6a_RGDlOJM1rmXOvjbbj1nJwzngZeIwcqhfg8FQ9SWxE8HHJNBDfkNsx2geEUDQ2viIxf-u_ru64NJLdlyVFoV931XMLUUZhjy9J_kRgJbA4H72j6Kds9fz1s/s1600/vlcsnap-2017-10-16-20h31m04s866.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV1rVgELJoSmHI6PfPZA6a_RGDlOJM1rmXOvjbbj1nJwzngZeIwcqhfg8FQ9SWxE8HHJNBDfkNsx2geEUDQ2viIxf-u_ru64NJLdlyVFoV931XMLUUZhjy9J_kRgJbA4H72j6Kds9fz1s/s640/vlcsnap-2017-10-16-20h31m04s866.png" width="640" /></a></div>
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<span style="font-size: large;">Returning from nigh a decade in the wilderness Lucrecia Martel's new film shows a man reluctantly surrendering to it. This gorgeous ambling cautionary tale about colonial power is the sort of epic they used to make once every six months before the 80s steered film art on a course against ambience and stillness. Exploration used to look like this back when directors like Nelson Pereira dos Santos, Werner Herzog and Lina Wertmüller were young. Now this seems out of time. All the better for it, obviously, but a joyful anomaly. Aristocratic responsibility is rendered as the worst hangover in history, what happens when the hallucinogens, drink, smoke and pleasure have all turned to pain and curdled the unfamiliar land you no longer wish to haunt. How can you tell from the hellish, quaking, multicolored reality from your worst nightmare, especially when you lose a little more of your glory and position with each passing day? Zama's brilliantly realized loss of agency shows Martel at her most playful and irreverent, the anger of the film's message coyly buried under waves of soft music, body paint, llama staring contests, and one empty promise and building after another. Try to rebuild <i>your</i> civilization where it does not belong and the result will undoubtedly look preposterous and end in murder. Martel, who moved from ice cold (<i>The Headless Woman</i>) to sweltering hot (<i>Zama</i>)<i>,</i> is at the peak of her observer's power. This gently psychedelic warm bath of a movie she has drawn for us feels like the height of cinephile luxury. </span></div>
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<span style="font-size: large;">6. </span><span style="font-size: large;">A Cure for Wellness</span></div>
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<span style="font-size: large;">by Gore Verbinski</span></div>
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<span style="font-size: large;">Gore Verbinski himself seems to have <a href="https://mubi.com/notebook/posts/review-don-t-drink-the-water-gore-verbinski-s-a-cure-for-wellness">taken the cure</a> because he's living his best life. After attempting to educate America's preteens about America's shameful genocidal past via an early cinema rollercoaster ride (and famously <i>not</i> making enough studio money while he was at it), some maniac gave him <i>even</i> more money to talk about what a corrupt superstructure capitalism is. The very reason this gorgeously insane curio cabinet exists, is to explain that the very lunatics who greenlit it are in thrall to cult mentalities and unhinged amorality. The vessel he uses to tell us all this? Tormenting uncharismatic Dane DeHaan for just about three hours, squeezing him like an eel and watch him squirm on the floor gasping for life. The most gorgeous use of digital this year, and proof that there are still a couple of maniacs throwing studio money down the toilet expressly so that kooks like me can watch in orgastic stupefaction as the movie I watch turns from <i>The Devils </i>to <i>Sheitan</i> to <i>Phantom of the Opera</i> and back again. Grimy, sweaty, blue black fantasia. The film I'm most grateful somehow was made in 2017. </span></div>
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<span style="font-size: large;">7. Call Me By Your Name</span></div>
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<span style="font-size: large;">by Luca Guadagnino</span></div>
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<span style="font-size: large;">A lot of the time I walk around with the opening credits of <i>I Am Love</i> playing in my head. To me, the perfect fusion of architecture, light and music, which likely says as much about me as people who prefer something by the great Eugène Green. Don't get me wrong, I love Green's religious rapture in the face of ancient buildings, but there was something more modern, more perverse and propulsive about the way Luca Guadagnino did it. The film that follows was a fulsome melodrama hidden beneath a cool sheen of music, immutable lighting, set in place by an apparent remix of <i>L'eclisse. </i>As much as I wanted the gorgeous mirrored stage opening of <i>A Bigger Splash</i> to be a representative curtain raiser, the film settled into a too-busy rhythm, not taking the time to luxuriate in lust and the pleasures of eternal artistry. I liked it, but after <i>I Am Love? </i>Nothing short of <i>Call Me By Your Name </i>would suffice as a follow-up. Perhaps his <i>Contempt</i>, the cool sheen now belongs to the hidden emotions buried under the touching, the quick talking, the showing off, the sly movements of Armie Hammer and Timothée Chalamet as they size each other up. Reversing (inverting?) De Sica's romantic momentum (The Adults Are Watching) among new and old ruins, this sumptuous films reaches for Sufjan Stevens (in lieu of Elliott Smith), Ryuichi Sakamoto, and most perfectly, The Psychedelic Furs to do all the talking for these muted lovers-to-be. The images are manicured like the Gardens of Lucullus, light perfectly deepening every shirtless body and broken statue, hinting at the impossibility of living whole. </span><span style="font-size: large;">Chalamet will remember letting go of Hammer for as long as those statues sat at the bottom of the sea. Our emotions have lives beyond us, our love sunk into the stone of villas, playable like the classical music used to seduce and disarm. This film understands the surfaces of art as reflections of our hidden desires, and ably joins the canon of the works referenced through its effortless charm and fearless emotional transparency. </span></div>
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<span style="font-size: large;">8. The Young Karl Marx</span></div>
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<span style="font-size: large;">by Raoul Peck</span></div>
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<span style="font-size: x-large; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="778" data-original-width="1166" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYOQ2D6IwzL4FZHN_zU7pidRYzaBVgQa0filIttXchZ0sH13vS2CSyDQC9qCScF15r9TCeNIH2wu3mzNlRncYC9df2vuUf7DVvFMgvHqO3c0FjO6e4j5-a9NRwsave2OODObpfpaWIdLc/s640/screen-shot-2017-02-12-at-1-08-56-am.png" width="640" /></span></div>
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<span style="font-size: large;">Vicky Krieps will likely be best remembered for <i>Phantom Thread</i> when surveys of her career are conducted, but she's a fierce, earthy presence and just as lovable and alive as Jenny Marx in Raoul Peck's delicious biopic. She's certainly a match for Stefan Konarske's Engels and August Diehl's Marx, which is handy because their ideological romance is the film's central concern, more than Marx's marriage to Jenny or Engels love for Mary Burns (Hannah Steele). The ricochet of love-as-counterargument to capitalism is a seductive idea given the full weight of historical drama. Peck and his team pull a grammatical fast one, filming, designing and costuming up a storm as if they were making Jane Austen or Tolstoy. And then he serves up the history of communism as if it were a drama about dowries. I know why people didn't like this, they're just wrong. This thing is compulsively enjoyable and rewatchable on the strength of its design and performances, to say nothing of the now-invaluable feeling of watching history being changed for the better. Can't tell you how much that means to me now. These men drank and smoke and puked in the gutter dreaming of a time less goddamn awful. Peck could have made basically anything after his runaway doc smash <i>I Am Not Your Negro</i> and he chose this because this information is still important. </span></div>
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<span style="font-size: large;">9. Éternité</span></div>
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<span style="font-size: large;">by Tran Anh Hung</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTAzIeJL1qwaBbV2oiU3MicsX1roiTSV0y9YCo97OcBpcbqAmou5xf_OjeJy8dVLpQqfzdnq23Ug5oy84MJJ1NiqVaPy8Jezi5OV42n7tSqYViQw699MN3TIumxT0leVSCRZ4LAqs8Do/s1600/0042d5b5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTAzIeJL1qwaBbV2oiU3MicsX1roiTSV0y9YCo97OcBpcbqAmou5xf_OjeJy8dVLpQqfzdnq23Ug5oy84MJJ1NiqVaPy8Jezi5OV42n7tSqYViQw699MN3TIumxT0leVSCRZ4LAqs8Do/s640/0042d5b5.jpg" width="640" /></a></div>
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<span style="font-size: large;">Tran Anh Hung's <i>Norwegian Wood</i> is one of the most intelligent and exacting looks at an emotional meltdown ever recorded, the way it clouds your periphery and focuses in on nothing but pain. His follow-up spares no ounce of pain, but is in a much more relaxed and resplendent milieu, perhaps as a way to escape the chill of his last film. </span><span style="font-size: large;"><i>Éternité, </i>his <i>Tree of Life</i>, is about the way pain and love become unwritten human history. A catalog of loss and coupling, births and funerals, set to a never-still classical score, shows the way we travel through other people's memories as participants and visitors. The way we build memories and express ourselves. The film has no plot, just a series of impressions each more beautiful and important than the last. Films like this frighten people, hence it never being released in the US, the way they treat life cinematically, eliding conflict and making normality its subject. Socialist-humanist art will probably never catch on in such a hateful place, but when it sneaks over here I'm always grateful. When it's this transcendent, I'm over the moon. </span></div>
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<span style="font-size: large;">10. Contemporary Color</span></div>
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<span style="font-size: large;">by Bill & Turner Ross</span></div>
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<span style="font-size: large; text-align: left;">Speaking of socialist art, David Byrne recreates the kind of flag dancing that was previously a staple of Asian dictatorships and American towns during Jim Crow, and given it to the people! Which people? Well whoever might be tempted by Blood Orange, David Byrne, Nelly Furtado and St. Vincent writing original songs for a one-night-only concert event. As filmed by the Ross brothers, this event was the second coming of the <i>Stop Making Sense</i> tour. Everyone on stage matters, the music combines everyone's efforts in a graceful sonata of fabric, arms and legs. An odyssey of acceptance (filmed on the night the country legalized gay marriage), this film exists to transport performers' smiles to screens across the country, to show everyone what it looks like when Zola Jesus is lost in song, her head thrashing while her flag team takes over for her. That reverie is worth everything. </span></div>
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<span style="font-size: large; text-align: left;">11. Behemoth</span></div>
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<span style="font-size: large;">by Zhao Liang</span></div>
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<span style="font-size: large;">Industry's malevolent arms stretching over untouched land, naked men laying on the ground like an infant workforce, and the silent calm, claiming it through influence and the ghosts it's left behind. Everything is touched by the oil-slicked designs and mangled limbs of labor, keeping the surface of the earth a deafening roar of productivity to sustain its life. Nothing waits below, no back-up plan after destruction, and nothing waits above, after, when we're on a burnt coffin of a planet. All there is, all we can hope to do, is hold up a mirror and see if the right monsters gaze inside. <i>This</i> is really what you're doing. <i>This</i> is the world you're making. <i>This</i> is your absent face while men work for nothing and die for less. A broken promise of more humanity. </span></div>
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<span style="font-size: large;">12. My Happy Family</span></div>
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<span style="font-size: large;">by Nana Ekvtimishvili & Simon Groß</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCnAso068Qevkbra57LXmEew7wUZ6lRwnGUhO2GoczXW6gMVHuWSf1NW4AiNsZhuPVGBa2SON0a3qvxhVylmnkWuWMb2gqzbD7xI87jkfzovt8kxB9Mpf-jkws7wo0RFR26SRYxCX-f3k/s1600/My-Happy-Family_sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCnAso068Qevkbra57LXmEew7wUZ6lRwnGUhO2GoczXW6gMVHuWSf1NW4AiNsZhuPVGBa2SON0a3qvxhVylmnkWuWMb2gqzbD7xI87jkfzovt8kxB9Mpf-jkws7wo0RFR26SRYxCX-f3k/s640/My-Happy-Family_sm.jpg" width="640" /></a></div>
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<span style="font-size: large;">Though it'd be nice to have a film like <i>Holy Motors</i> every year, that completely rewrites the simplest cinematic equations into some hitherto unseen formula, it's equally flooring and comforting to watch a movie like <i>My Happy Family </i>this far after the birth of cinema<i>, </i>which does little but observe a woman in crisis, and walk away feeling moved and exhilarated. A prime example of what my friend Danny Bowes once termed "Long ass movies with long ass takes in foreign fucking languages," </span><span style="font-size: large;">Ekvtimishvili and </span><span style="font-size: large;">Groß manufacture the right circumstances in which to press their characters and watch the incredibly expressive faces of their actors as they re-think everything they've ever done. If it's lead them to this crossroads, maybe they've made some huge mistakes. </span><span style="font-size: large;">Ia Shugliashvili performs an incredible feat as she both unravels and finds herself, often in the same scene. She has to go through a trial by fire in order to prove to herself she can live without her family, but that also takes a little of her authority away from her in the eyes of her mother and children. The navigation of self worth is always going to be an inexhaustible subject, but when it's done with this much awareness of cultural expectations, as well as a woman's relative power in restrictive societies, or even in the context of a close family, every word and gesture carries atomic power. Which is why seemingly ordinary embarrassments, as when </span><span style="font-size: large;">Shugliashvili has to sing for her high school reunion, become titanic tests of oneself. If she can make it to the end of the song without breaking, she can do anything. I'll never not be moved by women who have earned a little piece of mind and respect and are <i>this</i> close to achieving it. </span></div>
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<span style="font-size: large;">13. Wormwood</span></div>
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<span style="font-size: large;">by Errol Morris</span></div>
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<span style="font-size: large;">An exhaustive, exhausting amount of information melted down into a tincture and dropped into your eyes, Errol Morris' latest might be the crowning achievement of his decades as a documentarian. A thousand cameras and a million words support his investigation of Eric Olson's coming of age through <i>his </i>investigation of his father's death. Olson, who studied collage and spent his life looking into the lie's surrounding his father's 10 storey drop to his demise, provides the wry, sticky voice of interrogation as we watch a splendid cast (Peter Sarsgaard doing what he was born to do as departed Frank Olson) re-enact the central mystery of his childhood. Like a bizarre therapeutic experiment, Morris takes equal delight framing the interviews as he does recreating a paranoid and perpetually sunless 50s, throwing new twists and turns (and a metric ton of disarming, confounding images and sounds) as Olson discovered them throughout his life. The character of the 50s are captured with unrivaled uncanniness, its sci-fi fixations, heroic drinking, buried emotions, and atomic fears lingering in every half-lit room and on the edge of every deranged smile. A film about paranoia that reveals that the paranoid were right to suspect the truth was being hidden, but wrong about what it all meant. Jumped, fell, pushed, dive...the point is Olson hit the ground. Morris knows that no matter how many ways you frame the truth, you'll always wind up there, which makes this hours long experiment an incredible feat, in that it feels like it might not end the way we know it does. The greatest generation a den of vipers, high, cracking up, depressed, lying, murdering, covering up, drunk, deranged and never held accountable. It's Shakespeare without a hero or an ending. </span></div>
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<span style="font-size: large;">14. </span><span style="font-size: large;">Voyage of Time/Song to Song</span></div>
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<span style="font-size: large;">by Terrence Malick </span></div>
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<span style="font-size: large;">When I watched these films separately I was moved, certainly, but not in the way I was by the epics (<i>Knight of Cups, Tree of Life,</i><i> The New World</i>)<i> </i>and then it hit me that these films together represent a closing of a chapter in his artistic life. That's why he wanted them released so near to each other. <i>Voyage of Time</i> is his exploration of the beginning of mammalian existence after the big bang in <i>The Tree of Life. Song To Song</i> is his Garden of Eden and after story, what happens when humans walk upright and leave the breast of their creator, destroying each other, themselves, the land in the process of discovering some viable form of existing without god: the creation of art to replace him. Together these films are a perfect displaced understanding of human purpose and life, and an even more perfect look at what Malick values. He has Patti Smith play the film's god proxy, after all. That's about as personal as it gets. The world is a dense thicket of conflicted morality and true north no longer exists, every cut a blink from beyond, transporting us further than we thought possible. </span></div>
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<span style="font-size: large;">15. Visages Villages</span></div>
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<span style="font-size: large;">by Agnès Varda & JR</span></div>
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<span style="font-size: large;">Looking back at the history of cinema is fraught with unspeakable tragedy. It's difficult to watch Chantal Akerman's movies without becoming overwhelmed with loss. That's how I've felt about Agnès Varda for awhile now. She's still with us, but her last new feature I'd seen was <i>The Beaches of </i><i>Agnès</i> and while it's unspeakably gorgeous and life-affirming, it's also a tough act to follow. How could Varda make another film this personal, she'd already told her life story through her art? She'd built herself a house of celluloid (literally), and talked us through the death of her truest love. What was there left to do? Well, I suppose she could come up with a joyous B-side about memory and images that could unstick her legacy from the perfect melancholy of <i>Beaches</i>. With photographer/imp JR by her side, Varda tours the French hinterland looking for anyone who needs cheering up, and gives them a hefty dose of her enormous cinematic ambition from her point of view a few feet off the ground. I sat next to her this year to <a href="https://www.rogerebert.com/interviews/agnes-varda-and-jr-on-faces-places">interview her</a> about the film, and though we rambled and she was tired, the experience had no equal. Her small, wrinkled hands, her improbably fierce-yet-soft eyes, her perfectly cropped and dyed hair. I felt like I was visiting Mount Olympus, because how could such a figure, capable of the most colossal work, who changed lives with a simple flexing of her artistic muscles, be right here next to me? I wanted to hug her and thank her for everything she'd done for me, for every feeling her movies had provoked in me, but I might have traumatized her. I settled for shaking her tiny hand and smiling. I hope I was able to communicate half of what I wanted to express in that look as she can in a close-up. I never got around to mentioning that I just about cried watching her sing "Ring My Bell," because there's an all-too-thin line separating journalist from weeping fanboy. She's done enough in her 89 years, including making <i>Visage Villages,</i> a soufflé of joyous interactions, that I can spare her having to validate my response to her work. She made it. As always, that's enough. </span></div>
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<span style="font-size: large;">16. Alias Grace</span></div>
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<span style="font-size: large;">by Mary Harron</span></div>
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<span style="font-size: large;">Mary Harron and Sarah Polley, possibly the coolest Canadian feminists alive, worked together to bring to life one of Margaret Atwood's slipperiest texts, giving a plum role to the eminently beguiling and Dietrich-resembling Sarah Gadon. What did we do to deserve such a gift? Nothing good, as the film, spread over six chapters, is a bitter indictment of indentured womanhood. The bonnets and aprons are mere exaggeration, there is no time period where its lessons don't apply. Polley's lithe writing and Harron's arch, thorough, and vicious direction (no surprises there) take us into not just the mind of their maybe-murderess but of a gender running the world in secret while their husbands and lovers paint over their contributions. The expected jealousies and fainting couch-surprise when the limits of their experience are reached without warning, <i>Alias Grace</i> shows for a time what it can feel like to fly under the radar of social expectations. What a joy it is to not be like every other woman, and what a terror it is to be at the whims of every man. Flying through memories and </span><span style="font-size: large;">subliminal</span><span style="font-size: large;"> implications at a rate that frequently feels faster than 24 frames per second, the few potential fates for every player as the central crime becomes clearer seem more and more horrific. It was never a matter of guilt or innocence, but whether it's possible to live out one's days in anything like peace when you'll always be a stranger and a problem to the man next to you. For all its effects-driven bluster, provocative pop music, hordes of extras, and paint-thick stylization, last year's enormous adaptation of <i>The Handmaid's Tale </i>can't compete with the spectacle of a man and a woman having a conversation while we in the audience have to guess who has the upper hand. </span></div>
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<span style="font-size: large;">17.<span style="white-space: pre;"> </span>Coco</span></div>
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<span style="font-size: large;">by Lee Unkich & Adrian Molina </span></div>
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<span style="font-size: large;">Pixar's stock in trade has long been making you cry whether you want to or not. They've been largely successful from day one, but it wasn't until <i>Coco</i> that I had the prescribed reaction when watching the first ten minutes of <i>Up</i> (my vote for their best film other than this), or the Sarah McLachlan interlude in <i>Toy Story 2</i>. And though it may be what the film was built to do, I didn't mind at all how uncontrollably I lost control of myself during the final ten minutes of <i>Coco</i>. My grandmother is 93 and her memory is starting to go, this movie is for me as much as anybody. The movie earns those ten minutes, of course, that's the real achievement. It's about dying twice when everyone alive forgets about you. How parents are explaining this to kids is anyone's guess, but that's just about the most devastating plot I've ever heard. Thank god the film is so vibrant and lush. The colours and set design are a neon dream, redesigning their characters and symbols as alternately poised and stumblebum Mexican melodramatic staples (if this film encourages more people to seek out classic Mexican cinema [<a href="https://dcairns.wordpress.com/2011/08/02/a-is-for-amok/">you might want to start here</a>], it will have <i>more</i> than done its job). The film is a feast for the eyes and a non-stop delight, and yes, you'll cry like a baby if you're anything like me. </span></div>
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<span style="font-size: large;">18. Beach Rats</span></div>
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<span style="font-size: large;">by Eliza Hittman</span></div>
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<span style="font-size: large;">As I've told anyone who will listen, Eliza Hittman has decided to become our premiere neo-realist and this is her <i>Accattone (Boardwalkattone?), </i>a deeply sensuous look at burgeoning (and just as quickly stifled) sexual identity among the perpetually repressed. The symbols and places (a busy beach, a father's funeral, a flea-bitten motel) are all right out of the Italian passion play dictionary. Hittman's camera and editorial rhythms recall the way Kevin Shields plays guitar, turning everything into a deep rushing wave into which you're meant to dive. Her acute perception of the location and its denizens is rivaled only by her understanding of young lust and what we'd give to keep our identities a secret during certain periods in our lives. </span></div>
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<span style="font-size: large;">19. The Rape of Recy Taylor</span></div>
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<span style="font-size: large;">by Nancy Buirski</span></div>
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<span style="font-size: large;">It occurs to me that if anyone ever needed proof that we need strong, thought-provoking and justifiably furious documentaries like <i>The Rape of Recy Taylor</i>, all you need to do is look at the comments under any given review. <a href="https://www.rogerebert.com/festivals-and-awards/nyff-2017-the-rape-of-recy-taylor-before-we-vanish">Take mine,</a> for example. The first comment is about me being hyperbolic about race relations in this country (gonna go ahead and assume the commenter is white, just a crazy hunch), and later I'm told that I've confused real life for <i>The Handmaid's Tale </i>(which this person has ostensibly watched, despite not believing racial/sexual imbalance is an issue worth caring about). Everything about it is perfectly frustrating: belittle and undermine any attempt to look back at this country's hideous racial and sexual history, and swiftly put down the notion that any of that is still a problem. So I'm grateful for this film because it dares to look and speak up, dares to interview still living victims of antique racism (in case there was any doubt it's still running rampant in the goddamn streets), dares to suggest we owe our public an apology for centuries of violent, unspeakable cruelty, dares to even exist. That Buirski's surfaces, like being gently pulled across the polished marble floors of a museum, are getting even more assured and gorgeous only helps her wedge her ideas into our unconscious. This film is a terrifying road trip through a shameful chapter of American history, but we need its like now more than ever. </span></div>
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<span style="font-size: large;">20. Marjorie Prime</span></div>
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<span style="font-size: large;">by Michael Almereyda</span></div>
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<span style="font-size: large;">Almereyda's always had a penchant for genre. His career begins in earnest with <i>Nadja, </i>a splendidly dream-like vampire movie, and takes many detours through post-punk horror and sci-fi. His latest, the calmly grueling <i>Marjorie Prime</i>, is the best <i>Twilight Zone</i> episode never made by John Brahm or Albert Lewin. The border between life and death is like a diaphanous sheet that could be ripped aside at a moment's notice. Like the endless glasses of consolatory whiskey drunk by the grieving central characters (including Geena Davis and Lois Smith in peak form), life here is rendered as something that could just be refilled as long as there's someone left to pour it. Watching these actors struggle with the hollow figures of departed loved ones would be wrenching if it weren't also so endless fascinating. The perfect b-side to <i>Experimenter</i>. Reality is a facsimile, best to accept it and try to move on, or you'll be stuck in a house of ghosts. </span></div>
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<span style="font-size: large;">21. </span><span style="font-size: large;">Tour De Pharmacy</span></div>
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<span style="font-size: large;">by </span><span style="font-size: large;">Jake Szymanski</span></div>
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<span style="font-size: large;">It's easy to say that commitment to the silliest subject matter is what makes parody so effective, but what I'm still laughing about six months after first seeing this is that </span><span style="font-size: large;">Szymanski manages to keep a straight face with so many of the funniest actors in the world throwing every ounce of their energy at the wall hoping not to stick. Samberg's boundless goofball energy, taped down during his <i>Brooklyn 99</i> seasons, is unleashed. John Cena, Orlando Bloom, Daveed Digs, Danny Glover, Jeff Goldblum, Dolph Lundgren and Julia Ormond all clearly relish the chance to play socio and psychopaths, completely free of morality and social grace. </span><span style="font-size: large;">Szymanski matches their free-for-all with tightly controlled parodic diction. It's the asides that make it, though, and the sense that everyone involved knows something's off. The blood cell cartoon is the best example of the creators complete dedication to a ten second joke that has nothing whatsoever to do with the main text, and yet is still the funniest part of the film. It's the entire project in a nutshell, in a way: it looks like the genuine article, starts funny and gets hysterical and histrionic in no time at all, before falling right back down to earth so we can get on with the show. The next joke is always the most important thing. </span></div>
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<span style="font-size: large;">22. Sleep Has Her House</span></div>
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<span style="font-size: large;">by Scott Barley</span></div>
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<span style="font-size: large;">Barley has been hypnotizing the natural world for our benefit in small doses for almost a decade. It sits still like it's stuck in a programmed loop while he gazes at it like a doctor staring at x-rays, inviting us in to draw whatever conclusions we can. It all happens whether we're there or not, in the dead of night, pulsing with life, buzzing and chirping thanks to the animal life hiding in the dark green expanses. His images here seem almost unreal, like he had to have painted them. How could trees, a stream, a horse, a lake seem this alien, this unsettling, this new? I'm happy not to know, to be drawn in and hypnotized like his living compositions. Part of a shared dream of unseen existence, briefly tamed, watched as much by the world as we watch <i>it</i>.</span></div>
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<span style="font-size: large;">23.</span> <span style="font-size: large;">Dawson City Frozen Time</span></div>
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<span style="font-size: large;">by Bill Morrison</span></div>
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<span style="font-size: large;"><a href="http://frame.land/dirty-old-town/">A reverie for lost potential</a>, a song for an old town, an incantation for a dying art. Morrison's post-rock histories reach a crowd-pleasing peak with this methodical look at the shaping of this moment, using the history of film as a map. </span></div>
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<span style="font-size: large;">24.<span style="white-space: pre;"> </span>Mimosas</span></div>
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<span style="font-size: large;">by Oliver Laxe</span></div>
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<span style="font-size: large;">The other doom metal pilgrimage released this year (see #35), Oliver Laxe's contemplative death march invents itself and its stylistic grandeur as it progresses. A film like this never seems like it has a clear goal and when it ends, it seems like both intuitive and insane that it's come here. Its natural harrowing course from death to death seems the only rational response to the world when it's over. While it's transpiring? A spell. A mystery. An exorcism. </span></div>
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<span style="font-size: large;">25. Slack Bay</span></div>
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<span style="font-size: large;">by Bruno Dumont</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnLgeu678aWzkolP3DkDbKMzUsh7NqXXGCgb4qCusaonh-fysVsHGNLZAqulYyU8jwHzZ4xz9rLnOeKNwK0OIwPtkEgEKFnQ4WKH67P9Mjq1_EhsFte7AWE4aWcgL088O_RjSZ_f_fzcI/s1600/maxresdefault+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnLgeu678aWzkolP3DkDbKMzUsh7NqXXGCgb4qCusaonh-fysVsHGNLZAqulYyU8jwHzZ4xz9rLnOeKNwK0OIwPtkEgEKFnQ4WKH67P9Mjq1_EhsFte7AWE4aWcgL088O_RjSZ_f_fzcI/s640/maxresdefault+%25283%2529.jpg" width="640" /></a></div>
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<span style="font-size: large;">Bruno Dumont developing a sense of humour is one of my favourite phenomena of cinephilia in the 21st century. Watching him become playfully surreal in his new, nearly slapstick passion plays makes his early serious films finally fit into a productive scheme. Dumont going funny wouldn't mean the same thing without his dead prostitutes and magic murderers stalking the halls of his back catalog. This gently transcendent farce revisits his old ecumenical stomping grounds, finally locating a vein of Buñuelian absurdity to compliment his bloodthirsty religious tales. I laughed as often as I was stunned into silence. </span></div>
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<span style="font-size: large;">26.<span style="white-space: pre;"> </span>I Called Him Morgan</span></div>
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<span style="font-size: large;">by Kaspar Collin</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizHwu4q-1DrQBFKlu22IphfoAy68-WaAp0MwNdGXGBmFPV4mYPFjv9LpL_qUNbK6VQt8BVBEbXyxNaGQdZAheECSmjEDSS12kPvB1T8wlFbYO0k78EcYm55LH8hk4gQLXlzGLblBp4YVg/s1600/maxresdefault+%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizHwu4q-1DrQBFKlu22IphfoAy68-WaAp0MwNdGXGBmFPV4mYPFjv9LpL_qUNbK6VQt8BVBEbXyxNaGQdZAheECSmjEDSS12kPvB1T8wlFbYO0k78EcYm55LH8hk4gQLXlzGLblBp4YVg/s640/maxresdefault+%25282%2529.jpg" width="640" /></a></div>
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<span style="font-size: large;">A snow-covered tale of regret and timing, you can practically see the steam rising from the mouths of its interview subjects, feel the blood pooling under Morgan's cold frame, feel the slush under your feet, the white lights of a classroom or a jazz club blinding you to the inevitable as each detail is spun into silk. A film in response to Morgan's death and his art, a kind of post-bop funeral march, <i>I Called Him Morgan</i> is all the more tragic that this movie will be much of America's first exposure to the mad, slick genius. </span></div>
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<span style="font-size: large;">27. The Meyerowitz Stories (New And Selected)</span></div>
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<span style="font-size: large;">by Noah Baumbach</span></div>
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<span style="font-size: large;">Noah Baumbach back in the autobiographical realm that reaps the greatest reward whenever Greta Gerwig isn’t around go make him stop moping. The moping here is, however, exceptional and uses the full force of the history of the movie nebbish to its benefit. Adam Sandler (good again after something like s decade faxing it in. Not even phoning it in), Ben Stiller, and Dustin Hoffman are the sexless scolds running in circles trying to avoid their deaths and their own hatreds. All three men specialize in unlikable pricks and so Baumbach must dig and dig and dig until he finds their humanity, forcing a family reckoning, each member having independent epiphanies between some of the sharpest gags of the 21st century. Everything has to break spectacularly before it can be patched up, and it’s always cathartic watching the seams rip in a Baumbach. The marginalization of women is acceptable only because this is a movie about the very specifically shit things that men do to each other and women. </span></div>
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<span style="font-size: large;">28. Let The Sunshine In</span></div>
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<span style="font-size: large;">by Claire Denis</span></div>
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<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/let-the-sunshine-in/">Claire Denis’ first outright romantic comedy</a> is exactly the languorous treat I was hoping for, a gentle, sleepy trawl through a heavily poisoned dating pool. Confidences and self esteem issues ossify after a certain age and Juliet Binoche, as our perpetually flabbergasted Denis stand-in, gets to see every way it’s possible for men to stay boys.</span></div>
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<span style="font-size: large;">29. The Untamed</span></div>
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<span style="font-size: large;">by Amat Escalante</span></div>
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<span style="font-size: large;">Using <i>Possession </i>as his springboard, Mexico's cinematic Jackson Pollock throws his best work at us in buckets of unearthly images, cineaste affection and affectation, and uncommon, under-represented feeling. Putting the lie to Carlos Reygadas' nonsensical <i>Post Tenebras Lux</i> by making his fantastic stories make linear as well as emotional sense, <i>The Untamed</i> is like a cocoon of a movie, wrapping you and its characters in both metaphor and hideous yet wonderful fantasy. This is the movie <i>The Shape of Water</i> ought to have been, a <i>Beauty and the Beast</i> erotic psychodrama unafraid of what it really is that might draw a lover to another disgusting, inhuman lover. </span></div>
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<span style="font-size: large;">30. Good Luck</span></div>
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<span style="font-size: large;">by Ben Russell</span></div>
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<span style="font-size: large;">Ben Russell’s small scale epic of the toll of labour (measured in footsteps and faces) tries to find the music hiding under the earth, the impetus for the continued fight for the soul, damaged as surely and steadily as the rock his nameless miner heroes chip away. Almost a Warholian study of the blood and sweat expended for survival, </span><i style="font-size: x-large;"><a href="https://letterboxd.com/honorszombie/film/good-luck-2017/">Good Luck</a></i><span style="font-size: large;"> will always be a relevant document of work.</span></div>
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<span style="font-size: large;">31. In The Fade</span></div>
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<span style="font-size: large;">by Fatih Akin</span></div>
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<span style="font-size: large;"><i>Manchester by the Sea</i> reacquainted me last year with one of my favorite underexplored ideas in film and literature: the communal experience after tragedy. The way a home becomes a sight of safety from the outside world, but every object reminds one of the departed. Even so the world outside isn’t a place for the fragile. <i>In the Fade</i> is a study in contrasting environments, the treachery of a safe space, the clinical hostility of a courtroom, the broken paradise of a seaside retreat. Nothing means what it used to, no value you once attributed to anyone or anything holds true, nothing of which you were once certain is so. <i>In The Fade</i> shows what it looks like for the grief stricken to invade spaces public, private, personal, foreign, hostile, and friendly. Many were bummed at the ending, but I understand it as more than cheap symmetry. How else are you going to make everyone understand what the pain of letting go does to you. The movie’s heroine (a never better Diane Kruger) wants to send an apolitical message: do not take our purpose. The one we find in the aftermath will not make sense and it will not be pretty.</span></div>
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<span style="font-size: large;">32.</span> <span style="font-size: large;">Blade of the Immortal</span></div>
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<span style="font-size: large;">by Takashi Miike</span></div>
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<span style="font-size: large;">Another long lens mini-opera of abject destruction from Takashi Miike, Japan’s foremost Rhodes scholar of pain. Hundreds of faceless opponents, maybe one for each film Miike has made, cut down in the throes of fatherly affection, the desire to know that though your life cannot be lived on your own terms any longer, you can still change the lives of others for the better. Miike’s version of a Jerry Schatzberg drama piles on the flamboyant villainy, complicated mythologies and allegiances buy stays true to his central fascination: what can the mind and heart convince the body to endure? Just about anything, it seems. This manifests itself in borderline decadent suffering but that remains a romantic outlook to which I’m always sympathetic.</span></div>
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<span style="font-size: large;">33. Stronger</span></div>
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<span style="font-size: large;">by David Gordon Green </span></div>
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<span style="font-size: large;">Though I want the biopic (at least as it's being used in America today) to be retired permanently, <i>Stronger</i> ought to serve as a reminder that no form is inherently bad. As if in response to Peter Berg's deeply terrible propaganda vomit <i>Patriot's Day, </i>David Gordon Green recovers neatly from his last ripped-from-the-headlines disaster (let's never speak of it again) and shows the actual human cost of an act of terrorism. This poor bastard (a typically fine Jake Gyllenhaal) didn't even care about the marathon or what it represented to strong Boston. He just showed up to patch up an already busted relationship. His reward was that he gets to spend the rest of his life just as broken, superficially speaking. What the film shows in agonizing detail, is that your legs don't hold a candle to your personality if you can learn to be an adult when the time comes. Tatiana Maslany (marvelous) storms through the movie tossing lessons to every brash Boston child stuck to her life like cold sores. Her newly traumatized boyfriend, his shrewish extended family and squally mother (a revelatory Miranda Richardson); everyone needs a wake-up call. The bomb is just the start of the nightmare. Now you have to live. Green's prankishness doesn't even prove a liability, as the scenes of the childlike amputees going on binges are crucial to understanding Gyllenhaal's psychology. Even more so than <i>Prince Avalanche, </i>this is the film that marries the divergent threads of his filmmaking. </span></div>
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<span style="font-size: large;">34.</span> <span style="font-size: large;">Three Billboards Outside Ebbing, Missouri </span></div>
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<span style="font-size: large;">by Martin McDonagh</span></div>
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<span style="font-size: large;">I will grant that if you were hoping this movie would have anything intelligent to say about race, your disappointment is justified. It doesn't. It's a film about the privilege afforded the aggrieved white masses in this country. That dying or being close to the dead or having an opinion stronger and more legitimate than the guy next to you means that you deserve to be heard. Francis McDormand's character learns, largely from her son, that being in pain doesn't make you special and it doesn't make you right. No one here has an assumption that goes unchallenged because everyone is a little stupider than they first appear. No cause is righteous in America unless it's <i>for</i> <i>everyone</i>. I'll never forget seeing Bill Cosby go on TV to talk about gun violence in America, his activism directly inspired by his child being shot to death. He spoke out because it affected <i>him</i>, and his activism stopped mattering the minute it became clear that his apparent value of human life didn't extend to his decision to rape dozens of women. You want to be able to do something, <i>say</i> anything, to express yourself some way about impossible turns of events such as this, but what can your actions and words ultimately accomplish? This, I suspect, is what McDonagh is trying to unpack. McDormand and Sam Rockwell's racist sidekick divine the same excruciating lesson from different angles: good intentions don't always beget the right actions and doing the right thing frequently doesn't mean jack shit. Everything they do is to make <i>themselves</i> feel more at ease with the cosmic indifference extended to their respective plights. When that fails, they take to violence because that's easier, quicker and it feels better. That's the America I know. </span></div>
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<span style="font-size: large;">35. </span><span style="font-size: large;">Pilgrimage</span></div>
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<span style="font-size: large;">by Brendan Muldowney</span></div>
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<span style="font-size: large;">When I'm president it'll be a crime to misuse Jon Bernthal, one of the sharpest and most charismatic actors in the world. Just look what </span><span style="font-size: large;">Brendan Muldowney did with him robbed of a reason to have him talk. As a monstrous, mute, murdering monk, Bernthal says exactly one word and still handily carries the movie on his hunched shoulders. Richard Armitage's sickly looking knight gives him ample support, but the film would have survived if Bernthal were the only character, tearing through thickets of faceless non-believers looking for absolution. <i>Pilgrimage's </i>foggy Irish tableaux provide the perfect setting for private holy wars and tricksy betrayals. When god is silent, Bernthal grabs a sword and speaks up. </span></div>
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<span style="font-size: large;">36. </span><span style="font-size: large;">The Beguiled</span></div>
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<span style="font-size: large;">by Sofia Coppola</span></div>
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<span style="font-size: large;">Returning to the well of abandoned femininity, from whence sprang her magnificent career, Sofia Coppola finds a passel of misfiring libidos in the feverish heat of the Civil War-ravaged south. Lies keep the sky in place here, that their cause is righteous, that the war will end peacefully, that each woman present wants the best for the tall drink of whiskey convalescing in the parlor, that there might be a way to keep every intention a secret. Coppola presents each woman as a would-be Pietà, hoping that they might cradle the last (good looking) man on earth in their silks and perfect curls, saving all men from harm by wrapping their legs around the one. Beautifully, for once, it's only the man who loses. </span></div>
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<span style="font-size: large;">37. </span><span style="font-size: large;">Let It Fall: Los Angeles 1982-1992</span></div>
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<span style="font-size: large;">by John Ridley</span></div>
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<span style="font-size: large;">Ridley's anger got quite the workout this year, between this <i>remarkable</i> feast of talking heads and his dashing miniseries <i>Guerilla</i>, the black answer to <i>Carlos</i>. Here he listens carefully to everyone, rationing rope for the crackers who need it and giving a much needed window to the still-imprisoned black faces who've never recovered from being the nation's stand-in for racially motivated violence. Daryl Gates' name is ensconced forever in the fascist hall-of-fame, but the men who attempted to fight back, to take back a piece of South Central's dignity through an outstretched hand or a closed fist? Life was at least unbiased in its refusal to hand out second chances that day in 1992. They'll hear the sounds and remember the blood on their hands and shoes for as long as they live, as they all make clear through their testimony. Ridley just listens to people who have never been asked to talk, and the heartbreaking mosaic of misunderstanding ought to serve as a potent reminder of what can go wrong when a portion of the population is pitted against another by the police. Bonus: Mark Isham's blistering score giving each word an angular melancholy, forcing them back into us no matter how hard we might want to push them away. </span></div>
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<span style="font-size: large;">38. </span><span style="font-size: large;">Lady Macbeth</span></div>
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<span style="font-size: large;">by William Oldroyd</span></div>
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<span style="font-size: large;">Colonialism rendered as a kind of venereal disease, a creeping feeling of unease as one man after another spends ten minutes in the same room as a woman who has discovered that the only thing men will listen to is sex. If that's not available, neglect. Steely, seething neglect. Florence Pugh, death's eyes in the middle of a round feline countenance, has only to watch and wait as the men around her dig their graves. Her monstrousness only seems apparent when it's too late and she's become the thing she's attempted to unseat. This is how women like Ivanka Trump, Margaret Thatcher, Mary Whitehouse, and Tomi Lahren become powerful. They narrow their gaze and stop treating their peers and equals as human. Though Oldroyd presents this as Shakespeare in the Heath, there's nothing romantic at play here. Just good old fashioned sociopathy, one of cinema's most enduringly delectable subjects. </span></div>
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<span style="font-size: large;">39. </span><span style="font-size: large;">Operation Avalanche</span></div>
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<span style="font-size: large;">by Matt Johnson</span></div>
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<span style="font-size: large;"><span style="white-space: pre;"> </span><span style="white-space: pre;">Matt Johnson's punk satire, like a Dead Milkmen record in super </span><span style="white-space: pre;">saturated </span><span style="white-space: pre;">autumnal </span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">16mm, is the perfect back-of-the-class prank. </span><span style="white-space: pre;">Kubrick, </span><span style="white-space: pre;">the moon landing, </span><span style="white-space: pre;">the CIA, </span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">Alan Pakula, and </span><i style="white-space: pre;">Jackass </i><span style="white-space: pre;">are </span><span style="white-space: pre;">drawn in </span><span style="white-space: pre;">the margins of the 60s, and given the full </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="white-space: pre;">confidence and </span></span><span style="white-space: pre;">weight of </span><span style="white-space: pre;">new effects technology. It's all seamless, which makes the </span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">full-throttle</span><span style="white-space: pre;"> chicanery a true wonder, beyond its smart ass script and </span><span style="font-size: small;"><span style="white-space: pre;">grinning </span></span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">performances. </span><span style="white-space: pre;">These guys all </span><i style="white-space: pre;">know</i><span style="white-space: pre;"> they're getting away with </span><span style="white-space: pre;">something that film </span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">school nerds have been </span><span style="white-space: pre;">dreaming about for </span><span style="white-space: pre;">decades. They just happened to be the </span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">first guys to do it, and that </span><span style="white-space: pre;">enthusiasm never once falters, even when the body count </span></span></div>
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<span style="font-size: large;"><span style="white-space: pre;">starts </span><span style="white-space: pre;">to </span><span style="font-size: small;"><span style="white-space: pre;">pile up. This film may </span></span><span style="font-size: small;"><span style="white-space: pre;">technically be a 2016 release, but </span></span><span style="font-size: small;"><span style="white-space: pre;">I was so </span></span><span style="font-size: small;"><span style="white-space: pre;">charmed </span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="white-space: pre;">there was no way I wasn't going to write </span></span><span style="font-size: small;"><span style="white-space: pre;">about </span></span><span style="font-size: small;"><span style="white-space: pre;">it this year. </span></span><span style="white-space: pre;">It deserves to be seen </span></span></div>
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<span style="font-size: large; white-space: pre;">and lapped up.</span></div>
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<span style="font-size: large;">40. </span><span style="font-size: large;">On The Beach Alone At Night</span></div>
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<span style="font-size: large;">by Hong Sang Soo</span></div>
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<span style="font-size: large;">Every Hong movie is about the same six things. It's his warped, half-mad innovations and non sequiturs that wrench them from their creator's fetish collection and into their respective birth years. This one I'll remember as the creation of 2017, the year after his affair became public, when we all thought we knew his business. The phantom on the porch, the man we imagine, the unseen director who has scuttled poor Kim Min-Hee's dreams of a happy ending, the tiring search for meaning, closure, a second chapter of a book that's already been written, will stay with me longer than any of Hong's previous plots. This one just means <i>more</i>. These are the consequences of believing yourself above them. This is what loneliness looks like when you'd convinced yourself that <i>that</i> alone wasn't the point of a mistake. We are all, no matter how free, gorgeous and loved, mortal and beholden to public opinion. The phantom of masculinity is free, and he mocks her from every balcony and window. The man will always rebound and the woman has to make new sense of a reality for which she hadn't planned. I've always liked Hong's comedies. This one is bigger than even the best of those. </span></div>
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<span style="font-size: large;">41. </span><span style="font-size: large;">Loveless</span></div>
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<span style="font-size: large;">by Andrey Zvyagintsev</span></div>
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<span style="font-size: large;">Zvyagintsev's compositions always give one the impression that a body is defrosting just off camera. The perpetual thawing ice that is Russia's sociopolitical climate makes a disappearance into death by implication alone. Divorce is a symbolic white elephant, lending weight to every corrupt aspect of life under Putin and shuddering growth behind it. You will repeat the same mistakes, you will not change, you will run in place. And the camera is as calm and all-knowing as the state itself, which is to say, we learn everything we're meant to, and the rest is a fog. Becoming lost, searching the endless abandoned structures just to the south of civilization, every old relative's house waiting to be searched, a mixtape of old failures and new disappointments, all played with the cool abstraction of a Keith Jarrett record. </span></div>
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<span style="font-size: large;">42. </span><span style="font-size: large;">Endless Poetry</span></div>
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<span style="font-size: large;">by Alejandro Jodorowsky</span></div>
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<span style="font-size: large;">Looking back <i>The Rainbow Thief </i>wasn't so much the end of Jodorowsky's willingness to work with studios, though it's clearly <i>that, </i>for sure. It's the bridge between his willingness to embrace his own sentimentality, hitherto only glimpsed in his <i>Au Hasard Balthazar-</i>with-an-Elephant (and yes the proper way to shrink this is is <i>Au Hasard Babar</i>) movie <i>Tusk</i>, and even that purposely used long lens and cranes to keep away from the action and away from the wreckage done to objectivity with close-ups. With <i>The Dance of Reality</i>, Jodorowsky kicked the doors down because damnit the story of his childhood needed to be told. He's back with the story of his adolescence, an equally inventive, ribald and problematic look at the occasionally hateful, occasionally wonderful circus troop he called family. </span></div>
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<span style="font-size: large;">43. </span><span style="font-size: large;">Dark Night</span><span style="font-size: large;"> </span></div>
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<span style="font-size: large;">by Tim Sutton</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrMdvFclMs6lKWd7A82rTFSdDQIwzYQ6c_552VJPJDe-myrNr829TJ2EmoXtoGdAItpBd4FUingigUWHOGqHI9Xg0_ShZIo7t83lAk2Mhkz1JzDfN28ITlCywUQjyDguqYXjemsjwhZ8/s1600/maxresdefault+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrMdvFclMs6lKWd7A82rTFSdDQIwzYQ6c_552VJPJDe-myrNr829TJ2EmoXtoGdAItpBd4FUingigUWHOGqHI9Xg0_ShZIo7t83lAk2Mhkz1JzDfN28ITlCywUQjyDguqYXjemsjwhZ8/s640/maxresdefault+%25281%2529.jpg" width="640" /></a></div>
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<span style="font-size: large;">Responding to unspeakable tragedy with a split structure (it's practically an omnibus feature, given how deliberately Sutton delineates the tone of each character's segments) brings us close to understanding the way normality becomes the stuff of hideous legend just because a gun makes its way into the wrong hands. Many took umbrage at the film's attempts to find...well <i>something</i> in the midst of the randomness of the events it fictionalizes, but I find that this sort of answer is the best one to hope for. Not one that explains away a gunman's motivations or makes heroes out victims simply because they were both in the same space, but rather one that values the minutia of the lives of those affected. White terrorists aren't comic book villains, they're unstable creeps who like figuring out how far into other people's personal space they can crawl. And the victims of gun violence in this country? They're you and me. Just people with ordinary hopes and ordinary lives. That's what I want to see. Some measure of their ordinary lives written in light, made cinematic, not special. There is no right answer to tragedy, because gun violence isn't any longer a tragedy in America. It's ordinary. It happens every day. This film, a shimmering cross between <i>Paranoid Park </i>and<i> Elephant</i>, seeks to take the question mark from the equation of guns in the hands of lunatics. Someone always sees it coming and no one can do anything. It's the American way. </span></div>
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<span style="font-size: large;">44. </span><span style="font-size: large;">The Other Side of Hope</span></div>
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<span style="font-size: large;">by </span><span style="font-size: large;">Aki Kaurismäki</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic9rj8K8GpWITgzF8FBxtQ1gUpVZ4Q_1D9p12H5JhJ-wl6fitrJUzhw9whIIMqDUjHM9q-t0gFSvNxbgwSqaduDqK8PJr7Xx2lqU6Gh_IjCCpLPjgKfVbt8GkEnl6oXMWbOc9_iQSfdhA/s1600/the-other-side-of-hope-04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1592" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic9rj8K8GpWITgzF8FBxtQ1gUpVZ4Q_1D9p12H5JhJ-wl6fitrJUzhw9whIIMqDUjHM9q-t0gFSvNxbgwSqaduDqK8PJr7Xx2lqU6Gh_IjCCpLPjgKfVbt8GkEnl6oXMWbOc9_iQSfdhA/s640/the-other-side-of-hope-04.jpg" width="640" /></a></div>
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<span style="font-size: large;">Aki Kaurismäki’s second film in his trilogy/treatise on immigration is just another of his sly ways of saying how easy it is to be a good person and a part of the community that geography dictates is home. Home here is a rundown little restaurant, a bed, the arms of s friend who will walk you to help and safety, the comforting words of a brother, knowing in your heart you might find peace when you next rest. All Kaurismäki heroes seek a sort of communal welcome; that the place you next lay your head is a symbolic gathering of hands, that you don’t leave a mess in your wake. That the world is a little better now that you’re here. This message is delivered in Kaurismäki’s always-welcome Fassbinderian lowlight and theatrical staging, not a hair (or weary traveler) out of place when the curtain falls. </span></div>
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<span style="font-size: large;">45. </span><span style="font-size: large;">Whose Streets</span></div>
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<span style="font-size: large;">by Sabaah Folayan</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMB3qDItJmnrrplj81wHZ5r7YF2CQVol5fUTe6G0SMOoCNV2XD1ct4NEARp2XHAyMGqL_GMMuLnKNdv3hR5T8jat494QdW6yQEIjbHk-jRuKplWWI24J0Pl6mgm1_x0d7HwrVd8wkw1eE/s1600/3_Brittany%252Band%252BKenna.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMB3qDItJmnrrplj81wHZ5r7YF2CQVol5fUTe6G0SMOoCNV2XD1ct4NEARp2XHAyMGqL_GMMuLnKNdv3hR5T8jat494QdW6yQEIjbHk-jRuKplWWI24J0Pl6mgm1_x0d7HwrVd8wkw1eE/s640/3_Brittany%252Band%252BKenna.jpg" width="640" /></a></div>
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<span style="font-size: large;">Ferguson's voice heard finally without the white noise of punditry or toxic assumption clouding sentiment. The reality of the spit-upon activist, the sleepless parents of children hunted by the police, the citizens just trying to go home. Missouri was militarized in the wake of a wrongful death and order, a hollow joke, was meant to be upheld by the same trigger happy mob who put the young man in his grave. The cries from the street are this film's focus, the faces of people who are arrested and shot simply for existing. </span><span style="font-size: large;">Folayan's focus is on the people brave enough to use their real names, to stand in public though it could be the last place they do so. An essential testament to the bravery required to get out of bed when you're black in America. </span></div>
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<span style="font-size: large;">46. </span><span style="font-size: large;">Strong Island</span></div>
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<span style="font-size: large;">by Yance Ford</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPifqemvvtKQ9xYakxbtUimR-ycXUVTqA6k0tT5ogXoepkeOQKx3MRxcF85Bo9pwIHowOP0bhf04rq2oukx_-eteeQHnXcYgI3qWA3sIHEeSqVQA7XwPYUIp4Uu86ENbGPpRpvDFLbiR0/s1600/strongisland1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPifqemvvtKQ9xYakxbtUimR-ycXUVTqA6k0tT5ogXoepkeOQKx3MRxcF85Bo9pwIHowOP0bhf04rq2oukx_-eteeQHnXcYgI3qWA3sIHEeSqVQA7XwPYUIp4Uu86ENbGPpRpvDFLbiR0/s640/strongisland1.jpg" width="640" /></a></div>
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<span style="font-size: large;">Yance Ford uses his own face, unblinking, tired, furious, upset, as a tool of interrogation and confrontation. This is the face of the people robbed of their brothers and sisters, this is the face white cops look at and don't see humanity, the face lawyers tell settlement amounts to right after they hear the news that no one will be held accountable. Ford's scream, a sound I'll never forget as long as I live, is the moment every one needs to see right now. It's a scream that expresses decades of loss, of frustration and sadness and blind, hot fury. The scream is all many people have. The scream will not be enough but we must scream. Yance Ford's face is meant to haunt those who have done him wrong. It haunts us all, whether we've seen it or not. </span></div>
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<span style="font-size: large;">47. </span><span style="font-size: large;">Good Time</span></div>
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<span style="font-size: large;">by Joshua & Benny Safdie</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicIb-KjuSiex-gW1JMlBMnrSR8STgED3690Q3OrsbINZsjygzpI_3jwP7U7bsAbwfc3Xl4HcUttdNDZP9ireA1jzjHzhZeAzD-SWr7G4fsGujDNjwJoABXDRBMgwQDJKjkWwoGakapPHA/s1600/images+%25281%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="144" data-original-width="349" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicIb-KjuSiex-gW1JMlBMnrSR8STgED3690Q3OrsbINZsjygzpI_3jwP7U7bsAbwfc3Xl4HcUttdNDZP9ireA1jzjHzhZeAzD-SWr7G4fsGujDNjwJoABXDRBMgwQDJKjkWwoGakapPHA/s640/images+%25281%2529.jpeg" width="640" /></a></div>
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<span style="font-size: large;">The Safdies blinding neon New York is further grafted onto their 70s worshipping craft, a harmony of degenerate impulses, grubby opportunists, and sleek yet grainy delivery. It's in the way their camera cruises the streets of Queens, the way their hero, a rat-eyed Robert Pattinson, our finest young Brit actor, talks his way in and out of ruin, using and leaving everyone he needs at a moment's notice. He's aping the financial geniuses who made the city from the top, trying to use their disgusting beauty to his advantage, to cheat his way out of the gutter. Maybe it's plainly a movie for the moment, but we'll be watching it for decades whenever we need the genuine sting of bad people in danger. </span></div>
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<span style="font-size: large;">48. </span><span style="font-size: large;">Landline</span></div>
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<span style="font-size: large;">by Gillian Robespierre</span></div>
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<span style="font-size: large;">We all need a little more Jenny Slate than we're getting in our diet. Gillian Robespierre has armed her with two performers equal to her almost supernatural charm, the grim and hysterically joyless Abby Quinn, and the perfectly weary yet wired Edie Falco. The three women prove to each other that the perfection they're each chasing doesn't exist, allowing for them to sink to the bathroom floor of acceptance together. Their lives have developed a patina of expectation and disappointment, so they thrash around hoping for something better, or at the very least, a little change. When all is said and done they'd all kill for the normality again because change is painful. Uncommonly insightful and deeply ingratiating romantic comedy of the sort I'm glad we're starting to see more often. </span></div>
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<span style="font-size: large;">49. </span><span style="font-size: large;">The Square</span></div>
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<span style="font-size: large;">by </span><span style="font-size: large;">Ruben Östlund</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCay_SkmJdsJaN62Niq_6xX4qNvoiZaDhFwozqsz5sdh99FWl04qgQXNmAn8rSGLfp9q1xF17vUDZ8C38pxaQ2koJAAjk2J0pcH7zquIz_OQf1lyUNTaUus8BJlAe0YbaHyStZ9f0ftBg/s1600/the-square-06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCay_SkmJdsJaN62Niq_6xX4qNvoiZaDhFwozqsz5sdh99FWl04qgQXNmAn8rSGLfp9q1xF17vUDZ8C38pxaQ2koJAAjk2J0pcH7zquIz_OQf1lyUNTaUus8BJlAe0YbaHyStZ9f0ftBg/s640/the-square-06.jpg" width="640" /></a></div>
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<span style="font-size: large;">Pitch black silliness broken up by visits from the deeply damaged and <a href="https://www.rogerebert.com/interviews/video-interview-ruben-stlund-director-of-the-square">wanting real world</a>. This mix of Leos Carax and Roy Andersson is built around ingenious set pieces of discomfort and atonal social interactions that almost play like feedback from an amplifier, so thoroughly <i>wrong</i> are they. Elisabeth Moss wins the day with her smile after escaping with a trash can full of questionably coveted male seed. Her roommate, a gorilla, is no help, but what did we expect? </span></div>
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<span style="font-size: large;">50. </span><span style="font-size: large;">Split</span></div>
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<span style="font-size: large;">by M. Night Shyamalan</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSI7f_j3BDmsFY4f1F3FNc_JazHXVCySaiSwwqD3hy-bbJaeV7cnCjMYojScajrv2ep_MUIOlLCeWMguOBMgfhpmQU3zx6B7NTKa9BQmmYOLw2hKumtJ42FFCt69nW-jarIbyLKLEgP1A/s1600/MV5BOWEyM2U3NzctNjNlNS00MTEzLWExMzctNDMwYWU1OGI2NjE0L2ltYWdlXkEyXkFqcGdeQXVyNDA5NjMyNjY%2540._V1_SX1777_CR0%252C0%252C1777%252C739_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSI7f_j3BDmsFY4f1F3FNc_JazHXVCySaiSwwqD3hy-bbJaeV7cnCjMYojScajrv2ep_MUIOlLCeWMguOBMgfhpmQU3zx6B7NTKa9BQmmYOLw2hKumtJ42FFCt69nW-jarIbyLKLEgP1A/s640/MV5BOWEyM2U3NzctNjNlNS00MTEzLWExMzctNDMwYWU1OGI2NjE0L2ltYWdlXkEyXkFqcGdeQXVyNDA5NjMyNjY%2540._V1_SX1777_CR0%252C0%252C1777%252C739_AL_.jpg" width="640" /></a></div>
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<span style="font-size: large;">M. Night Shyamalan in shlock brute mode is one of my few remaining guilty pleasures (half-kidding, but he does go out of his way to seem a little dirty and dangerous and disreputable). This lolita-tormenting carnival sideshow is a delicious new low, so to speak, for Philadelphia's favourite Spielberg disciple, but his craft is water tight. Ratcheting tension at a rapid clip while allowing his stupidly gifted cast to show off however they can from the back of his insidiously perfect frames, Shyamalan shows a rigourousness of which I'd never known him capable. Can't wait for chapter 3. </span></div>
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<span style="font-size: large;">51. </span><span style="font-size: large;">Hello Destroyer</span></div>
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<span style="font-size: large;">by Kevan Funk</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuI7y7ThocWIy1lm777dAZpVVQz8GybT-sWi2ThKgOTI8Rb7dBPyqqMZa21MaXhZuqYvc9VJeqzXdI68QBH6gP1lZqRoacdtlu7yxvRsoxS4axp-wFi_RT8-FqbLlxfc0yCsR-c6VbMA/s1600/hellodestroyer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuI7y7ThocWIy1lm777dAZpVVQz8GybT-sWi2ThKgOTI8Rb7dBPyqqMZa21MaXhZuqYvc9VJeqzXdI68QBH6gP1lZqRoacdtlu7yxvRsoxS4axp-wFi_RT8-FqbLlxfc0yCsR-c6VbMA/s640/hellodestroyer.jpg" width="640" /></a></div>
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<span style="font-size: large;">A plunge into the sad afterlife of Canada's violent men shows dead animals, missed appointments and the disfavour of a fickle nation. Drifting with its quiet bruiser from the meager spotlight to the ass end of blue collar living, this film has the receipts for the price of performing for applause, for believing your passion will support you, that your team won't drop you when it's convenient. Dreams become cold apartments and quiet parents. A fantastically realised fall from grace.</span></div>
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<span style="font-size: large;">52. </span><span style="font-size: large;">Norman: The Moderate Rise & Tragic Fall of a New York Fixer</span></div>
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<span style="font-size: large;">by Joseph Cedar</span></div>
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<span style="font-size: large;">Richard Gere finally finds himself a role worth disappearing into, a mover and shaker in search of a surrogate family, a career boost and a new fake best friend. Cedar's New York is one I recognize, a cold, fast moving petrie dish of opportunity and quickly dissipated favour. His battery of insider information and puzzled pawns is a fabulous puzzle begging to be solved. </span></div>
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<span style="font-size: large;">53. </span><span style="font-size: large;">Afterimage</span></div>
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<span style="font-size: large;">by Andrzej Wajda</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYWT4ECh93KRAugZh2oDuAm5j1J-faqNFKYIZQS5iHWHiVpCFYUD3V_u4reH6azJtf19wWq1nyJa731ozrf1VRNrqae4YpPOJ5NLbBQeCKsUhYNPgzm6Kki9mlHn0dHXx2C6QV5N_gaRA/s1600/afterimage_04-h_2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="928" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYWT4ECh93KRAugZh2oDuAm5j1J-faqNFKYIZQS5iHWHiVpCFYUD3V_u4reH6azJtf19wWq1nyJa731ozrf1VRNrqae4YpPOJ5NLbBQeCKsUhYNPgzm6Kki9mlHn0dHXx2C6QV5N_gaRA/s640/afterimage_04-h_2016.jpg" width="640" /></a></div>
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<span style="font-size: large;">Wajda ended his career exactly how he started it: a mosaic of the troubled nation he called home. As Poland falls to tyranny, a one-legged artist pisses at every authority figure who comes within striking distance of the old badger. Surrounded by a disspiriting grayscale world (bursts of colours popping into frame every so often like little gifts to the man who saw a world of it that escaped authorities), Wladyslaw Strzeminski, played by old co-conspirator Boguslaw Linda, rages at the dying of his light. The walls close in on him, his daughter becomes a remote presence in his life, and he realizes he might finally be dying. It's not pretty but it's all true and it's in Wajda's typically furious handwriting, some of the finest the world of film ever knew. </span></div>
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<span style="font-size: large;">54. </span><span style="font-size: large;">Godless</span></div>
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<span style="font-size: large;">by Scott Frank</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjemGiZECAfwqoemtlehf_GEwVZ09r44iHXcu6eZISNEjHIVPp-DzhVQoIm1J4M_4d6Po4NTc8pHg06kwKTxxrabQfZaOaoA0GUM1j8cExzfDq-2c8axVbGIgufYJuPGN-AXdMg3xtON1w/s1600/godless-jack-oconnell.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjemGiZECAfwqoemtlehf_GEwVZ09r44iHXcu6eZISNEjHIVPp-DzhVQoIm1J4M_4d6Po4NTc8pHg06kwKTxxrabQfZaOaoA0GUM1j8cExzfDq-2c8axVbGIgufYJuPGN-AXdMg3xtON1w/s640/godless-jack-oconnell.jpeg" width="640" /></a></div>
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<span style="font-size: large;">Scott Frank took a page out of collaborator James Mangold's book and wrote himself a nice big oater, replete with bloodfeuds, gun-toting lesbians, hidden mistresses, one-armed cutthroats, blind sheriffs, and a man who could shoot the head off a snake. All that overripe symbolism wouldn't be worth half a goddamn without a climax, and this film has an 80 minute finale to beat the band, a breathlessly deranged gunfight the likes of which Westerns don't seem to get around to anymore. Like a salted and cured mix of <i>Open Range, 3:10 To Yuma</i> and Tom Robbins. </span></div>
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<span style="font-size: large;">55. Guerilla</span></div>
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<span style="font-size: large;">by John Ridley</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIOhfk-QEQqhO5P1kBB9mFYQMBEKR3l1mRSxqH2rDFK8c_UvsGKbSUfGM58AbGA3lk_ysVhF8FTgXlc8BYEn1NT6Q1u0DutSKD5UpUUKZcT686hUTAOohcPh2vLhamyVH5q1QGWgkAuI/s1600/parejita.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="724" data-original-width="1600" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIOhfk-QEQqhO5P1kBB9mFYQMBEKR3l1mRSxqH2rDFK8c_UvsGKbSUfGM58AbGA3lk_ysVhF8FTgXlc8BYEn1NT6Q1u0DutSKD5UpUUKZcT686hUTAOohcPh2vLhamyVH5q1QGWgkAuI/s640/parejita.png" width="640" /></a></div>
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<span style="font-size: large;">London in the 60s explodes like a powder keg and Ridley indulges in his inner John Boorman. Or rather if Boorman had gone back to London after <i>Point Blank</i> and tackled the country's growing racial unease, he might have made <i>Guerilla,</i> an enormously compelling look at the disparate factions of dissatisfied leftists and malcontents who attempted to violently assert their dignity. A racist police force digs in their heels and Ridley pours on as much gasoline as possible. The editing alone should make this essential viewing. </span></div>
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<span style="font-size: large;">56.</span> <span style="font-size: large;">Ex-Libris: The New York Public Library</span></div>
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<span style="font-size: large;">by Frederick Wiseman</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhORCPEI07_pPiAI-RFrMUtGsaBWRBMWlriddY09K0z625KYKeFQrUdN3VrB7ev7B42nBqCOUakejzvmJ6xTaQBMozBdrIyX7G-UyLNB0U0dJQyvh7qzTmIH0b4v1v_AIpYJItdoKFlYWg/s1600/Ex-Libris.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhORCPEI07_pPiAI-RFrMUtGsaBWRBMWlriddY09K0z625KYKeFQrUdN3VrB7ev7B42nBqCOUakejzvmJ6xTaQBMozBdrIyX7G-UyLNB0U0dJQyvh7qzTmIH0b4v1v_AIpYJItdoKFlYWg/s640/Ex-Libris.jpg" width="640" /></a></div>
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<span style="font-size: large;">Wiseman hones in on the democratization of all information, the way we access it, the work that goes into making it available, and the sorts of people who seek it. Dipping in and out of Richard Dawkins and Elvis Costello giving free talks to hungry audiences while also showing the guts of the book return system and the petty complaints at help desks accidentally explains why this was a film Wiseman needed to wait until the advent of twitter to make. </span></div>
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<span style="font-size: large;">57. Princess Cyd</span></div>
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<span style="font-size: large;">by Stephen Cone</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHe7Va38BFjw_vEtuJANZbUViXT4aMX0NT4s05eUHrDzOw6wliejKnZnEmRfuKm0aweLG1SMXL3esDbQbYMQRNaBIi5tmdVDzQqi9QjSNiG4nkOQlBiAU_pDNhGwd8vjWc0VHw61iB6ww/s1600/WOWFF101_PrincessCyd%2528m1rk%2529_BLUR.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="1500" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHe7Va38BFjw_vEtuJANZbUViXT4aMX0NT4s05eUHrDzOw6wliejKnZnEmRfuKm0aweLG1SMXL3esDbQbYMQRNaBIi5tmdVDzQqi9QjSNiG4nkOQlBiAU_pDNhGwd8vjWc0VHw61iB6ww/s640/WOWFF101_PrincessCyd%2528m1rk%2529_BLUR.png" width="640" /></a></div>
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<span style="font-size: large;">Cone's latest chapter in the much needed maturation of American film's making sense of our differing theological beliefs, wrapped like a cigarette in a delicate lesbian romance meant as a mirror to an older woman's growing dissatisfaction with her loneliness. No one gets to judge anyone, but without the crashing of different lives, how can we see what we might become? Cone's sunny Chicago suburbs are a welcoming place of recovery and discovery. </span></div>
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<span style="font-size: large;">58. Thelma</span></div>
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<span style="font-size: large;">by Joachim Trier</span></div>
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<span style="font-size: large;"><a href="https://www.rogerebert.com/interviews/video-interview-joachim-trier-on-thelma">Icy nordic </a><i><a href="https://www.rogerebert.com/interviews/video-interview-joachim-trier-on-thelma">Firestarter</a> </i>by the pre-eminent creator of cinematic novellas. Love and lust are deliberately mixed up with the recklessness of religion and telekinesis. One terrible power or another will challenge what you know about your body and your journey. Some of Trier's most arrestingly dark images to date help us wedge ourselves in a brain only just understanding its own strength. </span></div>
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<span style="font-size: large;">59. </span><span style="font-size: large;">Jungle</span></div>
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<span style="font-size: large;">by Greg McLean</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLa2Y1dYgWatyCNmqw8W03oRcuRaT5e6ErZHyfEFoZJtQyZsICC5OfF0AR2p7-Pyco4ldIn8B6555UM4FKkV5UC73xYTAdilf4DNtkMwITh8F5Ymny1T-tDIX1UEl4UQzU5GWE602UXPE/s1600/JUNGLE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="620" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLa2Y1dYgWatyCNmqw8W03oRcuRaT5e6ErZHyfEFoZJtQyZsICC5OfF0AR2p7-Pyco4ldIn8B6555UM4FKkV5UC73xYTAdilf4DNtkMwITh8F5Ymny1T-tDIX1UEl4UQzU5GWE602UXPE/s640/JUNGLE.jpg" width="640" /></a></div>
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<span style="font-size: large;">McLean's penchant for survivalist narratives is to put to a more globalist, historically sensitive use. Though the film wants for <i>Wolf Creek's </i>focus and charming nastiness, McLean can still make a patch of inhospitable land sing like Maria Callas. This film adds little gestures and symbols to his roster of indelible flourishes. A fist on a table, thrown down in anger, shows 50 years of life as a Jewish man in the 20th century. McLean makes large points by staying small, making this the inverse of <i>Wolf Creek 2</i>. A gorgeously haunting look at how we make life easier because we can't hack the normal stuff. What you might call 'just livin''. His heroes are never satisfied with that, and they all pay. The catch this time is we know that if Radcliffe's starving traveler lives, real change might come of it. </span></div>
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<span style="font-size: large;">60. Before We Vanish</span></div>
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<span style="font-size: large;">by Kiyoshi Kurosawa</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9Dj168x77US9gILVcla2fQIb4rpx8nta9ntOkGqR9XRZPEno6Z2m2KJq13p2SdItDYulGDpzhha5O0wmCfTSY121eBKjtgal-B_-pKKVwm31QDBIb7aRgCMoJmCCIBIIx2zEmmkLoTs/s1600/image-w1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9Dj168x77US9gILVcla2fQIb4rpx8nta9ntOkGqR9XRZPEno6Z2m2KJq13p2SdItDYulGDpzhha5O0wmCfTSY121eBKjtgal-B_-pKKVwm31QDBIb7aRgCMoJmCCIBIIx2zEmmkLoTs/s640/image-w1280.jpg" width="640" /></a></div>
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<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/before-we-vanish/">Kiyoshi Kurosawa's riff on <i>Starman</i></a> is as contemplative and subtle as you'd expect, a delightfully deadpan joy, unafraid to travel to violent excesses and teenager-friendly heart-rending beats.</span></div>
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<span style="font-size: large;">61. Wasteland 1: Ardent Verdant </span></div>
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<span style="font-size: large;">by Jodie Mack</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBeIlX6_M-18G9LKyhMd3iYH4jq7QxhTvXabP6rU7tpLu4pXRQ5t9IrU_BC-vbaKj0pR1oHF8ktcgaczaW3i_lOagmXth3wmmTrQ875Q1_5x7MbZyCBPBifommhOHF_Xo0jS-5Ffgfjh8/s1600/wl02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="1120" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBeIlX6_M-18G9LKyhMd3iYH4jq7QxhTvXabP6rU7tpLu4pXRQ5t9IrU_BC-vbaKj0pR1oHF8ktcgaczaW3i_lOagmXth3wmmTrQ875Q1_5x7MbZyCBPBifommhOHF_Xo0jS-5Ffgfjh8/s640/wl02.jpg" width="640" /></a></div>
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<span style="font-size: large;">A terrifically exciting collage of the rift between where we come from and where we're going. Mack's homemade philosophical animations mix the wit of Hollis Frampton and the verve and technique of Brakhage, turning the incomprehensible into the personal and gleefully perverse. </span></div>
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<span style="font-size: large;">62. 120 BPM</span></div>
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<span style="font-size: large;">by Robin Campillo</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibjkqgVLemsEru-gf_R7CQyDGM5Bt47PH_YuAn7i0s6hWtzObOr2sFO9EKeZX35N3L2K9sLS6gE_YSIGGswDPuXG-G6Mg0MCbJZxyI6udKPrqBUk8_e915oOXLrqAh3NxZ06C_Oh-k7rk/s1600/120+BPM%25E2%2588%258FLes+Films+de+Pierre-France+3+CinC%25CC%25A7ma-Page+114-Memento+Films+Production-FD+Production_photo5-2000-2000-1125-1125-crop-fill.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibjkqgVLemsEru-gf_R7CQyDGM5Bt47PH_YuAn7i0s6hWtzObOr2sFO9EKeZX35N3L2K9sLS6gE_YSIGGswDPuXG-G6Mg0MCbJZxyI6udKPrqBUk8_e915oOXLrqAh3NxZ06C_Oh-k7rk/s640/120+BPM%25E2%2588%258FLes+Films+de+Pierre-France+3+CinC%25CC%25A7ma-Page+114-Memento+Films+Production-FD+Production_photo5-2000-2000-1125-1125-crop-fill.jpg" width="640" /></a></div>
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<span style="font-size: large;">Campillo puts a little more of himself in every movie he makes, even going so far as to recall a shot from his excellently elegiac zombie movie <i>Les Revenants, </i>a sobering reminder of the untold millions of dead yet to fall to AIDS, this film's primary villain after pharmaceutical companies and activist in-fighting. A community gets individualized attention from the director, who sees their youthful exuberance as both necessary and a crutch. Younger people don't have a wealth of experience, but they're unafraid of expressing themselves heedlessly, whether through coating themselves in fake blood, using their own ashes as a weapon, or the administration of a deathbed handjob. This film is loaded with perfectly lovely externalizations of anger, all sensitively rendered by Campillo, who's old enough to know how important they are. </span></div>
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<span style="font-size: large;">63. The Labyrinth</span></div>
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<span style="font-size: large;">by Bram Ruiter</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwJF6G-GTI9PMVuGtxKSDBNaw2Q1t9YA-G_jUrLk0HEguZhO-gnuC3O-Ny2K-4clsSayCRYrlnAC7JPguBZXmsaJiLngiLxDC4AAZya3JP2KVnBcVb0dSC_7fTaaba11mmx8mfJgpXCdU/s1600/657654402_780x439.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="780" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwJF6G-GTI9PMVuGtxKSDBNaw2Q1t9YA-G_jUrLk0HEguZhO-gnuC3O-Ny2K-4clsSayCRYrlnAC7JPguBZXmsaJiLngiLxDC4AAZya3JP2KVnBcVb0dSC_7fTaaba11mmx8mfJgpXCdU/s640/657654402_780x439.jpg" width="640" /></a></div>
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<span style="font-size: large;">A wriggling dislocation exercise, dancing with our perception, allowing us to detach and enjoy its tempo and delicate colours. Ruiter finds a grace in the land, in removing it from traditional context, in rendering it lightly unreal and acutely effecting. Ten minutes to watch it, months to enjoy its lingering effects. </span></div>
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<span style="font-size: large;">64. See You Yesterday</span></div>
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<span style="font-size: large;">by Stefon Bristol</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0JYLSay8vP83wPd8609ET5cD401G2JtxBPoUJ6rRLKykqvpJqDUf9PdCZBur_SL07fQvQn0p4jdZK_PJJZItnGFELLRl26wZu1u1Q0QXDg-QmGRxp_Jof3vZtK5PCijFz6RsttlknfuM/s1600/seeyouyesterday_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0JYLSay8vP83wPd8609ET5cD401G2JtxBPoUJ6rRLKykqvpJqDUf9PdCZBur_SL07fQvQn0p4jdZK_PJJZItnGFELLRl26wZu1u1Q0QXDg-QmGRxp_Jof3vZtK5PCijFz6RsttlknfuM/s640/seeyouyesterday_01.jpg" width="640" /></a></div>
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<span style="font-size: large;">There is not enough black sci-fi. There's no way around that, it's a sad, sobering fact. This incredible, loaded little miracle ought to mobilize more creators, because it says so much through its spectacle. </span></div>
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<span style="font-size: large;">65. Alien: Covenant</span></div>
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<span style="font-size: large;">by Ridley Scott</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Z8rRZVkO7Xrn1KzHoFuT5o-jnwxFtBFBRQGaeGn36qiT_S11kPgjjiK5fU4Z1LcoFYlxAqFpNS3MRKFdy5puuemANRLue0_uZcjgcpjhtkkpwoSFq7x4t6-z8GXgQrqAfpx6q9Uk1jo/s1600/michael-fassbender-alien-covenant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1414" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Z8rRZVkO7Xrn1KzHoFuT5o-jnwxFtBFBRQGaeGn36qiT_S11kPgjjiK5fU4Z1LcoFYlxAqFpNS3MRKFdy5puuemANRLue0_uZcjgcpjhtkkpwoSFq7x4t6-z8GXgQrqAfpx6q9Uk1jo/s640/michael-fassbender-alien-covenant.jpg" width="640" /></a></div>
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<span style="font-size: large;">Ridley Scott, one of my first auteurs, writes himself a homoerotic cave myth, using twins to extrapolate his own uneasy feelings about his creative nature. This movie centers on the destruction of perfectly paired soul mates meant to restart civilization after we've broken our planet. It's only the nazi robot who sees that our belief in that lie, that there is such a thing as a soulmate, is what makes us so easy to study, take advantage of, and destroy. Faith is a powerful tool for conquering worlds and traveling across galaxies, but it can't stand up to unhinged creativity and a lack of scruples. This Gustave Doré-inspired slasher sleepover is exactly the sort of anomaly I want my artists to produce at a regular clip. Wholly satisfying as an autobiographical exploration. </span></div>
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<span style="font-size: large;">66. The Salesman</span></div>
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<span style="font-size: large;">by Asghar Farhadi</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZ3FroDUyyKQNxGCSh2ICZLQgE2bZuvtGAbtc-iNyJ8zdXg9EpJu2BxmtAD104lqqXBbIu3Y4Jsy6rhSZzkRXsPGS7zlqJ8xAx0eobl1ImPTPrKriU_M6wx2iQe-gWFkzzlNZGfMKGjw/s1600/The-Salesman-Taraneh-Alidoosti.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZ3FroDUyyKQNxGCSh2ICZLQgE2bZuvtGAbtc-iNyJ8zdXg9EpJu2BxmtAD104lqqXBbIu3Y4Jsy6rhSZzkRXsPGS7zlqJ8xAx0eobl1ImPTPrKriU_M6wx2iQe-gWFkzzlNZGfMKGjw/s640/The-Salesman-Taraneh-Alidoosti.jpeg" width="640" /></a></div>
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<span style="font-size: large;">This may be the closest Farhadi comes to making an outright genre film, and I accept that. The deliberately imperfect meta-construct of the story is at once a red herring and an imperative jumpstart to understanding Iranian art. The more the film looks like it's handing you answers, the less they make sense, and the more compelling everything becomes. </span></div>
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<span style="font-size: large;">67. The Assignment</span></div>
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<span style="font-size: large;">by Walter Hill</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMSWnSm6ujBTU8RQeQjEnwFLpW5T2a0u8McGvPvfX0K5wbM2x44vrZUYSxT2ni8XHb-DTHXrRHAlvVoEC8ZMh_3yD6nlQI1R85d9W6TFXuYvmF6dMX3afdvlDz9faAuj8m3Uwe3xF4SkM/s1600/pdG9dRnqpKBuj9xL0SArKRINDgD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMSWnSm6ujBTU8RQeQjEnwFLpW5T2a0u8McGvPvfX0K5wbM2x44vrZUYSxT2ni8XHb-DTHXrRHAlvVoEC8ZMh_3yD6nlQI1R85d9W6TFXuYvmF6dMX3afdvlDz9faAuj8m3Uwe3xF4SkM/s640/pdG9dRnqpKBuj9xL0SArKRINDgD.jpg" width="640" /></a></div>
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<span style="font-size: large;">Walter Hill finally made a film to solve the riddle that is <a href="https://letterboxd.com/honorszombie/film/the-assignment-2016/">Michelle Rodriguez</a>. He made a cracking two-hander and gifted us that as well but if this was nothing but Rodriguez identity crisis, this would still be one of the most important action movies made during my lifetime. </span></div>
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<span style="font-size: large;">68. Top of the Lake: China Girl</span></div>
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<span style="font-size: large;">by Jane Campion & Ariel Kleiman</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxur9PDmeR6vgfPrtQhQ35osf2q37xWloiDzzTRxdEdYqSoImxIjKqDLAVHEFN-Xi91sCBeYb8KIon5nuq6sCLM1uXajs2VYoIXoOfvxtMjd04tXG7OVHM3G1HRB7jkFppA5ALwgwyxfA/s1600/topofthelake_nicolekidman.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1045" data-original-width="1600" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxur9PDmeR6vgfPrtQhQ35osf2q37xWloiDzzTRxdEdYqSoImxIjKqDLAVHEFN-Xi91sCBeYb8KIon5nuq6sCLM1uXajs2VYoIXoOfvxtMjd04tXG7OVHM3G1HRB7jkFppA5ALwgwyxfA/s640/topofthelake_nicolekidman.jpeg" width="640" /></a></div>
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<span style="font-size: large;">If nothing else its depiction of toxic, self-pitying maleness ought to have a special place in culture for being so accurate. Campion's crafted her most despicable monster yet in the child-preying pimp Alexander (David Dencik), who thinks he's figured out the capitalist world and by exploiting women he's beaten the system. Gives me hives just thinking about it. It recovers (it must, he's truly disgusting) whenever it focuses on the plethora of rich female characters meant as his opposition. They argue with each other and step on each other's toes but they're so richly drawn it hardly matters. This, for instance, is maybe my favourite Nicole Kidman performance, and if she doesn't always wear her hair like this she's missing a trick. Elisabeth Moss, portraying one of her finest creations, is like a piece of broken glass, jagged, fragile and sharp, all too aware what a horrid world she's inherited. </span></div>
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<span style="font-size: large;">69. Berlin Syndrome</span></div>
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<span style="font-size: large;">by Cate Shortland</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPvrsfarwfCi_avP3cAf7CMV-Z4vNxivZfT5F3a5JY9fG5fMnXHOCSoln_1M3bgtz-Vh8t51d1T7Uw-LklNcUr9PfQjFWQe3ePgD8MHuCk5X-7_m0FZWGM3gtb60esSUhrsfMQAPfsjhQ/s1600/berlin-syndrome-2017-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="999" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPvrsfarwfCi_avP3cAf7CMV-Z4vNxivZfT5F3a5JY9fG5fMnXHOCSoln_1M3bgtz-Vh8t51d1T7Uw-LklNcUr9PfQjFWQe3ePgD8MHuCk5X-7_m0FZWGM3gtb60esSUhrsfMQAPfsjhQ/s640/berlin-syndrome-2017-3.jpg" width="640" /></a></div>
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<span style="font-size: large;">After <i>Lore </i>Shortland fast forwards to the present to show another woman imperiled by a purity-obsessed German man's master plan. The film is up front about the casual impossibility of surviving sexual slavery, showing without drawing undo emphasis to the issue, that women are a thousand percent stronger than they're given credit for by most narratives. To simply live under these conditions is unthinkable, but she does it. Shortland's engrossing montage and razor-fine compositions of life in a bourgeoise prison do so much silent heavy lifting that it's possible in moments to forget the big picture, because each scene is so independently enrapturing and gross.</span></div>
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<span style="font-size: large;">70. Ismael's Ghosts</span></div>
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<span style="font-size: large;">by Arnaud Desplechin</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPjXKpmXyZR7_VDDY_7p3xWdC2wRMfh9OaohhKkte1Ykqce-prxDdO8AeW0Pej7shPYSgt1-BjqtREOl-feMb_bkDkdhbd5SVTTJI4MeBXuCn0VO2QFNpLpOFTSxG09SvHsh8z_wdckco/s1600/ismael05172017_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPjXKpmXyZR7_VDDY_7p3xWdC2wRMfh9OaohhKkte1Ykqce-prxDdO8AeW0Pej7shPYSgt1-BjqtREOl-feMb_bkDkdhbd5SVTTJI4MeBXuCn0VO2QFNpLpOFTSxG09SvHsh8z_wdckco/s640/ismael05172017_large.jpg" width="640" /></a></div>
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<span style="font-size: large;"><a href="https://letterboxd.com/honorszombie/film/ismaels-ghosts/">Desplechin's most baroque fantasia yet</a> tackles the miracles and hardships of filmmaking by being about everything <i>but</i> the act of directing. </span></div>
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<span style="font-size: large;">71. T2: Transpotting</span></div>
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<span style="font-size: large;">by Danny Boyle</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmiuswrZXJOFmSj_0gfGsMpO2kjKPhbFGmCg-2aGe6J7g6k06sLFWb2TVwVuKY1mrd6m31Du53IWcTxbp30NDjo1dIMIRTOoU5-ZV6vUFeaidXyMLXozNigkKXHS87zwbxX5V-53AZ1CA/s1600/t2-trainspotting-dom-t2-jb-01780-edit_rgb-h_2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1296" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmiuswrZXJOFmSj_0gfGsMpO2kjKPhbFGmCg-2aGe6J7g6k06sLFWb2TVwVuKY1mrd6m31Du53IWcTxbp30NDjo1dIMIRTOoU5-ZV6vUFeaidXyMLXozNigkKXHS87zwbxX5V-53AZ1CA/s640/t2-trainspotting-dom-t2-jb-01780-edit_rgb-h_2017.jpg" width="640" /></a></div>
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<span style="font-size: large;">Boyle and the boys' homecoming is a technicolor kaleidoscope, as full of verve and nervous energy as ever. The digital images enhance our understanding of the way these coke-snorting children age, by letting us see every pore up close, every scarred nose and shrunken, sunken eye. The film is full of good performances and guided by an appropriately sad sense of need, but to me the meat of the movie is Jonny Lee Miller, who has improved the most of everyone in the cast, waging his own private war against his urges and self-image. It's a lightning bolt of a performance, receding hairline and cracking voice putting the lie to his bluster and strength at every turn. </span></div>
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<span style="font-size: large;">72. Lucky</span></div>
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<span style="font-size: large;">by John Carroll Lynch</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUnQ6naS7bygDyIVgvPu7d33jIxSFU-zlSRSnFnwKnwFNAegHoC2cHu8jkCcqokL9HuLBkcRv-vtt3uANe8XfXSI_2upwph86p9roqxCKaqtpitAseDXpxxwqCfNw0E2VOg4_kIGSyaVg/s1600/Lucky-Still-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="597" data-original-width="1440" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUnQ6naS7bygDyIVgvPu7d33jIxSFU-zlSRSnFnwKnwFNAegHoC2cHu8jkCcqokL9HuLBkcRv-vtt3uANe8XfXSI_2upwph86p9roqxCKaqtpitAseDXpxxwqCfNw0E2VOg4_kIGSyaVg/s640/Lucky-Still-1.jpg" width="640" /></a></div>
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<span style="font-size: large;"><a href="https://www.rogerebert.com/balder-and-dash/the-great-performances-of-2017">There were giants in the earth in those days.</a></span></div>
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<span style="font-size: large;">73. Paint It Black</span></div>
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<span style="font-size: large;">by Amber Tamblyn</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHD89-VGI8ti8wvFntuabJOTuNCwnMCA1YsEXvKdN2MdSbPErwPMylutP0v3WxRAs5JqyzO2nCkY7C3VBns95Jz6Znb53dUINq45yb_fnxEX4c5uRkhaHU03vtSAD__g2t3A5DQdFhnmA/s1600/paintitblackshawkat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="780" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHD89-VGI8ti8wvFntuabJOTuNCwnMCA1YsEXvKdN2MdSbPErwPMylutP0v3WxRAs5JqyzO2nCkY7C3VBns95Jz6Znb53dUINq45yb_fnxEX4c5uRkhaHU03vtSAD__g2t3A5DQdFhnmA/s640/paintitblackshawkat.jpg" width="640" /></a></div>
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<span style="font-size: large;">It would take something very special indeed to compete with a star turn from an electrifying Alia Shawkat, her voice finally allowed to be as low as it is, her eyes caked in shadow, unafraid finally to look like herself and be the spectacular animal she's been building to since her days as a child actress. Turns out that special thing is Janet McTeer going full Joan Crawford. These two dynamos going toe to toe is the cinematic event of the year, like <i>Pacific Rim</i> in an empty mansion. Amber Tamblyn's psychodrama ought to have been rolled out to every theatre in the country, because while it's unafraid of the perversity of their clash, of the puke-and-piss stained road to recovery, it's equally willing to find redemptive grace notes that don't sell the exercise short. An angry little miracle wrapped in a vintage gown. </span></div>
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<span style="font-size: large;">74. Star Wars: The Last Jedi</span></div>
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<span style="font-size: large;">by Rian Johnson</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh673LJ_6SrXEVOpYCw3JhvHMUgLWfDrS1QF7h1WiWfZC3TnfU3jyzyQOOD3kHwWdN3t_ILhmPKDskuevwvN3PrDEMxW4vA_kGFcGrwXfPdJrHG8H1EO12QLgh0nYlhvHJ2njYxXOW9fjY/s1600/speeders-1492199682675_1280w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh673LJ_6SrXEVOpYCw3JhvHMUgLWfDrS1QF7h1WiWfZC3TnfU3jyzyQOOD3kHwWdN3t_ILhmPKDskuevwvN3PrDEMxW4vA_kGFcGrwXfPdJrHG8H1EO12QLgh0nYlhvHJ2njYxXOW9fjY/s640/speeders-1492199682675_1280w.jpg" width="640" /></a></div>
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<span style="font-size: large;">Rian Johnson's <i>Fail-Safe</i>, with a little Ken Russell, Byron Haskin, Kurosawa and <i>Magic Schoolbus</i> thrown in for good measure. Its message (listen to women, for the love of god), is probably the best possible use for a big hunk of space peplum like this. </span></div>
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<span style="font-size: large;">75. Gunpowder</span></div>
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<span style="font-size: large;">by J. Blakeson</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8e7L7SJGEk1g8ulbqYwiua0DtXTe-oKm7hrAjfVCZwt-iN6MPYOG2WU2k59tu-R8AJ0llyU6rHcXAONw7bpFITGHwXSFt-tQ7hcfsrhRfxlEQNY-cY7MIs5dxmXVtYGDg-BHpvmRTK4o/s1600/MV5BZTg4ZmFlOGMtZDczNi00ZGMzLTk1YWMtOGZlNWFjNzNkZjU2XkEyXkFqcGdeQXVyMjExMjk0ODk%2540._V1_SY1000_CR0%252C0%252C1666%252C1000_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="961" data-original-width="1600" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8e7L7SJGEk1g8ulbqYwiua0DtXTe-oKm7hrAjfVCZwt-iN6MPYOG2WU2k59tu-R8AJ0llyU6rHcXAONw7bpFITGHwXSFt-tQ7hcfsrhRfxlEQNY-cY7MIs5dxmXVtYGDg-BHpvmRTK4o/s640/MV5BZTg4ZmFlOGMtZDczNi00ZGMzLTk1YWMtOGZlNWFjNzNkZjU2XkEyXkFqcGdeQXVyMjExMjk0ODk%2540._V1_SY1000_CR0%252C0%252C1666%252C1000_AL_.jpg" width="640" /></a></div>
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<span style="font-size: large;">J Blakeson begins his return to mercenary British thrillers by going full <i>Mark of the Devil</i>, and then building a never-yielding white knuckle thriller out of Taliban-style religious fervor. It's the missing ingredient from <i>V For Vendetta: </i>these people were fucking crazy. Blakeson knows it, but still does a fine job concocting a swashbuckling conspiracy thriller out of their lunacy. </span></div>
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<span style="font-size: large;">76. It</span></div>
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<span style="font-size: large;">by Andrés Muschietti</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI4NxKAELSa10O9CabzA6i1BDfUWhz-ufQ44lUghmjxNr6i5i4pz5DYi-E-AzN8bUHWI-5Dx0emT5EorKxC1_dBY5HiKQBFXiXo6WPltnvnnPyHRuJnK9l6zG6sYUoj_meTsj1hUJ0WXY/s1600/691x430.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="691" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI4NxKAELSa10O9CabzA6i1BDfUWhz-ufQ44lUghmjxNr6i5i4pz5DYi-E-AzN8bUHWI-5Dx0emT5EorKxC1_dBY5HiKQBFXiXo6WPltnvnnPyHRuJnK9l6zG6sYUoj_meTsj1hUJ0WXY/s640/691x430.jpg" width="640" /></a></div>
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<span style="font-size: large;">Productive nostalgia, essentially remaking <i>The Breakfast Club</i> with actual stakes and believable teenagers. We didn't need another <i>It</i>, we have <i>It Follows</i>, but this little coming of age movie is impressively drawn indeed. </span></div>
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<span style="font-size: large;">77. All The Money In The World</span></div>
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<span style="font-size: large;">by Ridley Scott</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9-bcGr4lGXyhEHW8bzcknXSaaApTbTqfP1N2AOFdW-bNO0yTQlGqJPnnaZhBL7wZuHy2qZ1U9e2hAl8hLnUdR7DNTSqqRSXlGitynYJI3lcxAViPZdFPH69UPE8IM2zbBp4B-K36Vv3g/s1600/uploads%25252F0af8389a-dde9-42c2-a985-ca65a80782fa%25252FCapture%252Bd%25E2%2580%2599e%25CC%2581cran%252B2017-09-14%252Ba%25CC%2580%252B18.12.30.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9-bcGr4lGXyhEHW8bzcknXSaaApTbTqfP1N2AOFdW-bNO0yTQlGqJPnnaZhBL7wZuHy2qZ1U9e2hAl8hLnUdR7DNTSqqRSXlGitynYJI3lcxAViPZdFPH69UPE8IM2zbBp4B-K36Vv3g/s640/uploads%25252F0af8389a-dde9-42c2-a985-ca65a80782fa%25252FCapture%252Bd%25E2%2580%2599e%25CC%2581cran%252B2017-09-14%252Ba%25CC%2580%252B18.12.30.png" width="640" /></a></div>
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<span style="font-size: large;">To return to the idea of the tragic safe space, Ridley Scott, who seems concerned only with big picture and big texture matters, somehow made an incredibly convincing version of his own traumatic healing zone. The dusty and dusk-lit Italian apartment of the bereaved Getty’s waiting to hear news of their kidnapped son was one of my favourite environments in a movie this year. Michelle Williams faded aristocratic manner trading exhausted terms with a ferocious, oily Romain Duris should have been the whole movie, but the film around these two tour de force performances is satisfying nevertheless. Christopher Plummer’s purposeful grotesquery meshes nicely with the lavish reconstruction of the purgatorial Italy where crime and punishment alike are planned and executed. The scene turns from Fellini to Costa-Gavras as glamour and money prove the curse they always were, the force that turned Getty into his own Dorian Gray portrait, and all that remains is the hope for human connection when all that money vanishes.</span></div>
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<span style="font-size: large;">78. The Big Sick</span></div>
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<span style="font-size: large;">by Michael Showalter</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2gRaMvBYcLUtPWqeMd-6wwLZ6BUZZCm3VExNZOjsFvTVhw5ru-zG70B2c98JBw_P9bbmSZH-Kh57rTzB9zQ9GTVOk_Wr5THRpT91eQ22asC9VC98l7Y1yMEHbM0GD1uI3Ve2AY6RlMCA/s1600/170614_MOV_TheBigSick-1.jpg.CROP.promo-xlarge2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="842" data-original-width="1180" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2gRaMvBYcLUtPWqeMd-6wwLZ6BUZZCm3VExNZOjsFvTVhw5ru-zG70B2c98JBw_P9bbmSZH-Kh57rTzB9zQ9GTVOk_Wr5THRpT91eQ22asC9VC98l7Y1yMEHbM0GD1uI3Ve2AY6RlMCA/s640/170614_MOV_TheBigSick-1.jpg.CROP.promo-xlarge2.jpg" width="640" /></a></div>
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<span style="font-size: large;">Any movie imperils itself by ditching Zoe Kazan at the first act break, so it's a goddamn good thing Holly Hunter was waiting in the wings to replace her. Another of this year's films about groups of people attempting to grieve in private, this one could have done with a little more focus and a lot less movie stand-up, but Apatow would never have allowed it. The core of the movie is the four person vortex of insecurity surrounding a medical emergency. Career woes just don't add up to much when a life hangs in the balance. Regardless the film stays utterly charming throughout, mostly because of Hunter's efficacy and Ray Romano's hangdog bluntness, a fine mix of components. </span></div>
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<span style="font-size: large;">79. Joan Didion: The Center Will Not Hold</span></div>
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<span style="font-size: large;">by Griffin Dunne</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0X3O71uBh_mleM6vp99O8Aa-DazRI8zib3IKNDYeq2euyuUC36_3oUtBdzdcfo29I-xrnyaUVyX74AbxkQiflGFHUk4q8NJLBLzGDfhTsARwUDcf7FyzI44PnJNAipTGeygH6il2GTrI/s1600/joandidion-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0X3O71uBh_mleM6vp99O8Aa-DazRI8zib3IKNDYeq2euyuUC36_3oUtBdzdcfo29I-xrnyaUVyX74AbxkQiflGFHUk4q8NJLBLzGDfhTsARwUDcf7FyzI44PnJNAipTGeygH6il2GTrI/s640/joandidion-1600x900-c-default.jpg" width="640" /></a></div>
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<span style="font-size: large;">I aspire to Joan Didion's acerbic incisiveness every time I touch a keyboard. It was a true joy to watch her nephew pay tribute to her and her long shadow. </span></div>
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<span style="font-size: large;">80. Logan</span></div>
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<span style="font-size: large;">by James Mangold </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8JcBR7e0L1d8bA-X682TrBhRYsRE7YrtxJKsPUJYAANZAikxGFDw9SEZ145gh1W75LT7jw2gNqWsVJehWy1VXXuPTtLyAd59ulwa33u4ElfYaGDhzC8et5j9G9iiuRcrcSp8Fh_mQHKk/s1600/logan_2017_highonfilms.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="900" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8JcBR7e0L1d8bA-X682TrBhRYsRE7YrtxJKsPUJYAANZAikxGFDw9SEZ145gh1W75LT7jw2gNqWsVJehWy1VXXuPTtLyAd59ulwa33u4ElfYaGDhzC8et5j9G9iiuRcrcSp8Fh_mQHKk/s640/logan_2017_highonfilms.jpg" width="640" /></a></div>
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<span style="font-size: large;">A bloody father daughter field trip, equal parts <i>Shane</i> and <i>Spawn, </i>the only film I've ever seen that attempts to impart to the father figure the actual pain of childbirth. Naturally he fucking dies on the other side because he can't handle it. That's empathy. The only really good <i>Xmen </i>movie, though I liked Mangold's other one. </span></div>
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<span style="font-size: large;">81. Get Out</span></div>
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<span style="font-size: large;">by Jordan Peele</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6o8-CGnLBqay4_AmQ2LAFFDYS5u_tCqLALgv6YNixpvazFo2Ymt8bWZYfRqVMzrHpOvHkOeZCz9W7gohLNIqEAEXIo65YtIL4j4txoYGiAk7FLaghZE7sqsCO_wQjB-8mwOLofFglFyQ/s1600/maxresdefault-60.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6o8-CGnLBqay4_AmQ2LAFFDYS5u_tCqLALgv6YNixpvazFo2Ymt8bWZYfRqVMzrHpOvHkOeZCz9W7gohLNIqEAEXIo65YtIL4j4txoYGiAk7FLaghZE7sqsCO_wQjB-8mwOLofFglFyQ/s640/maxresdefault-60.jpg" width="640" /></a></div>
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<span style="font-size: large;">Afropunk haunted house slavery poem. The one movie everyone had to see in 2017. How do you top that?</span></div>
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<span style="font-size: large;">82. Logan Lucky</span></div>
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<span style="font-size: large;">by Steven Soderbergh</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-KWkhK2xQu8qjJ9Wxr_l1KqGSvyzbTWWeUQ7wsCqFenQYjIsV0nRq83URZmn_ckME-xadfM43f4DoK62163I7rP9eWprG8vAz7LO4UGFHQy7phyphenhyphenGy2SQd8MNxrO_gQdbPSh3EXcLhipc/s1600/loganlucky.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="864" data-original-width="1600" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-KWkhK2xQu8qjJ9Wxr_l1KqGSvyzbTWWeUQ7wsCqFenQYjIsV0nRq83URZmn_ckME-xadfM43f4DoK62163I7rP9eWprG8vAz7LO4UGFHQy7phyphenhyphenGy2SQd8MNxrO_gQdbPSh3EXcLhipc/s640/loganlucky.jpg" width="640" /></a></div>
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<span style="font-size: large;">Like the John Denver song at its center, this film is a gentle drive down a familiar country road. Splendidly low stakes heisting and a contest for silliest accent. </span></div>
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<span style="font-size: large;">83. Wind River</span></div>
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<span style="font-size: large;">by Taylor Sheridan</span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC-dZlzCq327UE4mNr5dq7tfYyvCAKmpGKE_SsT6mvqOxcJ0TaFqmaMtQmiDrJfBgy00ZrLe9PWMeO50_nBXWuI1inofezi6sENgsrJMiBLnXcuBgvGGcFD9AVwnvdWhdMoRUUBJIpoD8/s1600/Wind-River2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC-dZlzCq327UE4mNr5dq7tfYyvCAKmpGKE_SsT6mvqOxcJ0TaFqmaMtQmiDrJfBgy00ZrLe9PWMeO50_nBXWuI1inofezi6sENgsrJMiBLnXcuBgvGGcFD9AVwnvdWhdMoRUUBJIpoD8/s640/Wind-River2.jpg" width="640" /></a></span></div>
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<span style="font-size: large;">Shockingly sympathetic work from Sheridan, who usually can't be bothered with sentimentality. Graham Greene, who's been one of my favourite actors since I was kid, carries the investigation while Olsen watches. Gil Birmingham seems to know he's outmatched by his wife's grief and so tries to go through his own pain alone, knowing full well he's only putting on a show. Jeremy Renner is the best he's been since <i>The Hurt Locker</i>, stoic and wounded. That the film goes where it goes and is built around something so ubiquitous it could seem like a cheap attention grab and <i>still</i> winds up in such a believably touching note of disarray is no mean feat. I thought Sheridan couldn't surprise me anymore. I was wrong. </span></div>
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<span style="font-size: large;">84. </span><span style="font-size: large;">Patton Oswalt: Annihilation</span></div>
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<span style="font-size: large;">by Bobcat Goldthwait</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDKuiXtJEcs_waLHWt3JQPQTRld4DHcHWi4lkEB_DnOvsHHD2qOWYGoos7-_Qpep5mW3s92Ci40cIxKdfokj_BptyQ5XgfcRjlbPgGrkCIFw-OQjibqnINXWeamJ2S6UOkIWlCbb4Zv4/s1600/patton-oswalt-annihilation-image-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDKuiXtJEcs_waLHWt3JQPQTRld4DHcHWi4lkEB_DnOvsHHD2qOWYGoos7-_Qpep5mW3s92Ci40cIxKdfokj_BptyQ5XgfcRjlbPgGrkCIFw-OQjibqnINXWeamJ2S6UOkIWlCbb4Zv4/s640/patton-oswalt-annihilation-image-5.jpg" width="640" /></a></div>
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<span style="font-size: large;">A stand-up at both the <a href="https://letterboxd.com/honorszombie/film/patton-oswalt-annihilation/">depths of a personal terror</a> (one we all face in some way or another) and the height of his expressive power lets us all in on the horrifying truth of just getting out of bed every morning to face the little girl for which he's responsible. Standing up has never seemed so courageous. Goldthwait's patient stare allows Oswalt's words to bloom before us, his face gently opening and allowing us to understand his pain. </span></div>
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<span style="font-size: large;">85. </span><span style="font-size: large;">The Wall</span></div>
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<span style="font-size: large;">by Doug Liman</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfjsG4ju2eBmRK38uwhx5HND9lR5t_SV-bXdy5_RmMe3r49Y5ZGU2Gp5eF4nRm5rxUHY7lhjyi_vw8joTqp6_4hU5NOCiimTIhq0wr2OoiL_svHX8JGXD67rDrAWjTOlC7m1c2fV1rJX8/s1600/thewall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1036" data-original-width="1600" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfjsG4ju2eBmRK38uwhx5HND9lR5t_SV-bXdy5_RmMe3r49Y5ZGU2Gp5eF4nRm5rxUHY7lhjyi_vw8joTqp6_4hU5NOCiimTIhq0wr2OoiL_svHX8JGXD67rDrAWjTOlC7m1c2fV1rJX8/s640/thewall.jpg" width="640" /></a></div>
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<span style="font-size: large;">Something Ed Cahn or Joseph H. Lewis might have done, a gabby tale of the virtue of knowing when you're licked, something Americans never seem to know how to do. </span></div>
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<span style="font-size: large;">86. </span><span style="font-size: large;">Horace Tapscott Musical Griot</span></div>
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<span style="font-size: large;">by </span><span style="font-size: large;">Barbara McCullough</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhup-X9NWv6WzOd1GgEamVOIsF7UL8IMBqklDUa5mQQY2oNNMm3v061u8ldpT0RBRGYpF1KTkDGLMwwKMTYleQHUbXk0yqZWVF2f1CIQJY37XcjQFZdmrdF-4crBBkveHS8NGRo14mTLAw/s1600/ht-introl-pic-1920-b-1500x794.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1500" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhup-X9NWv6WzOd1GgEamVOIsF7UL8IMBqklDUa5mQQY2oNNMm3v061u8ldpT0RBRGYpF1KTkDGLMwwKMTYleQHUbXk0yqZWVF2f1CIQJY37XcjQFZdmrdF-4crBBkveHS8NGRo14mTLAw/s640/ht-introl-pic-1920-b-1500x794.jpg" width="640" /></a></div>
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<span style="font-size: large;">As twisty and enriching as one of his compositions, this stream of consciousness look at an old soul, who was himself a window into the history of Jazz in America and into the communal lives of black musicians. An essential document and a fabulously told series of stories. </span></div>
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<span style="font-size: large;">87. </span><span style="font-size: large;">Professor Marston and the Wonder Women</span></div>
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<span style="font-size: large;">by Angela Robinson</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZoXlLpK_w1Ua6loEEh_INHYGaHM_LHFVTESmiN0DqoDSf1t7a3M3a3RkMfgbFhfM8nYZLDE0LrrTFQ0h9cKCatQsy3e2EX9GhS2eniJGD8owGgAYvJPxZIt5wbHdCEHQJ0G__LXE_Exc/s1600/marston-and-the-wonder-women-750x500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="750" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZoXlLpK_w1Ua6loEEh_INHYGaHM_LHFVTESmiN0DqoDSf1t7a3M3a3RkMfgbFhfM8nYZLDE0LrrTFQ0h9cKCatQsy3e2EX9GhS2eniJGD8owGgAYvJPxZIt5wbHdCEHQJ0G__LXE_Exc/s640/marston-and-the-wonder-women-750x500.jpg" width="640" /></a></div>
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<span style="font-size: large;">Subverts biopic problems and subject matter exhaustion through refreshing intimacy and brusque communication. No one ever lies for long in this movie, and the truth usually hurts, so when the central trio aren't going to town on each other in some of the most amazingly artificial yet stunningly warm and welcome love scenes of the year, they're smoking and swearing at each other. </span><span style="font-size: large;">The film's use of bondage as a powerful tool of self-investigation is genuinely touching, don't ask me how Robinson pulled that off. </span><span style="font-size: large;">All that and period costumes. What's a matter, scared of having fun? </span></div>
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<span style="font-size: large;">88. </span><span style="font-size: large;">Nathan For You: </span><span style="font-size: large;">Finding Frances</span></div>
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<span style="font-size: large;">by Nathan Fielder</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQFft9adcl5V66mfN04wAs4FfuIYvoV2ToV2ikg5vCEai4VamvuB9W39vxr7qhlJLv9JA3jtpQtyN_17PbDxDjBcyCUvJb_aguUE7svzRBX1KsgAY3n9HRKc7l3sUtIe8J2mbf1A2-UNc/s1600/Nathan-For-You-S04E01-efcdef61e5c4d3d38844d78efaa0403a-full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQFft9adcl5V66mfN04wAs4FfuIYvoV2ToV2ikg5vCEai4VamvuB9W39vxr7qhlJLv9JA3jtpQtyN_17PbDxDjBcyCUvJb_aguUE7svzRBX1KsgAY3n9HRKc7l3sUtIe8J2mbf1A2-UNc/s640/Nathan-For-You-S04E01-efcdef61e5c4d3d38844d78efaa0403a-full.jpg" width="640" /></a></div>
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<span style="font-size: large;">A disturbing close-up of the suture separating reality from fiction, a nail-biting dance with exploitation. </span></div>
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<span style="font-size: large;">89. Girls Trip</span></div>
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<span style="font-size: large;">by Malcolm D. Lee</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGNjCvWDHwKFwtdmlldngRsqdppbGCoyFfqFCZYfAkcsel4hzFfSgYCawn_qKAZWEYfJDsd_YJ289UTeBsA_QucH2Gl72eibtMyZ9YpoUpzno5EmWnI6gXIxVWzjPNvBeiEJ0is_Up614/s1600/ct-life-stevens-thursday-girls-trip-0727.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGNjCvWDHwKFwtdmlldngRsqdppbGCoyFfqFCZYfAkcsel4hzFfSgYCawn_qKAZWEYfJDsd_YJ289UTeBsA_QucH2Gl72eibtMyZ9YpoUpzno5EmWnI6gXIxVWzjPNvBeiEJ0is_Up614/s640/ct-life-stevens-thursday-girls-trip-0727.jpg" width="640" /></a></div>
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<span style="font-size: large;">Tiffany Haddish's call for prayer belongs in a much tawdrier exploitation film, but it does wind up working for this sumptuous banquet of shamelessness, sisterhood and unabashed glamour. This film is what it looks like when a bunch of people are on <i>exactly</i> the same page about a movie's making and its intended impact. Like an inverse F. Gary Gray morality play, this movie doesn't need to shy away from self-aggrandizement because it is only too aware how fabulously talented and gorgeous its leads are. This movie is a big gross hug from a close friend who's seen you piss yourself and still picks up the phone when you call. </span></div>
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<span style="font-size: large;">90. Okja</span></div>
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<span style="font-size: large;">by Bong Joon-Ho</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXk5fEPCQepQgIvJGcanOTu80ezQOetjD4AP6dx9n-MZOho92BSvTcSZfmQKd8umDT__96jmf5vzDGJiv50SFtG9uyR2qA8nBVE85rzaBQxnFYddz0yO2Gzhn7edBlT0tuYlqKD6NNx40/s1600/okja-creature-littlegirl-woods.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="1088" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXk5fEPCQepQgIvJGcanOTu80ezQOetjD4AP6dx9n-MZOho92BSvTcSZfmQKd8umDT__96jmf5vzDGJiv50SFtG9uyR2qA8nBVE85rzaBQxnFYddz0yO2Gzhn7edBlT0tuYlqKD6NNx40/s640/okja-creature-littlegirl-woods.jpg" width="640" /></a></div>
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<span style="font-size: large;">Playing with well-worn tropes doesn't dilute Bong Joon-Ho's directorial potency any. This wild ass road movie goes for the jugular early and often, completely unafraid of alienating and shocking its audience. By turns completely horrifying and unspeakably adorable, this movie wants to give the next generation their own <i>Babe</i>, but makes sure they earn it first. </span></div>
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<span style="font-size: large;">91. American Fable</span></div>
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<span style="font-size: large;">by Anne Hamilton</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7yI1aKo10aDzROboSB0h7h8_sKeKyBMqS8vZQ2yvR6IcdQMmc3HVrnZk0ox6AkPcW-A197ii8InBDjM9mixnlzevuovysg8gmzzt_VPBkZYXe1hsGdrSjGZcywhIwRkBsLNCQ75tpPI/s1600/hero_American-Fable-2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7yI1aKo10aDzROboSB0h7h8_sKeKyBMqS8vZQ2yvR6IcdQMmc3HVrnZk0ox6AkPcW-A197ii8InBDjM9mixnlzevuovysg8gmzzt_VPBkZYXe1hsGdrSjGZcywhIwRkBsLNCQ75tpPI/s640/hero_American-Fable-2017.jpg" width="640" /></a></div>
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<span style="font-size: large;">Peyton Kennedy's first bonafide star turn, holding her own against Richard Schiff, among others, without breaking a sweat. This delirious little tale of backcountry betrayal cracks along on the strength of its nightmare images and Kennedy's brilliant talent for underplaying, for being normal even as it's plain she is anything but. America could use a few more films like this, simple and cunning, stacked with great undervalued performers. </span></div>
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<span style="font-size: large;">92. Paris 05:59: Théo & Hugo</span></div>
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<span style="font-size: large;">by Olivier Ducastel & Jacques Martineau</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnHjSD1nEOjz6qsZR9wlkqQEZAz2OnTYTHphh8Sh-o5O60FRCrTqqCuX5jIqPCQifRnOUNeDtid5e96Q_L4w4ttsSRX82PuEcd6wvr4Q1OwnQr8LhpgYdG517Y65hJzNqkDvtRQ8S-dsQ/s1600/THEO-HUGO_1-1540x866.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="866" data-original-width="1540" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnHjSD1nEOjz6qsZR9wlkqQEZAz2OnTYTHphh8Sh-o5O60FRCrTqqCuX5jIqPCQifRnOUNeDtid5e96Q_L4w4ttsSRX82PuEcd6wvr4Q1OwnQr8LhpgYdG517Y65hJzNqkDvtRQ8S-dsQ/s640/THEO-HUGO_1-1540x866.jpg" width="640" /></a></div>
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<span style="font-size: large;">The film earns dozens of karma points for its frank sexuality and copious male nudity but doesn't wind up needing them because its life-or-death, Varda-quoting second and third acts have a desperate edge softened occasionally by the two men's transparent need to be needed. Though the stakes climb impossibly high (two people finding each other is no laughing matter), the film's clip is always breezy, making this work a real tightrope act for the leads, who go from no-holds-barred sex to clinging to each other for support and love in under 60 minutes. Maybe I shouldn't be so surprised it works, but it does. </span></div>
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<span style="font-size: large;">93. Kojo</span></div>
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<span style="font-size: large;">by Michael Fequiere</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzDYZkqzDr8UmlIGZqpcm6hyphenhyphenYyxAnssqwB5pqrVyO4Z5D9kRqPRtXFrSMidWkpeLq1Blc8CKoP2e5Wzmwj9Z5sdUzOG30RAQqZvhJ7izuGJn0yPxE-wcEu9zED81xFEWlveGHQKUSuWP0/s1600/20170619_202842_075510_kojo_blog.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzDYZkqzDr8UmlIGZqpcm6hyphenhyphenYyxAnssqwB5pqrVyO4Z5D9kRqPRtXFrSMidWkpeLq1Blc8CKoP2e5Wzmwj9Z5sdUzOG30RAQqZvhJ7izuGJn0yPxE-wcEu9zED81xFEWlveGHQKUSuWP0/s640/20170619_202842_075510_kojo_blog.jpeg" width="640" /></a></div>
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<span style="font-size: large;">Pure joy is an eleven year old unpacking and assembling a drum kit and taking an audience of adults to school. </span></div>
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<span style="font-size: large;">94. The Event</span></div>
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<span style="font-size: large;">by Sergei Loznitsa</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgusFdKm1RSeVfrGYASaqzZLJrmg6NoXvS8GSG5iHodPhhyphenhyphent9Adb-oiKZCmSB3XVkzkMV10lyGxqp6FtbTkJ6oLOEQpCQvRHNrkk4tpWFhwXf1c-AE89u4z2xcr_KewCkPYSYdYKASZ1j8/s1600/xglmjr-theevent-05-o2-8748456-1439860009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="680" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgusFdKm1RSeVfrGYASaqzZLJrmg6NoXvS8GSG5iHodPhhyphenhyphent9Adb-oiKZCmSB3XVkzkMV10lyGxqp6FtbTkJ6oLOEQpCQvRHNrkk4tpWFhwXf1c-AE89u4z2xcr_KewCkPYSYdYKASZ1j8/s640/xglmjr-theevent-05-o2-8748456-1439860009.jpg" width="640" /></a></div>
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<span style="font-size: large;">"Swan Lake," like a benediction for a country's grappling with its ugly history. We have been wrong, but we have produced beautiful things. Surely we can pull ourselves out of this mess once more. The stern black and white images don't bear out hope, only a continuity of effort. </span></div>
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<span style="font-size: large;">95. Pumpkin Movie/It's Him</span></div>
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<span style="font-size: large;">by Sophy Romvari</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3FUWvYZhyphenhyphenXRRizXbMCRhWEOyQhxwd7eC0FGi8CdzxtRuRIRuVavRvlHI5eV1h0ZE12_uPs3vpwXO6uvsD8p8q1vcGwYih7hzznCyulFBBFeFyiweChUDSQjiaBaCGBDvC_08vzLARaI/s1600/DNaL6D9U8AADVX6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3FUWvYZhyphenhyphenXRRizXbMCRhWEOyQhxwd7eC0FGi8CdzxtRuRIRuVavRvlHI5eV1h0ZE12_uPs3vpwXO6uvsD8p8q1vcGwYih7hzznCyulFBBFeFyiweChUDSQjiaBaCGBDvC_08vzLARaI/s640/DNaL6D9U8AADVX6.jpg" width="640" /></a></div>
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<span style="font-size: large;">Romvari's tales of missing men and the stain/shadows they leave behind are some of the most reliably thought-provoking in Canadian film. This incidental double feature show the good and the bad sides of masculine influence, as rendered/remembered by women stuck with their legacies. Unlike <i>Nine Behind's </i>absent director, their influence is felt much more keenly by a grieving sister, and a pair of perpetually stalked and bothered young women. Female friendship is both consolation and armor, a way around the problem of needing men, or at the very least, being constantly battered by their existence, present or invisible. Her heroes reach for definitive hope but find only half-hearted gestures, a knowing defeated tone for describing them. The perfect surfaces she conjures for both films help the sorrow go down easier. </span></div>
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<span style="font-size: large;">96. </span><span style="font-size: large;">The Daughter</span></div>
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<span style="font-size: large;">by Simon Stone</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjngfovY_1Gf-3NO36Jw_Z-XE57lqz430ukbKzH1GaXZlOPKewqb-eId3FB53C_Y0v9Nrj2GkjT3FH4x_OTk040XGM-OICglmHNozP11GzfQ0U8mMnNHQAYAAnhvtPmcNtYu5PEU5su68/s1600/post.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="377" data-original-width="670" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjngfovY_1Gf-3NO36Jw_Z-XE57lqz430ukbKzH1GaXZlOPKewqb-eId3FB53C_Y0v9Nrj2GkjT3FH4x_OTk040XGM-OICglmHNozP11GzfQ0U8mMnNHQAYAAnhvtPmcNtYu5PEU5su68/s640/post.png" width="640" /></a></div>
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<span style="font-size: large;">Australia, it turns out, is the perfect place to stage Ibsen. Unemphatically presented (the truth stings enough without the director hammering it home), this tapestry of pain is impossible not to become wrapped up in, if only because each character is so believably damaged. </span></div>
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<span style="font-size: large;">97. The Great Wall</span></div>
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<span style="font-size: large;">by Zhang Yimou</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXrDDWiV3h9J-Fnii2w3DjY3OcznjfO1LbM4C4GYIC86AXEEX9MsB_iw29qUhf4-BbIywT6FgRqWd_NxGd1oX3Kk-lTTcggiMCHpjQ6Fqsi1wHyqP8v4x8PJjU5JHtUyGDavQRDxdnvog/s1600/57fac19d50954928d74e17d4_o_U_v3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXrDDWiV3h9J-Fnii2w3DjY3OcznjfO1LbM4C4GYIC86AXEEX9MsB_iw29qUhf4-BbIywT6FgRqWd_NxGd1oX3Kk-lTTcggiMCHpjQ6Fqsi1wHyqP8v4x8PJjU5JHtUyGDavQRDxdnvog/s640/57fac19d50954928d74e17d4_o_U_v3.jpg" width="640" /></a></div>
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<span style="font-size: large;">Zhang Yimou's attempt at both olympic pageantry and euro-pudding romantic drama ought to be the incomprehensible laff-riot most critics want you to think it is, but the director of <i>Hero</i> didn't get hit on the head and forget how to make movies over night. This movie is capital F-Fun and every off-kilter element, from Damon's accent to the silly CGI dragons, is just another tent in the carnival. The stained glass sequence is some of the finest work the veteran director has ever done. </span></div>
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<span style="font-size: large;">98. </span><span style="font-size: large;">First They Killed My Father</span></div>
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<span style="font-size: large;">by Angelina Jolie</span></div>
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<span style="font-size: large;">Jolie, back in humanitarian crisis mode, glides across a country's shame all to locate the indefatigable humanity of its smallest combatants. Anthony Dod Mantle scaled back his arsenal of lighting effects to keep from over-aestheticizing the horror of life as a child soldier. The land never loses its natural sheen, and our young hero never forgets that though making war is human, it's not necessary. </span></div>
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<span style="font-size: large;">99. </span><span style="font-size: large;">Annabelle: Creation</span></div>
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<span style="font-size: large;">by David Sandberg</span></div>
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<span style="font-size: large;">The cast is perhaps overqualified, but most welcome, for this surprisingly effective haunted house ride. Little girls struggle with feeling unwanted just as a demon discovers their vulnerability. Expertly acted and sharply directed. </span></div>
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<span style="font-size: large;">100.<span style="white-space: pre;"> </span>The Commune</span></div>
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<span style="font-size: large;">by Thomas Vinterberg</span></div>
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<span style="font-size: large;">Thomas Vinterberg does his best Lukas Moodysson impression and naturally unearths a few more honestly ugly truths. This film's interpersonal dramas might be a touch generic but the looks on its female characters faces as they understand that they're <i>not</i> in the 21st century in which the film is made, that for all their liberal views and belief in equality, the men around them still make the world and they must exist in response to male will and whims. The film doesn't foist modern thought onto period life, for which we can be grateful. It shows women pining for a more enlightened time, so completely that they'll try to bring it about through the social equivalent of emergency surgery but the times have a way of stopping progress like a virus. </span></div>
Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-66914091698829431482017-12-30T20:14:00.002-05:002017-12-30T20:15:14.483-05:00Best Old Movies of 2017<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">The Confession</span><br />
<span style="font-size: large;">Wormwood Star</span><br />
<span style="font-size: large;">The Jungle Book (1994)</span><br />
<span style="font-size: large;">The Memory of Justice</span><br />
<span style="font-size: large;">The Witches of Eastwick</span><br />
<span style="font-size: large;">Bless Their Little Hearts</span><br />
<span style="font-size: large;">Heartburn</span><br />
<span style="font-size: large;">Get Rhythm</span><br />
<span style="font-size: large;">Kiss Kiss Bang Bang</span><br />
<span style="font-size: large;">You Can Count On Me</span><br />
<span style="font-size: large;">Goon</span><br />
<span style="font-size: large;">Idaho Transfer</span><br />
<span style="font-size: large;">The Cherry Orchard (1999)</span><br />
<span style="font-size: large;">Tales From The Crypt: The Man Who Was Death</span><br />
<span style="font-size: large;">The Moderns</span><br />
<span style="font-size: large;">Johnny Handsome</span><br />
<span style="font-size: large;">Street of No Return</span><br />
<span style="font-size: large;">Smokey And The Bandit</span><br />
<span style="font-size: large;">Surf Nazis Must Die</span><br />
<span style="font-size: large;">Invasion U.S.A. (1985)</span><br />
<span style="font-size: large;">Curses</span><br />
<span style="font-size: large;">Black Robe</span><br />
<span style="font-size: large;">Pescados</span><br />
<span style="font-size: large;">The Pledge</span><br />
<span style="font-size: large;">Sloth</span><br />
<span style="font-size: large;">Muta</span><br />
<span style="font-size: large;">New Argiropolis</span><br />
<span style="font-size: large;">Golden Eighties</span><br />
<span style="font-size: large;">The Craft</span><br />
<span style="font-size: large;">The Runestone</span><br />
<span style="font-size: large;">The Legend of Zorro</span><br />
<span style="font-size: large;">The Mask of Zorro</span><br />
<span style="font-size: large;">Fire In The Sky</span><br />
<span style="font-size: large;">Needful Things</span><br />
<span style="font-size: large;">Lost Souls</span><br />
<span style="font-size: large;">Middle of Nowhere</span><br />
<span style="font-size: large;">Jawbreaker</span><br />
<span style="font-size: large;">Black Panthers: Vanguard of the Revolution</span><br />
<span style="font-size: large;">Wilmington 10 — USA 10,000</span><br />
<span style="font-size: large;">Code of Silence</span><br />
<span style="font-size: large;">China Gate</span><br />
<span style="font-size: large;">The Final Terror</span><br />
<span style="font-size: large;">Erin Brockovich</span><br />
<span style="font-size: large;">To Wong Foo, Thanks For Everything, Julie Newmar</span><br />
<span style="font-size: large;">Another 48 Hours</span><br />
<span style="font-size: large;">Daughters of the Dust</span><br />
<span style="font-size: large;">12 Angry Men (1997)</span><br />
<span style="font-size: large;">U.S. Go Home</span><br />
<span style="font-size: large;">Chocolat</span><br />
<span style="font-size: large;">Newtown</span><br />
<span style="font-size: large;">The Perfect Kiss</span><br />
<span style="font-size: large;">Gidget Goes To Hell</span><br />
<span style="font-size: large;">The Manchurian Candidate (2004)</span><br />
<span style="font-size: large;">Sign 'o the Times</span><br />
<span style="font-size: large;">Lions Love</span><br />
<span style="font-size: large;">Rules Don't Apply</span><br />
<span style="font-size: large;">The Great Waldo Pepper</span><br />
<span style="font-size: large;">Lorenzo's Oil</span><br />
<span style="font-size: large;">L'Arriere-Saison</span><br />
<span style="font-size: large;">One Hour Photo</span><br />
<span style="font-size: large;">Eagle's Wing</span><br />
<span style="font-size: large;">Lord of Illusions</span><br />
<span style="font-size: large;">Easy A</span><br />
<span style="font-size: large;">Survival Quest</span><br />
<span style="font-size: large;">Belly</span><br />
<span style="font-size: large;">Mystery Street</span>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0tag:blogger.com,1999:blog-8048150012419794149.post-65946285868835712562017-06-05T12:56:00.001-04:002017-06-05T12:56:14.425-04:00The B-Side<span style="font-size: large;"><i>Fear The Walking Dead</i> always had an edge over <i>The Walking Dead</i>. While its sister series started spinning its wheels in its third season and hasn't yet found an organic way to make an endless stream of zombies and dystopian communities interesting, <i>Fear The Walking Dead</i> has been savvier from the start. The series has a more intense style that was allowed to ebb and flow depending on who was directing each episode. <i>Fear </i>used its muscular cinematography, rich color palette and a dark, moody score by Paul Haslinger to heighten each character’s psychological isolation from each other. The writing is stronger, with less of the plot motivated by idiocy or meanness on the part of the heroes, and the way the actors play off each other would be compelling in any setting or genre. Most importantly, the zombies aren't always the threat they are in <i>The Walking Dead</i>; it's tough to remain afraid of something if it's constantly on screen and there's a reason the word "fear" is in the title.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqX3naRPLcDrOKLrCFpms7cN2geh43fU_YG0MD0ThxaVYFsgH2iVa_hdS17vdkdpvJzpcwAA8UfChsfYG4PAhU_oAfAZAzebUF7Reo0DOWaGh1hfD-sU2F4X_UHTAIHmwOT-DoDsnF9Rg/s1600/fear-the-walking-dead-season-3-key-art-nick-dillane-1600x720.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="720" data-original-width="1600" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqX3naRPLcDrOKLrCFpms7cN2geh43fU_YG0MD0ThxaVYFsgH2iVa_hdS17vdkdpvJzpcwAA8UfChsfYG4PAhU_oAfAZAzebUF7Reo0DOWaGh1hfD-sU2F4X_UHTAIHmwOT-DoDsnF9Rg/s640/fear-the-walking-dead-season-3-key-art-nick-dillane-1600x720.jpg" width="640" /></span></a></div>
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<span style="font-size: large;">There was also the simplicity, quickly forgotten in <i>The Walking Dead</i>, that murdering monsters that look like people has a profound effect on even the hardest person. Nick (Frank Dillane) in particular, who never had the firmest grip on reality or his own sanity to begin with, began to buckle whenever presented with too many corpses of innocent people. Chris (Lorenzo James Henrie) lost it completely, as any young man attracted to violence but ultimately afraid of it might. Daniel (Rubén Blades), the former torturer, began to have flashbacks to the mayhem he caused and suddenly every bit of violence in his life began to coalesce, like white blood cells attacking the lies he uses to live with himself. His monologue about his time on a death squad to a kidnapped marine made the most of Blades' natural gravitas as a performer, but also hinted that he'd always be a little more equipped to handle the horror around everyone, but the show quickly put the lie to his resolve. That <i>Fear</i> never forgets that we're all human is one of the many reasons it's been worth sticking with. When Travis (Cliff Curtis) and Madison (Kim Dickens) have conversations about their children, it isn't just about their response to zombies, it actually draws on their previous life at home. They have pasts as well as presents, and this whole zombie thing is just one stressful piece of the puzzle. </span><br />
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<span style="font-size: large;">Its sense of place was another point in its favor: While <i>The Walking Dead's</i> version of the American South got monotonous <i>immediately</i>, the LA chapter in the opening season often flirted with the kind of buzzing atmospherics that marks the Michael Mann-derived work of Nic Winding Refn, <i>It Follows,</i> or <i>Hyena</i>. Its version of LA as pre-haunted flirted with uniqueness, even if it never quite got there. That it tried was admirable. Its vision of Mexico, particularly when in the hands of a master like Gerardo Naranjo, who I'm guessing had a thing or two to say about the bleached colour palette of his episode. Mexico felt like something approaching the real thing, not a fake version of a zombie wasteland. The landscape was nuanced.</span><br />
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<span style="font-size: large;">Now in its third season, <i>Fear The Walking Dead</i> must decide what direction to take the story and what kind of place it wants to inhabit. <i>The Walking Dead</i> illustrated that, without a definitive ending in sight, a series like this can too quickly become <i>Dynasty</i> with a body count. The series proves the richness of its craft almost immediately by separating the cast and making them fight for survival, a not uncommon occurrence on <i>The Walking Dead</i>. The difference is in the execution. When we rejoin Travis and Madison, her children, Nick and Alicia (Alycia Debnam-Carey), and Nick's girlfriend, Luciana (Danay Garcia), they’ve been kidnapped by a paramilitary group. Their ingenuity and brutality in one-upping their captor, Troy (Daniel Sharman), is gripping and grotesque, Madison jamming a spoon in Troy's eye and threatening to pop it out being the grim highlight. The dynamics between the characters changes by the end of the episode, which makes their struggle little more than a detour, but it hardly matters when the execution is this exciting: The gorgeous shallow-focus cinematography, frenetic editing, and endearingly exhausted performances make each of the show's tangents reason enough for <i>Fear The Walking Dead</i> to exist even if they hint that the series has no long-term storytelling ambitions. Things just happen, but that can be a virtue.</span><br />
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<span style="font-size: large;">The best example of this purposeful aimlessness might be when the relentlessly cagey Strand (Colman Domingo), who's been conning his way out of danger since the first season, pretends to be a doctor to curry favor with desperate locals in the seaside hotel where much of season 2 transpired. This backfires almost immediately when a man asks him to deliver a baby at knifepoint. Domingo's facial expression when he realizes he's going to have learn natal care in a hurry is a hilarious moment of humanity, one of a few the series allows itself. The funniest moment the show has yet produced occurs when Madison and her children land at a survivalist’s compound and discover an infomercial created by folksy Jeremiah Otto (Dayton Callie) that's so crooked and clever it would have worked equally well as a pre-credits scene on Breaking Bad. Madison and her brood surviving in Otto's ‘ranch’ is exactly the kind of go-nowhere arc that's proved so lethally boring on <i>The Walking Dead</i> season after season. <i>Fear the Walking Dead</i> has the filmmaking chops, comic energy, and trust in its performers to make the shapelessness seem like a good idea, even if it’s what got The Walking Dead in dramatic trouble.</span><br />
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<span style="font-size: large;">The cast is shaken up a little in the third season, but the mix of intelligence, exhaustion and reluctant compassion still animates the central players. Callie, always a welcome screen presence, caused by the departure of a crucial cast member in the opening seconds of the second. He’s a good foil for the steely Dickens, one of the most effortlessly human performers on TV. Dillane still supplies entertaining unpredictability as former junkie Nick, and in Sharman's Troy he has a foil worthy of his showy, chaotic theatrics.</span><br />
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<span style="font-size: large;">But the greatest choice the series makes is in teasing the return of the great Rubén Blades, who so lit up the first season and a half of <i>Fear The Walking Dead</i>. Blades is one of the finest and most underrated screen performers, and the opportunity to watch him wend his way through another season is a tantalizing prospect. It's elements like his gracefully spooky performance that made the series such a thrilling watch. The writers and directors of this b-side show have a good thing going, and don’t look to be running out of steam anytime soon.</span>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com1tag:blogger.com,1999:blog-8048150012419794149.post-63624296171772257532017-03-07T13:45:00.003-05:002017-03-07T15:04:59.124-05:00Coming up next<span style="font-size: large;">It was my 17th birthday, I was happy as I could have been. I was dating a girl who I'd spent a year pining for from afar and there was a whole big controversy because her boyfriend was the nicest guy in school and I'd kind of stolen her from him, but that's not what happened that's just how it looked. It took us months to get that back in order and for people to stop giving us sideways glances. For my birthday my parents, sisters, and grandparents took me to a sushi restaurant, which I'd planned because I knew my girlfriend would be there with some friends that night and I wanted to be able to look across the restaurant and smile at her and have her smile at me without interrupting her evening. I got a lot of super spiff gifts including a laptop an english teacher insisted I get because she didn't want to spend the entirety of my senior year in high school reading my handwriting. That was about as happy as I got back then. </span><br />
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<span style="font-size: large;">I ordered what I always did at this joint, an eel and scallop roll (I ate fish by the pound back then) and smiled at my girlfriend and she smiled back, my younger sister and I were making each other laugh doing impressions of Colin Meloy from The Decemberists, and then there was a shooting pain in my throat. I coughed and sputtered and excused myself. Five minutes later the pain, excruciating, was still present. My dad drove me to the hospital, luckily only about ten minutes away. They admitted me put in a private room, traded my shirt for a gown so naturally the fat kid who wore a shirt to the beach was feeling really in his element. Then the really bad news came. They'd be putting an I.V. in so they could then feed muscle relaxers into my blood so I'd be calm enough for an X-Ray of my throat. There was reason to believe an eel bone was still stuck in there. I didn't get it and was furious and scared but I said yes and braced myself. I have a bad history with needles, have always hated them. I have one of those uncanny, impossible memories of myself as a child in a doctor's office getting a series of injections, crying and screaming "Not the shot!" The impossible thing is I can see myself in the office, as if I was standing in the doorway watching my childhood self, scrunched up red face and everything. Everytime a doctor mentions an injection or the drawing of blood I see that little boy's face and my stomach sinks to my feet. I've gotten slightly better since this night, but that may just be because it was undeniably the low point in my relationship to hospitals. I have a story about dentistry I'll have to tell you some other time. </span><br />
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<span style="font-size: large;">They put the needle in my arm, that familiar, foreign sting, and the nurse says "Whoops." Always what you want to hear. Needle comes out, and then back in. Blood has shot out of the hole and onto the perfect white bandage around the area that they'd prepared. I hear myself lying and saying I'm ok but I'm transfixed by the needle. Can't stop staring. I put my hoodie over the arm so I have to stop looking at it. A minute later I'm walking down the hall, clutching my I.V., wheeling dumbly alongside me. They take the first X-Ray, I don't remember much about it, then I ask to use the restroom. I remember walking to the little bathroom behind the heavy door, I remember looking down at the toilet, and then I remember waking up believing I'd been kidnapped. I'm in a warehouse, I can hear the voices of my captors, they'll be back any second, I'm in Colombia…or Mexico… then it hits me. I'm on the floor of the bathroom, my head wedged between the wall and the heavy door. If someone had opened it, they'd have crushed my head. The I.V. is next to me on the floor and somehow the bag hasn't ripped, the needle hasn't come out. I stand up and slowly walk back to the X-Ray room. "I passed out." "Why didn't you say something?" The technician snapped at me. I didn't have an answer for that one. </span><br />
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<span style="font-size: large;">I shakily walk back to the hospital room and wait for the results, the pain in my throat is still bad but it's taken a backseat to the feeling of disappointment that comes when you're a kid and your birthday is ruined, the pain in my arm, the embarrassment from having passed out, and my general disorientation (and my later frustration when it appeared as though the bone was long gone, it was just the pain that was still stuck in my throat). I need something, anything to take my mind off how catastrophically this evening turned out. I grab the little remote next to me and turn the volume up and whatever's on the TV. It turns out to be an interview on TCM with Robert Osborne and Anthony Quinn. Everything about it was calming. Osborne's melodious, slightly reedy voice with its pockets of brandy-aged lows, his practiced highs and lows, from years as a consummate professional in front of a camera. He was gentleness incarnate. Quinn, a rascal and a survivor laughing, smiling, forthcoming, two old pros who'd lived and breathed the subject matter at hand. The room they sat in, the one any TCM fan from that era grew to view as their second living room, the one they always wished they could visit, with its amber lighting, its soft greens and browns hiding discreetly in the set design, nothing too loud or upsetting. That was the experience of watching Robert Osborne, everything manicured to set you at ease. He was like Fred Rogers or Bob Ross, he was here to teach us, to help us and guide us through a mountain of information, a lot of ugly. He'd soften the blows, the deaths and tragedies, the careers shortened by alcoholism and studio politics with a sympathetic shrug and a little raise of the eyebrows. Robert Osborne taught me about life's disappointing tide in the most avuncular, sage way anyone could hope for. Sure, our heroes die (this week is an especially sombre testament to that disheartening truth), but if we're lucky, someone as charismatic and passionate as Osborne will make sure their legacies never vanish. </span><br />
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<span style="font-size: large;">Osborne was going to be an actor before he wound up on my TV throughout my adolescence. He was good friends with people like Robert Wagner, Jill St. John and Jane Powell and he always kept that million dollar smile they taught actors of that generation. He leapt from job to job when performing didn't pan out, writing books and working as a columnist for The Hollywood Reporter - they knew he knew all about classic hollywood. He was the rare survivor who didn't have scars from his stint surrounded by the most glamorous people alive. He started hosting on TV in 1984 but he wouldn't cement himself as an icon until the creation of TCM in 1994. Osborne was the only man for the job. He had the knowledge, he had the enthusiasm and he had the softest possible presence. Even when they put him in the room with cantankerous Robert Mitchum, then on his death bed, he never lost the smile even though Mitchum dodged everything Osborne threw at him. He was all of us, wanting to reach into the screen <i>Sherlock Jr.</i> style, and pull out that gorgeously complicated history and share it with us. </span><br />
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<span style="font-size: large;">I watched him every day. Video stores came and went in my hometown but TCM was forever. It was film school before film school. Osborne's hosting segments were the perfect introduction to any topic. Bite-sized, good-humoured, and always that smile, that voice. He was another grandfather. I'd watch, in perfect serenity, as he shared great conversations with co-hosts like Molly Haskell, herself a regal ambassador to cinema history. I loved watching him try to give outré offerings like <i>Faster, Pussycat, Kill! Kill!</i> during his guest programmer sessions. He'd have generous but exacting talks with a murderer's row of guests like Lauren Bacall, Peter O'Toole, Ann Miller, James Garner, Liza Minelli Rod Steiger, and, as I learned on the worst night of my 17th year, Anthony Quinn. Osborne didn't just give us information and context on classic movies. He kept the past alive, let us know that history itself could be beautiful, as wonderful and comforting as it was to enter that soundstage every night with him. He worked like a dog, even when he was ill, which unfortunately was most of his last decade as a broadcaster. </span><br />
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<span style="font-size: large;">In college I came home for holidays and summers and would mainline all the TCM I'd missed while I was away, keeping hours of programming on my poor mother's DVR. Osborne standing in his suit on that lovely, golden-hued soundstage, was as much a part of being home as being in my own house. In 2008 I noticed his voice shaking, he'd trip over his words and some of the longer names, and those deep pockets his voice used to occasionally dip into would last longer. He was sick, I could hear it. That's how well his viewers knew him. I worried. Used to hold my breath during the longer passages of his intros because I was concerned he wouldn't make it through to the end. I cringed when he slipped up because...basically I wanted him to live forever, to be the old pro I grew up with, who I'd been watching since at least 6th grade. I was heartened every time he'd return from his month-long absences. The old man still had a good fight left in him. During his 80th birthday celebration, which was shown on TCM, he looked so happy to be able to stand in the spotlight and just say 'thank you' to everyone watching. We'd put him up there and he never forgot it. As each new guest came out to wish him well, his smile grew larger and larger. It was tough not to get emotional watching him so happy up there, being feted in the manner of his introduction to his favourite films noir and musicals. </span><br />
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<span style="font-size: large;">The truth is even now that he's gone Osborne's always going to be with me and everyone else who loved the films he loved and gave to us. His voice will drift through the silences in <i>My Man Godfrey, Seven Brides For Seven Brothers, Dodsworth, Indiscreet, Bringing Up Baby</i> and <i>The Big Clock</i>, reminding us that art is enough. It is purpose enough. It is beautiful enough. Life can be awfully cruel, but people like Robert Osborne wanted it to be a little more lovely. He wanted to give us art so that we might better understand life. He'll never be forgotten by kids raised on classic movies. He was like family. </span>Scout Tafoyahttp://www.blogger.com/profile/06107866561078736445noreply@blogger.com0