ENTRIES IN PART 2:


 


 

THOMAS CALDWELL

AUSTRALIAN WRITER, BROADCASTER, FILM CRITIC, PUBLIC SPEAKER AND FILM PROGRAMMER.

Favourite moving image/media I watched in 2017

Twin Peaks: The Return (David Lynch, 2017)

Favourite ten films released in Melbourne, Australia, in 2017

  1. Certain Women (Kelly Reichardt, 2016)
  2. Jackie (Pablo Larraín, 2016)
  3. Moonlight (Barry Jenkins, 2016)
  4. Call Me by Your Name (Luca Guadagnino, 2017)
  5. Logan (James Mangold, 2017)
  6. A Monster Calls (JA Bayona, 2016)
  7. Eshtebak (Clash, Mohamed Diab, 2016)
  8. Bacalaureat (Graduation, Cristian Mungiu, 2016)
  9. Blade Runner 2049 (Denis Villeneuve, 2017)
  10. Toni Erdmann (Maren Ade, 2016)

Honourable mentions (listed alphabetically)

20th Century Women (Mike Mills, 2016)
AK-Nyeo (The Villainess, Jeong Byeong-Gil, 2017)
Baby Driver (Edgar Wright, 2017)
Brigsby Bear (Dave McCary, 2017)
Colossal (Nacho Vigalondo, 2016)
Dunkirk (Christopher Nolan, 2017)
Get Out (Jordan Peele, 2017)
God’s Own Country (Francis Lee, 2017)
Good Time (Benny Safdie and Josh Safdie, 2017)
Grave (Raw, Julia Ducournau, 2016)
I Am Not Your Negro (Raoul Peck, 2016)
Kedi (Ceyda Torun, 2016)
Lion (Garth Davis, 2016)
Ma vie de Courgette (My Life as a Zucchini, Claude Barras, 2016)
Manchester by the Sea (Kenneth Lonergan, 2016)
Personal Shopper (Olivier Assayas, 2016)
T2 Trainspotting (Danny Boyle, 2017)
The Big Sick (Michael Showalter, 2017)
The Florida Project (Sean Baker, 2017)
The Meyerowitz Stories (New and Selected) (Noah Baumbach, 2017)

Certain Women

Certain Women (Kelly Reichardt, 2016)

MICHAEL CAMPI

LONG CAPTIVATED BY THE MOVIES. INVOLVED IN NON-COMMERCIAL FILM EXHIBITION OVER MANY DECADES.

2017 has been another exciting year discovering new work by first-time filmmakers and the maturity of others.   This year I haven’t placed any favourites outside an alphabetical list of titles.  In my home city of Melbourne, Australia, there are more and more cinemaplexes being built but at the same time the range of regular commercial releases seems to be less exciting. The majority of the following excitements in the cinema have been at official international film festivals, sometimes in the many national film events showing in commercial cinemas or occasionally a regular day to day release at more neighbourhood venues.

24 Frames (Abbas Kiarostami, 2017)
Bezbog (Godless, Ralitza Petrova, 2016)
Chemi bedinieri ojakhi (My Happy Family, Nana Ekvtimishvili, Simon Gross, 2016)
Chun-mong (A Quiet Dream, Zhang Lu, 2016)
Colo (Colo, Teresa Villaverde, 2017)
Dao Khanong (By the Time it Gets Dark, Anocha Suwichakornpong, 2016)
Dangsinjasingwa dangsinui geot (Yourself and Yours, Hong Sang-soo, 2016)
Dawson City: Frozen Time (Bill Morrison, 2016)
En attendant les hirondelles (Until the Birds Return, Karim Moussaoui, 2017)
Frantz (François Ozon. 2016)
Happy End (Michael Haneke, 2017)
God’s Own Country (Francis Lee, 2017)
Las Hijas de Abril (April’s Daughter, Michel Franco, 2017)
Hitsuji No Ki (The Scythian Lamb, Yoshida Daihachi, 2017)
Hounds of Love (Ben Young, 2016)
Insyriated (In Syria, Philippe Van Leeuw, 2017)
Jackie (Pablo Larrain, 2016)
Jae-hoe (Old Love, Park Ki-yong, 2017)
Jia Nian Hua (Angels Wear White, Angela Qu, 2017)
Koca Dünya (Big, Big World, Reha Erdem, 2016)
Kong shan yi ke (Ghost in the Mountain, Yang Heng, 2016)
Kor (Ember,  Zeki Demirkubuz, 2016)
Lady Macbeth (William Oldroyd, 2016)
Marlina Si Pembunuh dalam Empat Babak (Marlina the Murderer in Four Acts, Mouly Surya, 2017)
El mar nos mira de lejos (The Sea Stares at us from afar, Manuel Muñoz Rivas, 2017)
Marjorie Prime (Michael Almereyda, 2017)
Ma’ Rosa (Brillante Mendoza, 2016)
Ming yue ji shi you (Our Time Will Come, Ann Hui, 2017)
Moonlight (Barry Jenkins, 2016)
Mrs K (Ho Yuhang, 2017)
Una mujer fantástica (A Fantastic Woman, Sebastián Lelio, 2017)
Nelyubov (Loveless, Andrey Zvyagintsev. 2017)
O Ornitólogo (The Ornithologist, João Pedro Rodrigues, 2016)
Porto (Gabe Klinger, 2016)
Powidoki (Afterimage, Andrzej Wajda, 2016)
Qing Ting zhi yan (Dragonfly Eyes, Xu Bing, 2017)
Qiáng ní Kai ke (Missing Johnny, Huang Xi, 2017)
Mon Rot Fai   (Railway Sleepers, Sompot Chidgasornpongse, 2016),
Rat Film (Theo Anthony, 2016)
Réparer les vivants (Heal the Living,  Katell Quillévéré, 2016)
Satan Jawa (Garin Nugroho, 2017)
Teströl és lélekröl (On Body and Soul, Ildikó Enyedi, 2017)
Toivon tuolla puolen (The Other side of Hope, Aki Kaurismäki, 2017)
Tom of Finland (Dome Karukoski, 2017)
Visages, villages (Faces Places, Agnes Varda and JR, 2017)
Une Vie (A Woman’s Life, Stéphane Brizé , 2016)
Yozora wa itsudemo saikô mitsudo no aoiro da (The Tokyo Night Sky is Always the Densest Shade of Blue, Ishii Yûya, 2017)
When the Day Had No Name (When the Day Had No Name, Teona Strugar Mitevska, 2017)

NICOLAS CARRASCO

STAFF WRITER AT DESISTFILM

In no particular order:

Twin Peaks: The Return (David Lynch, 2017)
Zama (Lucrecia Martel, 2017)
Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismaki, 2017)
Split (M. Night Shyamalan, 2016)
A Fabrica de Nada (The Nothing Factory, Pedro Pinho, 2017)
Paterson (Jim Jarmusch, 2016)
Bamui haebyun-eoseo honja (On the Beach at Night Alone, Hong Sang-soo, 2017)
Gen-hu (The Day After, Hong Sang-soo, 2017)
Western (Valeska Grisebach, 2017)
Rey (Niles Atallah, 2017)
Estiu 1993 (Summer 1993, Carla Simon, 2017)
Colo (Teresa Villaverde, 2017)
Nocturama (Bertrand Bonello, 2016)
La Flor (Parte 1) (La Flor: Primera Parte, Mariano Llinás, 2016)
Gok-seong (The Wailing, Na Hong-jin, 2016)
Inimi cicatrizate (Scarred Hearts, Radu Jude, 2016)
The Autopsy of Jane Doe (André Øvredal, 2016)
Tumble (Robert Todd, 2016)
António Um Dois Três (Leonardo Mouramateus, 2017)
Silence (Martin Scorsese, 2016)
Good Time (Ben Safdie & Josh Safdie, 2017)
Toni Erdmann (Maren Ade, 2016)
No Intenso Agora (In the Intense Now, Joao Moreira Salles, 2017)
It Comes at Night (Trey Edward Shults, 2017)
The LostCity of Z (James Gray, 2017)
In Praise of Nothing (Boris Mitic, 2017)
Person to Person (Dustin Guy Defa, 2017)
i hate myself :) (Joanna Arnow, 2013-2017)
Selbstkritik eines bürgerlichen Hundes (Self Criticism of a Burgoise Dog, Julian Radlmaier, 2017)
ΕΥΡΩΠΗ (Mario Sanz, 2017)
Hell or High Water (David Mackenzie, 2016)

Twin Peaks: The Return

Twin Peaks: The Return (David Lynch, 2017)

MICHAEL J. CASEY

FILM CRITIC AND ENTERTAINMENT REPORTER FOR BOULDER WEEKLY.

My picks, in alphabetical order:

Baby Driver (Edgar Wright, 2017)
Call Me By Your Name (Luca Guadagnino, 2017)
Dunkirk (Christopher Nolan, 2017)
Good Time (Josh and Benny Safdie, 2017)
Kedi (Ceyda Torun, 2016)
LA 92 (T.J. Martin and Daniel Lindsay, 2017)
Lady Bird (Greta Gerwig, 2017)
Phantom Thread (Paul Thomas Anderson, 2017)
Visages, villages (Faces Places, Agnès Varda and JR, 2017)
Star Wars: The Last Jedi (Rian Johnson, 2017)

 

CELLULOID LIBERATION FRONT

ADVERSARIAL CRITICISM VISIBLE TO THE NAKED EYE FROM OUTER SPACE

-La lucida follia di Marco Ferreri (Marco Ferreri: Dangerous but Necessary, Anselma Dell’Olio, 2017)
A most precious documentary on a veritable giant of cinema whose films are becoming more relevant and urgent with time.

– Jia Nian Hua (Angels Wear White, Vivian Qu, 2017)
The only film that understood and framed sexual abuse as a structural feature of society as opposed to the deranged action of a “monster”. Timely to say the least…

– Toni Erdmann (Maren Ade, 2016)
The first truly European film of the 21st century.

– La mia Battaglia (Franco Maresco, 2017)
The year’s greatest film by the world’s greatest living director.

– The Dust Channel (Roee Rosen, 2017)
Vacuum cleaning, ethnic cleansing and the ongoing persecution of refugees.

– Western (Valeska Grisebach, 2017)
As walls and barbed wire are once again carving Europe up, this western explores with unprecedented grace and attention the psychology of frontiers.

– Touivon Tuolla Puolen (The Other Side of Hope, Aki Kaurismäki, 2017)
This film has the rarest of all cinematic qualities: human empathy.

– The Rider (Chloe Zhao, 2017)
Maybe the first film about Trump’s America and the ineluctable demise of its defeated myths.

– The Square (Ruben Östlund, 2017)
An important failure of a film.

– Hacksaw Ridge (Mel Gibson, 2016)
This is literally what Hilary Clinton’s presidency would have looked and felt like had she won the presidential elections. Patriarchal, imperial violence can do without a phallus.

 

DARYL CHIN

CRITIC IN BROOKLYN, NY; HE MAINTAINS A BLOG, DOCUMENTS ON ART & CINEMA

A list of 30 films of note released in the US in 2017.

COLUMBUS (2017, Kogonada)
DAWSON CITY: FROZEN TIME (2016, Bill Morrison)
VISAGES VILLAGES (2017, Agnes Varda and J.R.)
LA MORT DE LOUIS XIV (2016, Albert Serra)
O ORNITOLOGO (2016, Joao Pedro Rodrigues)
ANG BABAENG HUMAYO (2016, Lav Diaz)
UMI YORI MO MADA (2016, Hirokazu Koreeda)
THE SHAPE OF WATER (2017, Guillermo del Toro)
120 BATTEMENTS PAR MINUTE (2017, Robin Campillo)
CALL ME BY YOUR NAME (2017, Luca Guadagnino)
MUDBOUND (2017, Dee Rees)
THE FLORIDA PROJECT (2017, Sean Baker)
NELYUBOV (2017, Andrey Zvyagintsev)
TOIVON TUOLLA PUOLEN (2017, Aki Kaurismaki)
THEIR FINEST (2017, Lone Scherfig)
PRINCESS CYD (2017, Stephen Cone)
BEACH RATS (2017, Eliza Hittman)
GOD’S OWN COUNTRY (2017, Francis Lee)
THEO ET HUGO DANS LA MEME BATEAU (2016, Olivier Ducastel & Jacques Martineau)
UNA MUJER FANTASTICA (2017, Sebastian Lelio)
LE FILS DE JOSEPH (2016, Eugene Green)
MIMOSAS (2016, Oliver Laxe)
GET OUT (2017, Jordan Peele)
LADY BIRD (2017, Greta Gerwig)
A WOMAN, A PART (2016, Elisabeth Subrin)
JANE (2017, Brett Morgen)
QUEST (2017, Jonathan Olshefski)
BOMBSHELL: THE HEDY LAMARR STORY (2017, Alexandra Dean)
INVEBA (2017, John Trengove)
PHANTOM THREAD (2017, Paul Thomas Anderson)

Surprisingly, in spite of world events of continual concern and alarm, this year turned out to be quite an exciting year in terms of films released in the United States (often meaning that foreign or independent films were made in the previous year, but found distribution this year). For me, one note was the large number of LGBT films of merit: O ORNITOLOGO, 120 BATTEMENTS PAR MINUTE, CALL ME BY YOUR NAME, PRINCESS CYD, BEACH RATS, GOD’S OWN COUNTRY, THEO ET HUGO DANS LA MEME BATEAU, UNA MUJER FANTASTICA, A WOMAN A PART and INVEBA. But the possibilities of international exchange continue to be challenging, because of changes in distribution patterns and methods of delivery: the shrinking number of “art houses” poses a threat to the continuity of theatrical release, but streaming services may prove to be the way in which we see any sort of “alternative” (be it independent, avant-garde, or foreign) cinema.

 

GRAIWOOT CHULPHONGSATHORN

FILM RESEARCHER BASED IN LONDON AND BANGKOK

Alphabetically

Contemporary

24 Frames (Abbas Kiarostami, 2017)
Also Known as Jihadi (Eric Baudelaire, 2017)
As Boas Maneiras (Good Manners, Juliana Rojas and Marco Dutra, 2017)
Bye Bye Deutschland! Eine Lebensmelodie (Bye Bye Deutschland! A Melody of Life, Bárbara Wagner and Benjamin de Burca, 2017)
Call Me By Your Name (Luca Guadagnino, 2017)
Caniba (Véréna Paravel and Lucien Castaing-Taylor, 2017)
Commensal (Véréna Paravel and Lucien Castaing-Taylor, 2017)
Cosmic Generator (Mika Rottenberg, 2017)
El Auge del Humano (The Human Surge, Eduardo Williams, 2016)
Eldorado XXI (Salomé Lamas, 2016)
Engram of Returning (Daïchi Saïto, 2015)
Estiu 1993 (Summer 1993, Carla Simón, 2017)
The Florida Project (Sean Baker, 2017)
For Example, the Philippines: Wake (Subic) (John Gianvito, 2015)
Girls Trip (Malcolm D. Lee, 2017)
I Had Nowhere to Go (Douglas Gordon, 2016)
Jia Nian Hua (Angels Wear White, Vivian Qu, 2017)
Mon Rot Fai (Railway Sleepers, Sompot Chidgasornpongse, 2016)
Ostatnia Rodzina (The Last Family, Jan P. Matuszyński, 2016)
Personal Shopper (Olivier Assayas, 2016)
The Pure Necessity (David Claerbout, 2016)
Silence (Martin Scorsese, 2016)
The War Show (Andreas Dalsgaard and Obaidah Zytoon, 2016)
Zama (Lucrecia Martel, 2017)

Pre-2015
Batang West Side (West Side Avenue, Lav Diaz, 2001), 35mm
Chibusa yo eien nare (Eternal Breasts, Kinuyo Tanaka, 1955), 35mm
Dal Polo all’Equatore (From the Pole to the Equator, Yervant Gianikian and Angela Ricci Lucchi, 1987), 16mm
Dubbing (Harun Farocki and Antje Ehmann, 2006), digital
Linia (The Line, Geta Brătescu, 2014), vimeo
The Mist (Black and White version) (Frank Darabont, 2007), digital
Nummer Veertien: Home (Guido van de Werve, 2012), digital
Reassemblage (Trinh T. Minh-ha, 1982), 16mm
The River (Jean Renoir, 1951), 35mm
Shabhaye Zayendeh-Rood (The Nights of Zayandeh-Rood, Mohsen Makhmalbaf, 1990), streaming
Tongpan (Euthana Mukdasanit, Surachai Janthimathorn, Paijong Laisagoon, Rassami Paoleungtong, 1977), digital
Untitled Film/Right (Seth Price, 2006), 16mm
The Weather Diaries (part 2-6) (George Kuchar, 1987-1990), digital

 

ROBERTA CIABARRA

FILM PROGRAMMER, ACMIC CINEMAS (AUSTRALIAN CENTRE FOR THE MOVING IMAGE)

La región salvaje (The Untamed, Amat Escalante, 2016)
Brad’s Status (Mike White, 2017)
Detroit (Kathryn Bigelow, 2017)
En attendant les hirondelles (Until the Birds Return, Karim Moussaoui, 2017)
A Ghost Story (David Lowery, 2017)
Sicilian Ghost Story (Fabio Grassadonia, Antonio Piazza, 2017)
I Am Not Your Negro (Raoul Peck, 2016)
Quand on a 17 ans (Being 17, André Téchiné, 2016)
Their Finest (Lone Scherfig, 2016)
Frantz (Francois Ozon, 2017)
Bar Bahar (In Between, Maysaloun Hamoud, 2016)
The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)
Call Me By Your Name (Luca Guadagnino, 2017)
120 battements par minute (BPM, Robin Campillo, 2017)
The Square (Ruben Östlund, 2017)
Chemi Bednieri Ojakhi (My Happy Family, Nana Ekvtimishvili, Simon Groß, 2017)
Brigsby Bear (Dave McCary, 2017)
Film Stars don’t die in Liverpool (Paul McGuigan, 2017)

 

JOEL CONDEMI

MELBOURNE CINEPHILE

Top 50 films that had a world premiere in 2017

  1. Visages villages (Faces, Places, Agnès Varda and JR, 2017)
  2. Una mujer fantástica (A Fantastic Woman, Sebastián Lelio, 2017)
  3. The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)
  4. Testről és lélekrő(On Body and Soul, Ildikó Enyedi, 2017)
  5. A Ghost Story (David Lowery, 2017)
  6. Good Time (Benny Safdie and Joshua Safdie, 2017)
  7. Chemi Bednieri Ojakhi (My Happy Family, Nana Ekvtimishviliand Simon Groß, 2017)
  8. Call Me By Your Name (Luca Guadanigno, 2017)
  9. The Disaster Artist (James Franco, 2017)
  10. The Florida Project (Sean Baker, 2017)
  11. Nelyubov (Loveless, Andrey Zvyagintsev, 2017)
  12. Bamui haebyun-eoseo honja (On the Beach at Night Alone, Hong Sang-soo, 2017)
  13. Dawson City: Frozen Time (Bill Morrison, 2017)
  14. Columbus (Kogonada, 2017)
  15. mother! (Darren Aronofsky, 2017)
  16. Strong Island (Yance Ford, 2017)
  17. Grave (Raw, Julia Ducournau, 2017)
  18. The Beguiled (Sofia Coppola, 2017)
  19. The Death of Stalin (Armando Ianucci, 2017)
  20. Get Out (Jordan Peele, 2017)
  21. The Work (Jairus McLeary and Gethin Aldous, 2017)
  22. Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)
  23. Wormwood (Erol Morris, 2017)
  24. Beach Rats (Eliza Hittman, 2017)
  25. The Lost City of Z (James Gray, 2017)
  26. 120 battements par minute (BPM (Beats Per Minute), Robin Campillo, 2017)
  27. The Meyerowitz Stories (New and Selected)(Noah Baumbach, 2017)
  28. Okja (Bong Joon Ho, 2017)
  29. Brigsby Bear (Dave McCary, 2017)
  30. It Comes at Night (Trey Edward Shults, 2017)
  31. Wonderstruck (Todd Haynes, 2017)
  32. Jim & Andy: The Great Beyond (Chris Smith, 2017)
  33. Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017)
  34. Golden Exits (Alex Ross Perry, 2017)
  35. Happy End (Michael Haneke, 2017)
  36. Chalat Kem Kong (Bad Genius, Nattawut Poonpiriya, 2017)
  37. God’s Own Country (Francis Lee, 2017)
  38. Landline (Gillian Robespierre, 2017)
  39. Le concours (The Graduation, Claire Simon, 2017)
  40. Logan (James Mangold, 2017)
  41. Ingrid Goes West (Matt Spicer, 2017)
  42. Lucky (John Carroll Lynch, 2017)
  43. Mommy Dead and Dearest (Erin Lee Carr, 2017)
  44. The Big Sick (Michael Showalter, 2017)
  45. Dunkirk (Christopher Nolan, 2017)
  46. Menashe (Joshua Z. Weinstein, 2017)
  47. School Life (Neasa Ní Chianáin and David Rane, 2017)
  48. El futuro perfecto (The Future Perfect, Nele Wohlatz, 2017)
  49. Powidoki (Afterimage, Andrzej Wajda, 2017)
  50. Lady Macbeth (William Oldroyd, 2017)

 

ADAM COOK

FREELANCE CRITIC; PROGRAMMER FOR TIFF, VIFF & HOT DOCS.
  1. Twin Peaks(David Lynch, 2017)
  2.  Bamui haebyun-eoseo honja (On the Beach at Night Alone, Hong Sangsoo, 2017)
  3. Phantom Thread(Paul Thomas Anderson, 2017)
  4. Western(Valeska Grisebach, 2017)
  5. Nathan for You: Finding Frances(Nathan Fielder, 2017)
  6. Ex Libris(Frederick Wiseman, 2017)
  7. Split(M. Night Shyamalan, 2017)
  8. Milla(Valérie Massadian, 2017)
  9. Zama(Lucrecia Martel, 2017)
  10. Fail to Appear(Antoine Bourges, 2017)

10 more films that will stay with me beyond this year, in alphabetical order:

Changjiang (A Yangtze Landscape, Xu Xin, 2017)
The Florida Project (Sean Baker, 2017)
Girls Trip (Malcolm D. Lee, 2017)
The Green Fog (Evan Johnson/Galen Johnson/Guy Maddin, 2017)
Kimi no na wa  (Your Name, Makoto Shinkai, 2017)
Logan Lucky (Steven Soderbergh, 2017)
Maison du bonheur (Sofia Bohdanowicz, 2017)
Princess Cyd (Stephen Cone, 2017)
PROTOTYPE (Blake Williams, 2017)
Star Wars: The Last Jedi (Rian Johnson, 2017)

Favourite repertory viewings:

  1. La région centrale(Michael Snow, Canada, 1971, 16mm, TIFF Lightbox, Toronto, November 7th)
  2. PTU (Johnnie To, Hong Kong, 2003, 35mm, TIFF Lightbox, Toronto, December 21st)
  3. Kundun(Martin Scorsese, USA, 1997, 35mm, TIFF Lightbox, Toronto, May 16th)
  4. Ebolusyon ng Isang Pamilyang Pilipino(Evolution of a Filipino Family, Lav Diaz, Philippines, 2004, Digi Beta, Toronto, October 29th)
  5. Zhàntái (Platform– Director’s Cut, Jia Zhangke, China, 2000, 35mm, TIFF Lightbox, Toronto, February 26th)
  6. King of New York(Abel Ferrara, USA, 1990, 35mm, The Royal Cinema, Toronto, November 29th)
  7. Cousin Bobby(Jonathan Demme, USA, 1992, DCP, Regal Cinema, Knoxville, March 26th)
  8. Le cercle rouge(Jean-Pierre Melville, France, 1980, DCP, TIFF Lightbox, Toronto, July 28th)
  9. Antigone(Jean-Marie Straub, Danièle Huillet, Germany/France, 1992, 35mm, TIFF Lightbox, Toronto, March 11th)
  10. The King of Comedy(Martin Scorsese, USA, 1982, DCP, The Royal Cinema, Toronto, September 2nd) – Memoriam for Jerry Lewis
The Florida Project

The Florida Project (Sean Baker, 2017)

JORDAN CRONK

FOUNDER/DIRECTOR: ACROPOLIS CINEMA, LOCARNO FESTIVAL IN LOS ANGELES; CONTRIBUTOR: CINEMA SCOPE, FILM COMMENT, SIGHT & SOUND

 

Twin Peaks: The Return (David Lynch, 2017)

+

3/4 (Illian Metev, 2017)
Autumn (Ernie Gehr, 2017)
Autumn, Autumn (Jang Woo-jin, 2016)
Bamui haebyun-eoseo honja (On the Beach at Night Alone, Hong Sangsoo, 2017)
Un beau soleil interieur (Let the Sun Shine In, Claire Denis, 2017)
Caniba (Véréna Paravel and Lucien Castaing-Taylor, 2017)
Did You Wonder Who Fired the Gun? (Travis Wilkerson, 2017)
Distant Constellation (Shevaun Mizrahi, 2017)
El mar la mar (Joshua Bonetta and J.P. Sniadecki, 2017)
Era Uma Vez Brasília (Once There Was Brasilia, Adirley Queirós, 2017)
Ex Libris: The New York Public Library (Frederick Wiseman, 2017)
A Fábrica de Nada (The Nothing Factory, Pedro Pinho, 2017)
Farpões Baldios (Barbs Wastelands, Marta Mateus, 2017)
First Reformed (Paul Schrader, 2017)
Le fort des fous (Narimane Mari, 2017)
From a Year of Non-Events (Ann Carolin Renninger and René Frölke, 2017)
Geu-hu (The Day After, Hong Sangsoo, 2017)
Golden Exits (Alex Ross Perry, 2017)
Good Luck (Ben Russell, 2017)
Good Time (Josh Safdie and Benny Safdie, 2017)
Helle Nächte (Bright Nights, Thomas Arslan, 2017)
Jeannette, l’enfance de Jeanne d’Arc (Jeannette, the Childhood of Joan of Arc, Bruno Dumont, 2017)
Jours de France (4 Days in France, Jérôme Reybaud, 2016)
Keul-le-eo-ui ka-me-la (Claire’s Camera, Hong Sangsoo, 2017)
Krotkaya (A Gentle Creature, Sergei Loznitsa, 2017)
L’amant d’un jour (Lover for a Day, Philippe Garrel, 2017)
The Lost City of Z (James Gray, 2016)
Madame Hyde (Mrs. Hyde, Serge Bozon, 2017)
Milla (Valérie Massadian, 2017)
Occidental (Neïl Beloufa, 2017)
Onward Lossless Follows (Michael Robinson, 2017)
Ouroboros (Basma Alsharif, 2017)
Phantasiesätze (Fantasy Sentences, Dane Komljen, 2017)
Phantom Thread (Paul Thomas Anderson, 2017)
PROTOTYPE (Blake Williams, 2017)
Rose Gold (Sara Cwynar, 2017)
Saint Bathans Repetitions (Alexandre Larose, 2017)
Silence (Martin Scorsese, 2016)
Song to Song (Terrence Malick, 2017)Strangely Ordinary This Devotion (Dani Leventhal and Sheilah Wilson, 2017)
Streetscapes [Dialogue] (Heinz Emigholz, 2017)
La telenovela errante (The Wandering Soap Opera, 1990/2017)
Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)
Turtles Are Always Home (Rawane Nassif, 2017)
Untitled (Michael Glawogger and Monika Villi, 2017)
Viejo calavera (Dark Skull, Kiro Russo, 2016)
Visages Villages (Faces Places, Agnès Varda and J.R., 2017)
Western (Valeska Grisebach, 2017)
You yi nian (Another Year, Shengze Zhu, 2016)
Zama (Lucrecia Martel, 2017)

 

FERGUS DALY

CO-DIRECTOR OF ABBAS KIAROSTAMI: THE ART OF LIVING, WRITER FOR FERGUSDALY.COM

Sam Shepard’s death felt momentous, in so many ways he was the missing link, bridging not only modernist literature and commercial Hollywood but theatre and rock-and-roll, the City and the Plains, Dylan and Malick as well as Beckett and Antonioni. His final two books, Spy of the First Person and The One Inside are remarkable achievements, The One Inside probably his finest book of all.

Best recent films seen in 2017
The Architect (Jonathan Parker, 2016)
Columbus (Kogonada, 2017)
Donald Cried (Kris Avedisian, 2016)
Le Fils de Joseph (The Son of Joseph, Eugène Green, 2016)
A Ghost Story (David Lowery, 2017)
Kor (Ember, Zeki Demirkubuz, 2016)
Menashe (Joshua Z Weinstein, 2017)
Norman ( Joseph Cedar, 2016)
Personal Shopper (Olivier Assayas, 2016)
Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)

Best TV
Twin Peaks
+
American Masters: By Sidney Lumet (2017)
Sneaky Pete

Worst films seen in 2017
War on Everyone (John Michael McDonagh, 2016)
+ Song to Song (Terrence Malick, 2017)

Best Film Festival
New Horizons International Film Festival, Wroclaw, Poland

 

ADRIAN DANKS

ASSOCIATE DEAN, MEDIA, IN THE SCHOOL OF MEDIA AND COMMUNICATION AT RMIT UNIVERSITY. AUTHOR OF A COMPANION TO ROBERT ALTMAN, PREVIOUS EDITOR OF SENSES OF CINEMA

Top 8 best new “films” series screening somewhere in Melbourne (in alphabetical order):
Dawson City: Frozen Time (Bill Morrison, 2016)
I Am Not Your Negro (Raoul Peck, 2016)
A Quiet Passion (Terence Davies, 2016)
Teströl és lélekröl (On Body and Soul, Ildikó Enyedi, 2017)
Twin Peaks: The Return (David Lynch, 2017)
Visages, villages (Faces Places, Agnès Varda, 2017)
Voyage à travers la cinema français (Bertrand Tavernier, 2016)
Western (Valeska Grisebach, 2017)

Bubbling under:
Dunkirk (Christopher Nolan, 2017)
GLOW (2017 – TV series)
Jackie (Pablo Larraín, 2016)
Manchester by the Sea (Kenneth Lonergan, 2016)
Moana (Ron Clements and John Musker, 2016)
120 battements par minute (BPM, Robin Campillo, 2017)
Silence (Martin Scorsese, 2016)

Overrated or disappointing:
Baby Driver (Edgar Wright, 2017)
Un beau soleil intérieur (Let the Sunshine In, Claire Denis, 2017)
Get Out (Jordan Peele, 2017)
Happy End (Michael Haneke, 2017)
La La Land (Damien Chazelle, 2016)
Lion (Garth Davis, 2016)
Una Mujer Fantástica (A Fantastic Woman, Sebastián Lelio)
Nocturama (Bertrand Bonello, 2016)
24 Frames (Abbas Kiarostami, 2017)
Le vénérable W. (Barbet Schroeder, 2017)

Movie I’m still undecided on:
Detroit (Kathryn Bigelow, 2017)

Two most vacuous films by a once great director:
Song to Song (Terrence Malick, 2017)
Voyage of Time: The IMAX Experience (Terrence Malick, 2016)

Retrospective rediscoveries:
At the Melbourne Cinémathèque (admission: I’m co-curator): I soliti ignoti (Big Deal on Madonna Street, Mario Monicelli, 1958); Una giornata particolare (A Special Day, Ettore Scola, 1977); La dentellière (The Lacemaker, Claude Garreta, 1977); Une affaire de femmes (Claude Chabrol, 1988); Dance, Girl, Dance (Dorothy Arzner, 1940); Hard Times (Walter Hill, 1975); Home From the Hill (Vincente Minnelli, 1960); Pursued (Raoul Walsh, 1947); Wandafuru Raifu (After Life, Hirokazu Kore-eda, 1998); An Angel at My Table (Jane Campion, 1990); Aurora (Cristi Puiu, 2010); The Roaring Twenties (Raoul Walsh, 1939) – most screening on 35mm or recent digital restorations

At MIFF: Pioneering Women retrospective focus

At the Japanese Film Festival: Seijun Suzuki retrospective, especially the chance to see Kawachi Karumen (Carmen from Kawachi, 1966) on 35mm

At ACMI: The Tales of Hoffmann (Michael Powell and Emeric Pressburger, 1951); Léon Morin, prêtre (Jean-Pierre Melville, 1961) – with extra footage

This list reflects the reality that I didn’t get out so much in 2017 – at least not to the movies. From what I did see, I think it was a fairly weak year. Even the eight films in my best of the year are generally not as strong as many in previous lists. The year’s viewing was also marked by two particular lowlights: the welling “strains” of Andrew Lloyd Webber’s “Love Never Dies” at the end of Kiarostami’s 24 Frames (generally a misstep and sometimes more like kitsch-ostami); and the dreadful voiceover (voice of GOD!) on Malick’s Voyage of Time: The IMAX Experience (how much vacuity can be packed into a thankfully short but still very long 45 minutes?) The year also began with news of the death of one of the truly inspiring figures of international culture, John Berger, and was marked, for me, by the passing of three great women: Jeanne Moreau, Danielle Darrieux and Sylvia Lawson. It was also memorable for the very bittersweet sight of Agnès waiting for Godard at the end (and it felt very much like “the end” in a more profound sense) of Visages, villages; and some of the extraordinary material – such as the on-set audio recordings from Melville’s L’aîne des Ferchaux (1963) – contained in Tavernier’s Voyage à travers la cinema français. Cinephilia most certainly isn’t dead.

Visages, villages

Visages, villages (Faces Places, Agnès Varda, 2017)

BRIAN DARR

SAN FRANCISCO CINEPHILE

I’m listing everything alphabetically this year.

Top Ten features commercially-released in the USA in 2017

Bacalaureat (Graduation, Cristian Mungiu, 2016)
Dao Khanong (By the Time It Gets Dark, Anocha Suwichakornpong, 2016)
Dunkirk (Christopher Nolan, 2017)
Ex Libris: The New York Public Library (Frederick Wiseman, 2017)
Good Time (Benny Safdie & Josh Safdie, 2017)
Kaze ni nureta onna (Wet Woman in the Wind, Akihiko Shiota, 2016)
Kedi (Ceyda Torun, 2016)
Lady Bird (Greta Gerwig, 2017)
Nocturama (Bertrand Bonello, 2016)
Tony Conrad: Completely in the Present (Tyler Hubby, 2016)

Top Five features undistributed in the USA and first screened in San Francisco in 2017:

Acts & Intermissions (Abigail Child, 2017)
La Próxima Piel (The Next Skin, Isa Campo & Isaki Lacuesta, 2016)
Maliglutit (Searchers, Zacharias Kunuk & Natar Ungalaaq, 2016)
Parque Centrale (Ricardo S. Gaona, 2017)
Tip of My Tongue (Lynne Sachs, 2017)

Top Twenty single-channel film and video works of less than feature length:

025 Sunset Red (Laida Lertxundi, 2016)
Autumn (Ernie Gehr, 2017)
A Brief History of Princess X (Gabriel Abrantes, 2016)
Distant Shores (Christopher Harris, 2016)
DizzyMess (Vivian Ostrovsky, 2016)
Edge of Alchemy (Stacey Steers, 2017)
Fajr (Lois Patiño, 2017)
Feeler (Paul Clipson, 2016)
Generation (Dan Browne, 2017)
IFO (Kevin Jerome Everson, 2017)
Katagami (Michael Lyons, 2016)
Marginalia (Jerome Hiler, 2015)
Masochism of the Margins (Cyrus Yoshi Taber, 2016)
Mother’s Day (Elizabeth Lo & R.J. Lozada, 2017)
personne (Christoph Gir ardet & Matthias Müller, 2016)
Regal (Karissa Hahn, 2016)
T Is For Turnip (Kiera Faber, 2015)
The Two Sights (Katherine McInnis, 2015)
Turtles Are Always Home (Rawane Nassif, 2016)
We R the World/Mold (Dawn George, 2016)

Top ten expanded cinema presentations of 2017:

Available Space (Barbara Hammer, 1979) re-staged 16mm projector performance; Canyon Cinema 50 at Exploratorium, San Francisco, CA
Did You Wonder Who Fired the Gun? (Travis Wilkerson, 2017) projected video with live filmmaker narration; Crossroads Festival at SFMOMA, San Francisco, CA
Gone, Gone Beyond (People Like Us, 2017) 10-projector video installation; Grey Area, San Francisco, CA
I’ll Be Around (Jeremy Rourke, 2017) multi-video & 16mm with live music performance; Artists’ Television Access, San Francisco, CA
Lost Landscapes of San Francisco 12 (Rick Prelinger, 2017) silent video with live filmmaker and audience narration; Castro Theatre, San Francisco, CA
The Maribor Uprisings (Milton Guillén & Maple Razsa, 2017) branching video with guided audience participation; Maine International FilmFestival, Waterville, ME
Mosswood (Kerry Laitala & Voicehandler, 2017) dual-16mm projector performance with live music; Mosswood Chapel, Oakland, CA
Night Country (John Davis & Joshua Churchill, 2017) triple-16mm projector performance with live music; Mosswood Chapel, Oakland, CA
Temporal Cities (Lizzy Brooks & Radka Pulliam, 2017) projected video with 35mm slides; Other Cinema at Artists’ Television Access, SanFrancisco, CA
What Is Nothing [After What is Nothing] (Kristen Reeves, 2017) nonuple-16mm projector performance; San Diego Underground Film Festival, San Diego, CA

 

DUSTIN DASIG, PhD.

FILM CRITIC AND COMMUNICATIONS, MEDIA, AND FILM STUDIES LECTURER, PHILIPPINES

It was during an hour before I finalized my best films of 2017 lineup
today that I realized something: They share the same theme that
resonates in the current Hollywood, world cinema, and global
socio-economic and political diaspora: breakdown of political order,
increasing youth apathy, racism and sexism that never ceases to end,
and the decline of familial bonds brought about by alienation and
fatalistic view of the world.  Apparently, human beings and animals
experience the same problems.  With these ruminations, the question
is: What lies in humanity’s – and the world’s – future? Let’s go to
the cinema perhaps?

1.      Kedi (Ceyda Torun, 2016)
2.      Get Out (Jordan Peele, 2017)
3.      Toivon toulla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)
4.      Nelyubov (Loveless, Andrey Zvyagintsev, 2017)
5.      Moonlight (Barry Jenkins, 2016)
6.      Hymyilevä mies (The Happiest Day in the Life of Olli Mäki, Juho
Kuosmanen, 2016)
7.      The Meyerowitz Stories (New and Selected) (Noah Baumbach, 2017)
8.      Grave (Raw, Julia Ducournau, 2016)
9.      Manchester By The Sea (Kenneth Lonergan, 2016)
10.     Frantz (François Ozon, 2016)

 

ROBERT DASSANOWSKY

CULTURAL HISTORIAN, INDIE PRODUCER, PROFESSOR OF FILM STUDIES AT THE UNIVERSITY OF COLORADO, COLORADO SPRINGS, THE GCAS

Top Ten of 2017 (in no particular order)

Dunkirk (Christopher Nolan, 2017)
Mademoiselle Paradis (Barbara Albert, 2017)
Detroit (Kathryn Bigelow, 2017)
Happy End (Michael Haneke, 2017)
King of the Belgians (Peter Brosens, Jessica Woodworth, 2016)
Frantz (François Ozon, 2017)
Aus dem Nichts – In the Fade (Fatih Akin, 2017)
Phantom Thread (Paul Thomas Anderson, 2017)
Teströl és lélekröl – On Body and Soul (Ildikó Enyedi, 2017)
The Shape of Water (Guillermo del Toro, 2017)

Very Honourable Mentions

Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017)
Loving Vincent (Dorota Kobiela, Hugh Welchman, 2017)
Murder on the Orient Express (Kenneth Branagh, 2017)
Lady Bird (Greta Gerwig, 2017)
The Square (Ruben Östlund, 2017)
Call Me by Your Name (Luca Guadagnino, 2017)
Die Einsiedler – The Eremites (Ronny Trocker, 2017)

 

HENRI DE CORINTH

FILM WRITER, CONTRIBUTOR TO MUBINOTEBOOK AND LO SPECCHIO SCURO
  1. Jeannette: L’enfance de Jeanne d’Arc(Jeannette: The Childhood of Joan of Arc, Bruno Dumont, 2017)
  2. Dawson City: Frozen Time(Bill Morrison, 2016)
  3. The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)
  4. Malgré la nuit (Despite the Night, Philippe Grandrieux, 2015)
  5. Nelyubov(Loveless, Andrei Zvyagintsev, 2017)
  6. Sleep Has Her House(Scott Barley, 2017)
  7. Caniba(Lucien Castaing-Taylor and Paravel, 2017)
  8. November(Rainer Sarnet, 2017)
  9. Plus Ultra(Samuel M. Delgado and Helena Girón, 2017)
  10. Laissez bronzer les cadavres(Let the Corpses Tan, Hélène Cattet and Bruno Forzani, 2017)
  11. Phantasiesätze(Fantasy Sentences, Dane Komljen, 2017)
  12. Córki dancingu(The Lure, Agnieszka Smoczynska, 2015)
  13. Wasteland No. 1: Ardent Verdant(Jodie Mack, 2017)
  14. Good Luck (Ben Russell, 2017)
  15. Most Beautiful Island(Ana Asensio, 2017)
Dawson City- Frozen Time

Dawson City: Frozen Time (Bill Morrison, 2016)

ELIZABETH DEXTER

STUDENT, UK

Kedi (Ceyda Torun, 2017)
Serce miłości (A Heart of Love, Lukasz Ronduda, 2017)
Le Concours (Claire Simon, 2017)
Get Out (Jordan Peele, 2017)
Thelma (Joachim Trier, 2017)
Rat Film (Theo Anthony, 2017)
El Sur (The South, Víctor Erice, 1983) @BFI Southbank
The Frontier Experience (Barbara Loden, 1975)

Sheerest joy

Visages, villages (Faces, places, Agnès Varda, 2017)

Highest hopes

Berlin Syndrome (Cate Shortland, 2017)

Shorts

Cecile on the Phone (Annabelle Dexter-Jones, 2017)
Why is Difficult to make Films in Kurdistan? (Ebrû Avci, 2017)
Vigil, Split (Isaac Goes, 2017)

 

JOANNA DI MATTIA

WRITER AND FILM CRITIC

An incomplete, no doubt imperfect list of the 20 films – Australian cinema releases and festival finds – that have been the most difficult for me to shake from my head and heart this past year. For the sake of my own sanity, I’ve restricted this to films I viewed inside a cinema only.

  1. Call Me By Your Name(Luca Guadagnino, 2017)
  2. 20thCentury Women (Mike Mills, 2016)
  3. A Quiet Passion (Terence Davies, 2016)
  4. Good Time(Benny Safdie, Josh Safdie, 2017)
  5. Nocturama(Bertrand Bonello, 2017)
  6. The Killing of a Sacred Deer(Yorgos Lanthimos, 2017)
  7. A Ghost Story(David Lowery, 2017)
  8. The Lost City of Z(James Gray, 2016)
  9. Bamui haebyun-eoseo honja (On the Beach at Night Alone, Sangsoo Hong, 2017)
  10. 120 battements par minute(BPM, Robin Campillo, 2017)
  11. Dunkirk(Christopher Nolan, 2017)
  12. Get Out(Jordan Peele, 2016)
  13. Dawson City: Frozen Time(Bill Morrison, 2016)
  14. Visages, villages(Faces Places, JR, Agnès Varda, 2017)
  15. Colossal(Nacho Vigalondo, 2016)
  16. Nelyubov(Loveless, Andrey Zvyagintsev, 2017)
  17. Moonlight(Barry Jenkins, 2016)
  18. Un beau soleil intérieur(Let The Sun Shine In, Clare Denis, 2017)
  19. Their Finest(Lone Sherfig, 2016)
  20. Lady Macbeth(William Oldroyd, 2016)

Honourable mentions (in alphabetical order):

The Beguiled (Sofia Coppola, 2017)
Frantz (François Ozon, 2016)
God’s Own Country (Francis Lee, 2017)
Grave (Raw, Julia Ducournau, 2016)
The Party (Sally Potter, 2017)
Una Mujer Fantástica (A Fantastic Woman, Sebastián Lelio, 2017)

 

WHEELER WINSTON DIXON

JAMES RYAN PROFESSOR OF FILM STUDIES, UNIVERSITY OF NEBRASKA, EXPERIMENTAL FILMMAKER, AUTHOR OF NUMEROUS BOOKS ON CINEMA INCLUDING BLACK AND WHITE: A SHORT HISTORY.

In no real order; these are just the films that really made an impact for me:

Wonder Woman (Patty Jenkins, 2017), because it’s the most powerful popular feminist statement in mainstream cinema thus far, inspiring countless young women and girls to dare to succeed; because Patty Jenkins more than deserved it after languishing in the wilderness of episodic television after her masterful film Monster (2003), when any male director would have gone on to direct four of five features on the strength of that one film; because it’s about damned time that a female comic book feature got made; because Jenkins still had to fight to get a fair payday to direct WW 2 – enduring months of fight-to-the-death negotiations to get a directorial fee comparable to that of Zack Snyder or J.J. Abrams for the sequel; and finally because she’s better than either of those two directors, who are overrated hacks with little or no vision at all.

Lady Macbeth (William Oldroyd, 2017) – implacably brilliant and utterly ferocious;

Lucky (John Carroll Lynch, 2017) – Harry Dean Stanton’s final bow;

Get Out (Jordan Peele, 2017) – genre filmmaking at its finest, made for just $5 million on one location, with a nicely twisty script – a real comment on the state on race relations and white privilege in the United States today;

A Ghost Story (David Lowery, 2017) – proving you don’t need special effects to make a genuinely affecting tale of love, loss and the supernatural;

The Florida Project (Sean Baker, 2017) – demonstrating that a so-called “children’s film” doesn’t have to be saccharine sweet, and can still get decent theatrical distribution in the United States, despite the stranglehold of the multiplexes;

Mudbound (Dee Rees, 2017) – Netflix goes after something ambitious and connects in this tale of two families – one white, one black – set in 1940s Mississippi. Further proof that streaming video is the wave of the future for truly ground-breaking projects;

Wind River (Taylor Sheridan, 2017) – a harrowing and unrelenting tale of violent death and retribution;

Lady Bird (Greta Gerwig, 2017) – a coming of age story with real depth, compassion, detail and insight; and finally

Personal Shopper (Olivier Assayas, 2016), which reached America in early 2017; one of Kristen Stewart’s strongest performances, and an audacious mix of Dardenne Brothers style realism – as Stewart rushes from one assignment to another for her narcissistic, demanding boss – and an intelligent, restrained use of CGI for the supernatural part of the film,  to create a really one-of-a-kind genre mashup.

Obviously there are many more excellent films that could be mentioned here, but I’m more positive in this year than in many past seasons; streaming video is proving to be a fertile funding and distribution platform for indie filmmakers, and more women are making films than ever before, and gaining a wider audience for their work. Mainstream theatres continue to rely on tent pole comic book movies to bring in audiences, and so far, in an anaemic sort of fashion, the strategy seems to be working, even if the whole DC / Marvel Universe strategy is such a tiresome, dull phenomenon. But I don’t think it can last beyond another five years, at the most.

One of the most hopeful signs of this is the spectacular failure of Alex Kurtzman’s The Mummy (2017), a misguided Tom Cruise vehicle that was supposed to kick off the Universal Dark Universe series of updated horror films, but instead saw most of the people attached to that enterprise quitting the entire slate of upcoming projects, suggesting that perhaps, at long last, the comic book movie juggernaut may be coming to an end. Against all odds, individual visions are on the rise in this very dark period in world history; the next four or five years both in cinema, and in society as a whole, will be absolutely pivotal, for better or worse. I’m really hopeful, on the whole, that a dynamic period of change is upon us – fuelled by marginalized visions that now demand to be heard.

A Quiet Passion

A Quiet Passion (Terence Davies, 2016)

DURNSIDE SIXNINE

A PERSON WITH A PAST… IN FILM AND OTHERWISE

Haven’t seen some of the films that may have made this list (but their cheerleaders are legion so you know what they are.)  Here’s a Rah! Rah! for the others (and just as valid.)  Whether it’s the Godard flecked gay porn No-Waver (Geezer Cabs), a wallow in non-reflective teenage id-ism (Wish Upon), a Warholian style Non-Film (the restored Bat Pussy), or the unsung heroes in acting (such as Pruitt Taylor Vince in The Devil’s Candy).

…and truth-be-told that Pepsi ad (er, short film)  is a great piece of 21st Century political Post Modern Pop-Art. Loved it in all of it’s misguided glory.

1)   COLOSSAL (Nacho Vigalondo, 2016)
2)   LIVE FOR NOW MOMENTS ANTHEM (Michael Bernard, 2017)
3)   MANIFESTO (Julian Rosefeldt, 2015)
4)   A QUIET PASSION (Terence Davies, 2016)
5)   RESTER VERTICAL (STAYING VERTICAL, Alain Guiraudie, 2016)
6)   RAT FILM (Theo Anthony, 2016)
7)   GOOD TIME (Benny Safdie, Josh Safdie, 2017)
8)   PERSONAL SHOPPER (Olivier Assayas, 2016)
9)   GUARDIANS OF THE GALAXY VOL. 2 (James Gunn, 2017)
10)  MA LOUTE (SLACK BAY, Bruno Dumont, 2016)
11)  DUNKIRK (Christopher Nolan, 2017)
12)  EL AUGE DEL HUMANO (THE HUMAN SURGE, Eduardo Williams, 2016)
13)  DONALD CRIED (Kris Avedisian, 2016)
14)  SALT AND FIRE (Werner Herzog, 2016)
15)  TENEMOS LA CARNE (WE ARE THE FLESH, Emiliano Rocha Minter, 2016)
16)  LA REGIÓN SALVAJE (THE UNTAMED, Amat Escalante, 2016
17)  THE KILLING OF A SACRED DEER (Yorgos Lanthimos, 2017)18)  JÁ, OLGA HEPNAROVÁ (IOLGA HEPNAROVÁ, Petr Kazda, Tomás Weinreb, 2016)
19)  THE MEYEROWITZ STORIES (NEW AND SELECTED) (Noah Baumbach, 2017)
20)  mother! (Darren Aronofsky, 2017)
21)  THÉO ET HUGO DANS LE MÊME BATEAU (PARIS 05:59:THÉO & HUGO, Olivier  Ducastel, Jacques Martineau,2016)
22)  INGRID GOES WEST (Matt Spicer, 2017)
23)  BAT PUSSY (uncredited, 1973)
24)  WAR FOR THE PLANET OF THE APES (Matt Reeves, 2017)
25)  SIERANEVADA (Cristi Puiu, 2016)
26)  THE VOID (Jeremy Gillespie, Steven Kostanski, 2016)
27)  THE FATE OF THE FURIOUS (F. Gary Gray, 2017)
28)  LOGAN LUCKY (Steven Soderbergh, 2017)
29)  THE SHOW ABOUT THE SHOW (Caveh Zahedi, 2017)
30)  NOCTURAMA (Bertrand Bonello, 2016)
31)  YO, LUCAS (I, LUCAS, Lucas Maldonado, 2017)
32)  THELMA (Joachim Trier, 2017)
33)  KUSO (Flying Lotus, 2017)
34)  MAYA DARDEL (Zachary Cotler, Magdalena Zyzak, 2017)
35)  THE DEVIL’S CANDY (Sean Byrne, 2015)
36)  LEMON (Janicza Bravo, 2017)
37)  MARJORIE PRIME (Michael Almereyda, 2017)
38)  WISH UPON (John R. Leonetti, 2017)
39)  GEEZER CABS (Andrew Smith, Jamie Carlyle, 2017)
40)  WOODSHOCK (Kate Mulleavy, Laura Mulleavy)

Note: If TWIN PEAKS is considered film then a shout-out to BIG LITTLE LIES and STRANGER THINGS 2 would be in order.

 

DZONDUNKELLICHT

WRITES AND TRAVELS FOR CINEMA

–NEW/RECENT–

Ulysses in the Subway (Ken Jacobs, Flo Jacobs, Paul Kaiser, Marc Downie; 2017)
Braguino (Clément Cogitore, 2017)
Sans Bruit, Les Figurants Du Désert (Gilles Lepore, Maciej Madracki, Michal Madracki; 2017)
El Mar La Mar (Joshua Bonnetta, J.P. Sniadecki; 2017)
Streetscapes Series (Heinz Emigholz, 2013-2017)
La Telenovela Errante (Raúl Ruiz, Valeria Sarmiento; 2017)
Zama (Lucrecia Martel, 2017)
Changjian (A Yangtze Landscape, Xu Xin, 2017)
Mrs Fang (Wang Bing, 2017)
Unrest (Philippe Grandrieux, 2017)
Diário das Beiras (Anabela Moreira, João Canijo; 2017)
L’héroïque lande, la frontière brûle (Nicolas Klotz, Élisabeth Perceval; 2017)
Third Symphony (Michel Chion, 2017)
A Strange New Beauty (Shelly Silver, 2017)
Milla (Valérie Massadian, 2017)
Drift (Helena Wittmann, 2017)
Sennan Asbestos Disaster (Kazuo Hara, 2017)
Pushkar Puran (Kamal Swaroop, 2017)
Meteorlar (Gürcan Keltek, 2017)
Western (Valeska Grisebach, 2017)
Elohim (Nathaniel Dorsky, 2017)
Le Fort des Fous (Narimane Mari, 2017)
Le Lion est mort ce soir (Nobuhiro Suwa, 2017)
Cocote (Nelson Carlo De Los Santos Arias, 2017)
somniloquies (Lucien Castaing-Taylor, Verena Paravel; 2017)
Caniba (Lucien Castaing-Taylor, Verena Paravel; 2017)
Colo (Teresa Villaverde, 2017)
Tinselwood (Marie Voignier, 2017)
Good Luck (Ben Russell, 2017)
Also Known as Jihadi (Éric Baudelaire, 2017)
Did You Wonder Who Fired The Gun? (Travis Wilkerson, 2017)
Song of Granite (Pat Collins, 2017)
A Fábrica de Nada (Pedro Pinho, 2017)
La Liberté (Guillaume Massart, 2017)
★ (Johann Lurf, 2017)
Toward a Common Tenderness (Kaori Oda, 2017)
Šerkšnas (Frost, Šarūnas Bartas, 2017)
From the Archives of the Red Cross (Mike Hoolboom, 2017)
Les quatre soeurs (Claude Lanzmann, 2017)
Les Îles resonnantes (Juruna Mallon, 2017)
Ejercicios de memoria (Paz Encina, 2016)
Lass den Sommer nie wieder kommen (Alexandre Koberidze, 2017)
Aus einem Jahr der Nichtereignisse (Ann Carolin Renninger, René Frölke; 2017)
Fajr (Lois Patiño, 2017)
Jeannette, l’enfance de Jeanne d’Arc (Bruno Dumont, 2017)
Qiu (Inmates, Ma Li, 2017)
Hooly Bible II (Li Hongqi, 2016)
Autumn (Ernie Gehr, 2017)
Tesnota (Kantemir Balagov, 2017)
Ouroboros (Basma Alsharif, 2017)
The Third Part of the Third Measure (The Otolith Group, 2017)
Tremor (Annik Leroy, 2017)
Saints’Game (Amélie Derlon Cordina, 2017)
Piazza Vittoria (Abel Ferrara, 2017)
Rocas en forma de viento (Eduardo Makoszay, 2017)
Un grand bruit (Guillaume Mazloum, 2017)
Spell Reel (Filipa César, 2017)
No Intenso Agora (João Moreira Salles, 2017)
Diorama (Demetrio Giacomelli, 2017)
Vitalium, Valentine! (Jean-Charles Fitoussi, 2017)
Tarrafal (Pedro Neves, 2016)
Readers (James Benning, 2017)
On An Unknown Beach (Adam Luxton, Summer Agnew; 2017)
Félicité (Alain Gomis, 2017)
Abschied von den Eltern (Astrid Johanna Ofner, 2017)
Arrière-saison (Jean-Claude Rousseau, 2016)
Journal d’un disparu (Emmanuel Ostrovski, Joseph Rottner; 2017)
Delta (Oleksandr Techynskyi, 2017)
Tiers Sola (Tiziana Panizza, 2017)
You yi nian (Another Year, Shengze Zhu, 2017)
Self Portrait: Birth in 47KM (Zhang Mengqi, 2017)
Pomiedzy slowami (Urszula Antoniak, 2017)
Je ne me souviens de rien (Diane Sara Bouzgarrou, 2017)
Luz Obscura (Susana de Sousa Dias, 2017)
People Pebble (Jivko Darakchiev, Perrine Gamot; 2017)
Postcards from the Verge (Sebastian Mez, 2017)
Xiongnian zhipan (We the Workers, Huang Wenhai, 2017)
Al bab al sabea (Ali Essafi, 2017)
Du zi cun zai (Lone Existence, Sha Qing, 2016)
Opuntia (David Fenster, 2017)
Ri Chang Dui Hua (Small Talk, Hui-chen Huang, 2016)
BalikBayan #1: Memories of Overdevelopment Redux VI (Kidlak Tahimik, 1979–2017)
Tarpaulins (Lisa Truttmann, 2017)
Long Strange Trip (Amir Bar-Lev, 2017)
Ouăle lui Tarzan (Tarzan’s Testicles, Alexandru Solomon, 2017)
Tahqiq fel djenna (Merzak Allouache, 2017)
Farpões, Baldios (Marta Mateus; 2017)
Shakkei. Geborgte Landschaften (Hartmut Bitomsky, 2010-2017)
Untitled Fragments (James Benning, 2017
Combat au bout de la nuit (Sylvain L’Espérance, 2016)
Available Light (William Raban, 2016)
Vivian’s Garden (Rosalind Nashashibi, 2017)

–REPERTORY/RESTORED/REVIVED–

Cousin, Cousine (Jean Rouch, 1985-1987)
Ce gamin-là (Renaud Victor, 1976)
Om Dar-B-Dar (Kamal Swaroop, 1988)
Octobre à Madrid (Marcel Hanoun, 1964)
Stop (Jeff Preiss, 1995-2012)
Le moindre geste (Jean-Pierre Daniel, Fernand Deligny, Josée Manenti; 1971)
L’Enfant secret (Philippe Garrel, 1979)
Mare’s Tail (David Larcher, 1969)
ORG (Fernando Birri, 1967-78)
Thakirah Arba’at ‘Ashar (Ahmed Bouanani, 1971)
Al-Sarab (Ahmed Bouanani, 1980)
The Dumb Girl of Portici (Lois Weber, 1915)
Spain! (Peter Nestler, 1973)
The Dream Screen (Stephanie Beroes, 1986)
Obaltan (Yu Hyun-mok, 1961)
Die Kleine Veronika (Robert Land, 1930)
Lucía (Humberto Solás, 1968)
Soleil Ô (Med Hondo, 1967)
Figures in a Landscape (Joseph Losey, 1970)
Kentaur (Tamás St. Turba, 2009)
Nightcleaners (Berwick Street Film Collective, 1975)
Mato Eles? (Sérgio Bianchi, 1982)
Serras da Desordem (Andrea Tonacci, 2006)
Os Arara I e II (Andrea Tonacci, 1982)
Uchûjin Tôkyô ni arawaru (Kōji Shima, 1956)
De grands événements et des gens ordinaires (Raoul Ruiz, 1978)
O-bi, o-ba: Koniec cywilizacji (Piotr Szulkin, 1985)
Mir kumen on (Aleksander Ford, 1936)
Nemuri-Hime (Kei Shichiri, 2007-2016)
Triste Trópico (Arthur Omar, 1974)
Schwarzer Kies (Helmut Kautner, 1961)
Journeys from Berlin (Yvonne Rainer, 1971)
As Above, So Below (Larry Clark, 1973)
Babatu (Jean Rouch, 1976)
Grandeur et décadence d’un petit commerce de cinéma (Jean-Luc Godard, 1986)
Hallelujah The Hills (Adolfas Mekas, 1963)
Toula ou le genie des eaux (Moustapha Alassane; 1973)
Johanna D’Arc of Mongolia (Ulrike Ottinger, 1989)
False Faces (Lowell Sherman, 1932)
Bílá nemoc (Hugo Haas, 1937)
Erotikon (Gustav Machatý, 1929)
A Walk (Jonas Mekas, 1990)
Songs 1-14 (Stan Brakhage, 1964-1965)
Hullumeelsus (Kaljo Kiisk, 1969)
Hukkunud Alpinisti’ hotell (Grigori Kromanov, 1979)
Konrad Bayer (Ferry Radax, 1969)
Berg Berg (Ferry Radax, 1973)
Luminous Procuress (Steven Arnold, 1971)
Mirage (Joan Jonas, 1976)
Biquefarre (Georges Rouquier, 1983)
Farrebique ou Les quatre saisons (Georges Rouquier, 1946)Macunaíma (Joaquim Pedro de Andrade, 1969)
Temps Topologique (Yo Ota, 1981)
Die Würghand (Cornelius Hintner, 1920)
Stara škola kapitalizma (Želimir Žilnik, 2009)
Passage Through: A Ritual (Stan Brakhage, 1990)
Acariño galaico (de barro) (José Val del Omar, 1961/1995)
Der Schweigende Stern (Kurt Maetzig, 1959)
Szpital przemienienia (Edward Zebrowski, 1979)
Trop c’est assez (Richard Brouillette, 1995)
Wechma (Hamid Benani, 1970)
Die Jungfrauenmaschine (Monica Treut, 1988)
Zum Begriff des ‘kritischen Kommunismus’ bei Antonio Labriola (1843-1904) (Günter Peter Straschek, 1970)
Hallaq Darb al-Fuqara’ (Mohamed Reggab, 1982)
Tira Tu Reloj al Agua (Throw Your Watch Into the Water, Eugeni Bonet, 2004)
Sho o Suteyo Machi e Deyō (Throw Away Your Books, Rally in the Streets; Shūji Terayama, 1971)

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