15 items from 2016
Following the widespread acclaim of his monochrome 2012 feature Tabu, Miguel Gomes ups the stakes with six-hour three volume epic Arabian Nights. An extraordinarily ambitious and eclectic work, it combines the mythology of Scheherazade's tales with a critique of the Portuguese government's program of austerity during the financial crisis. Confused? You may will be. But there is something quite brilliant here. Between cigarettes and with glass of red wine in hand, he spoke to CineVue's Matthew Anderson about his latest cinematic creation.
The modern movie landscape can make some people feel like the best days of film are behind us. With remakes, reboots and adaptations very abundant, and original movies seemingly not raking it in at the box office, that is an understandable sentiment. But the BBC felt like there are a lot of recent movies worth celebrating, and that is why they set out to make a list of the 100 greatest movies of the 21st century. The list they came up with is nothing if not interesting, and it is definitely a reminder that there are a lot of great movies that have been made in the last 16 years.
BBC published the list on Tuesday morning, after taking months to put it all together. In order to come up with this list, they used nearly 200 critics from both print and online publications, as well as academics and curators. The contributors that were used spanned the globe, »
Last year, the BBC polled a bunch of critics to determine the 100 greatest American films of all time and only six films released after 2000 placed at all. This year, the BBC decided to determine the “new classics,” films from the past 16 years that will likely stand the test of time, so they polled critics from around the globe for their picks of the 100 greatest films of the 21st Century so far. David Lynch’s “Mulholland Dr.” tops the list, Wong Kar-Wai’s “In The Mood For Love” places second, and Paul Thomas Anderson and the Coen Brothers both have 2 films in the top 25. See the full results below.
Read More: The Best Movies of the 21st Century, According to IndieWire’s Film Critics
Though the list itself is fascinating, what’s also compelling are the statistics about the actual list. According to the the BBC, they polled 177 film critics from every continent except Antarctica. »
- Vikram Murthi
Ryan Lambie Aug 23, 2016
A critics' survey puts Mullholland Drive at the top of the list of the best films since 2000. Did yours make the cut?
Movie critics love Linklater, Studio Ghibli, the Coens and the surrealist stylings of David Lynch. At least, that's if a newly-published list of the 100 greatest films of the 21st century is anything to go by.
BBC Culture commissioned the poll, which took in responses from 177 film critics from all over the world. As a result, the top 100 includes an eclectic mix of the mainstream to independent movies, from dramas to sci-fi and off-beat comedies. Feew would be surprised to see things like Paolo Sorrentino's handsome Italian confection The Great Beauty propping up the lower end of the list, or that such acclaimed directors as Wes Anderson or the aforementioned Coens feature heavily.
What is pleasing to see, though, is how much good genre stuff has made the cut, »
Although we’re only about 16% into the 21st century thus far, the thousands of films that have been released have provided a worthy selection to reflect on the cinematic offerings as they stand. We’ve chimed in with our favorite animations, comedies, sci-fi films, and have more to come, and now a new critics’ poll that we’ve taken part in has tallied up the 21st century’s 100 greatest films overall.
The BBC has polled 177 critics from around the world, resulting in a variety of selections, led by David Lynch‘s Mulholland Drive. Also in the top 10 was Wong Kar-wai‘s In the Mood For Love and Terrence Malick‘s The Tree of Life, which made my personal ballot (seen at the bottom of the page).
- Jordan Raup
Out 1The late, great Jacques Rivette’s long-unseen serial Out 1 (1971) begins in a state of febrile convulsion, a seizure or shared hallucination, a frenzied, excruciating, hypnotic baptism of fire that reveals Rivette’s many-headed monster entering into being. Indistinguishable in a mass and huddle of contradicting limbs, this theatre troupe of performers – enchanted, ever-improvising movers and shakers – then pack their bags, tidy up, and leave one Parisian rehearsal space for another. Never too far away from each other in this 20-arrondissement Venn-diagram, and never inseparable, the circumstances of individual characters are slowly knitted together, first those of a character played by Juliet Berto, then one by Jean-Pierre Léaud. Individual narratives become interdependent, and Out 1 becomes a multi-plot film. Just as two theatre troupes use various imaginative, improvisational means to adapt two of Aeschylus’s Greek tragedies, Berto and Léaud’s two outliers approach and endlessly orbit some central conspiracy or secret underground society. »
There are shades of Miguel Gomes’ breathtaking Tabu to Ciro Guerra’s third feature film Embrace of the Serpent. Perhaps it’s just because it’s presented in monochrome and is completely spellbinding – or maybe it’s because it’s a tremendously absorbing affair, and though enchanting in parts and visual striking throughout, the colonialist themes provide a […]
The post Embrace of the Serpent Review appeared first on HeyUGuys. »
- Stefan Pape
Last year, the three-part, six-hours-and-twenty-two minutes long epic Arabian Nights by Portuguese director Miguel Gomes rejected a slot in the Cannes Film Festival’s second-rung Un Certain Regard section, opting instead to be premiered at the Directors’ Fortnight (Quinzaine des Réalisateurs ), taking place in the same French Riviera city at the same time. Why wasn’t Arabian Nights in Cannes’ official competition? Gomes’ previous film, Tabu, won two prizes at the Berlin International Film Festival, finished 2nd Sight & Sound’s and Cinema Scope’s polls of the best films of 2012, 10th in the Village Voice’s, and 11th in both Film Comment’s and Indiewire’s; he was exactly the kind of rising art-house star who should have been competing in the most prominent part of the official festival. But organizers balked at the idea of offering such a lengthy film a slot in competition where two or three others could be chosen, »
Miguel Gomes’s docu-fantasy hybrid is an epic, experimental compendium of stories reflecting on austerity politics and Portugal
British audiences now have a chance to sample the exotic and mysterious miscellany in the first of three feature-length movie episodes from Portuguese auteur Miguel Gomes: a docu-fantasy hybrid, epically and experimentally proportioned and very loosely inspired by The Arabian Nights. Volume 1, entitled The Restless One, is an opaque compendium of stories – like the ones Scheherazade told to stave off her own death – all responding in indirect ways to the miseries forced on Portugal by austerity, as if by a social-realist Buñuel with a bit of the novelist José Saramago’s existential musing; the same kind of absurdism and deadly serious political scepticism.
Gomes’s previous movies, Our Beloved Month of August (2008) and Tabu (2012), were eccentric hothouse flowers of cinema, and rather joyful in intent. The Arabian Nights looks darker and sadder and angrier. »
- Peter Bradshaw
An Outpost of Progress“Shadow,” said he,“Where can it be –This land of Eldorado?” —Edgar Allan Poe, “Eldorado”, 1849While critics mine film festivals for hidden or sometimes unattainable gems, a parallel quest for an El Dorado can be seen as a thematic undercurrent within the larger focus of the Berlin International Film Festival’s Forum section on migration. This quest is especially apparent in the gold mines of the Peruvian Andes in Salomé Lamas’ Eldorado Xxi and the jade mines of northern Myanmar in Midi Z’s City of Jade. Set in the same war-torn region as the latter film, Wang Bing’s Ta'ang follows people from the eponymous minority group seeking safer shelter across the Chinese border. In An Outpost of Progress and competition film Letters from War, the Portuguese filmmakers Hugo Vieira da Silva and Ivo M. Ferreira deal explicitly with the colonial connotations of the notion of El Dorado. »
- Ruben Demasure
Starting with the Spanish conquest of the Philippines in the mid-16th century, the country was under the colonial rule of four different foreign powers for nearly 400 years. Independence gave way to two decades of vicious dictatorship and a democracy severely compromised by corruption and extensive external influence. As a nation that encompasses a staggering number of ethnicities and languages, the Philippines’ centuries-long experience of oppression has engendered an enduring identity crisis. It’s this crisis that has brought forth the films of Lav Diaz. They are dedicated to an excavation of his country’s turbulent past in search of its identity; the simultaneously chimeric and vital nature of this endeavor constitutes the emancipatory dialectic that drives his cinema. Having addressed Ferdinand Marcos’ dictatorship from a variety of angles in several earlier features, Diaz turns his attention to the Philippine Revolution of 1896-97 with A Lullaby to the Sorrowful Mystery, »
- Giovanni Marchini Camia
This is a reprint of our review from the 2015 Cannes Directors' Fortnight. A few minutes into Colombian director Ciro Guerra's "Embrace of the Serpent" we have met three of its four main characters, and they have encountered each other. In black and white, period-set images of the Amazonian jungle reminiscent of Miguel Gomes' "Tabu," a canoe carrying a gravely ill white man, Theo ("Borgman" star Jan Bijvoet), is punted onto the bank by the loyal native tribesman who serves as his traveling companion. On the bank stands a lone tribal shaman, Karamakate (Nilbio Torres), whose painted face, loin cloth, feathered armbands, phallic-looking necklace and erect, impassive stance seem an unspoken rebuke to the western-clothed native who has come to plead with Karamakate to save his white friend's life. That rebuke is soon spoken, however, in no uncertain terms: Karamakate has nothing but loathing for the white man who wiped out his tribe, »
- Jessica Kiang
Hearts of Darkness: Guerra’s Exceptional Exploration of Ruinous Colonialization
Colombian director Ciro Guerra charts an enigmatic narrative of parallel odysseys through the Amazon with his third feature, Embrace of the Serpent is no less intimate in its rendering of human interaction than previous films The Wandering Shadows (2004) and The Wind Journeys (2009), Guerra’s stark allegory of the extinction of indigenous cultures at the hands of well-meaning but ignorant white Europeans is powerfully resonant in this gorgeously shot film, touted as the first feature to be shot in the Colombian jungle in over three decades.
In 1909, ailing German explorer Theodor Koch–Grunberg (Jan Bijvoet) scours the Colombian jungle for isolated shaman Karamakate (Nilbio Torres), a guide he believes will lead him to an exotic plant known as yakruna, and thus restore his health. Karamakate, the last surviving member of his tribe, is incredibly wary of white men, and seems only »
- Nicholas Bell
Director: Maren Ade
Writer: Maren Ade
Though many be unfamiliar with her work, which is a pity since both her previous films are available in the Us, director Maren Ade happens to be one of the most vibrant new voices in German cinema. Her 2003 debut The Forest For the Trees received a rather hushed festival debut in Germany before going to collect a Special Jury prize at Sundance. Her powerful and exquisite follow-up was 2009’s Everyone Else, which took home the Silver Berlin Bear at that year’s Berlin film festival. Generally taking a long time between projects, we’ve been patiently waiting for her third feature, Toni Erdmann, which was initially announced back in 2012. With filming at last completed, we’re hoping to finally catch a glimpse of the film which we know little about except that it’s about a father trying to connect with his adult daughter. »
- Nicholas Bell
London — The Berlin Film Festival has added another nine titles to its competition lineup, including Thomas Vinterberg’s “The Commune,” Danis Tanovic’s “Death in Sarajevo,” Andre Techine’s “Being 17” and Mia Hansen-Love’s “Things to Come.”
Danish helmer Vinterberg is best known for “The Celebration,” which was BAFTA and Golden Globes nominated, and won Cannes’ Jury Prize, and “The Hunt,” which picked up nominations at the Globes, BAFTAs and Oscars.
“The Commune,” whose ensemble cast is lead by Trine Dyrholm and Ulrich Thomsen, centers on the clash between personal desires, solidarity and tolerance in a commune in the 70s. TrustNordisk is handling international sales.
Bosnian director Tanovic is best known for “No Man’s Land,” which won best screenplay at Cannes, and a Golden Globe and an Oscar for best foreign-language film. “Death in Sarajevo,” which is being sold by The Match Factory, is based on a play, “Hotel Europe, »
- Leo Barraclough
15 items from 2016
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