Best Films of 2012

It goes without saying that an end of the year list depends on access to quality films from around the world. And my access to those quality global titles is getting harder each year with closure of arthouse/independent cinemas thereby delaying seeing foreign films in a timely manner. For example, only 4 of the 25 films (16%) listed below had a theatrical run of one week or more. The rest only played once or twice via a film festival/cinematheque screening. Since all film festivals don’t have access to the same films, that forces a wait of 1-2 years to see certain foreign titles. That is why this list, like all previous years, contains older titles.

Top 10 Films

1. Holy Motors (France, Leos Carax)

Leos Carax creatively captures the essence of cinema from the silent era to contemporary times while paying homage to key genres throughout. Pure Cinema!

2. Once Upon a Time in Anatolia (2011, Turkey, Nuri Bilge Ceylan)

A stylistic film that is packed with dry wit while depicting characters in the hunt for a murdered body over the course of a night. Also, the best shot film of the year which manages to use light and shadows to great effect. For example, the scene where the mayor’s daughter makes an appearance is pure cinematic bliss.

3. This is Not a Film (2011, Iran, Mojtaba Mirtahmasb/Jafar Panahi)

The film shows that in the hands of a talented filmmaker even a tiny confined space can be a liberating cinematic experience. The final moments capture those magical moments that Werner Herzog has claimed happen only when the camera is left recording just a little bit longer.

4. The Master (USA, Paul Thomas Anderson) 

5. Gone Fishing (Argentina, Carlos Sorin) 

A charming and relaxed film that contains plenty of contemplative moments in following a father’s (Marco played by Alejandro Awada) attempts to patch-up with his daughter. Such a story could have gotten a serious treatment in the hands of another director but Sorin smartly uses the visuals and pleasant score (composed by his son) to release any tension before it forms on the screen. When things are about to get serious Sorin ensures that the audience gets a nice reprieve either with a moment of humor or breathtaking beauty.

6. The World Before Her (Canada, Nisha Pahuja)

A perfectly balanced and insightful film that examines two very different camps of thought in India. The two camps, beauty pageants vs fundamentalism, contain the essence of issues that are dividing and ruining India. Given the recent brutal crime in Delhi, The World Before Her is one of the year’s most relevant films which should kick-start a debate about improving women’s rights in India.

7. Found Memories (2011, Brazil co-production, Lucia Murat) 

A mesmerizing film that deceptively appears as a contemplative piece but contains another layer beneath the surface. The ending, which puts a completely different spin on the overall film perception, haunts long in the memory because it forces one to rethink the lives of the residents and why they have continued to stay in a place cut-off from the rest of the world. One could easily classify this as an artful horror film!

8. The Bright Day (India, Mohit Takalkar) 

Mohit Takalkar makes his cinematic debut with a beautiful, poetic and hypnotic film. The visuals are striking as is the use of background music to enhance the film’s mythical tale. Plus, there are some smart touches such as using the same actor (Mohan Agashe) to play different characters that highlights how the main character Shiv perceives people around him.

9. Unfair World (2011, Greece/Germany, Filippos Tsitos) 

This smart Greek film shows how two cops’ efforts to save an innocent person leads to murder thereby forcing them to cover their tracks. Each frame is packed with absurd comedic moments which are slowly revealed as the camera movements act like a drawn out punch line. The film’s comedic style is reminiscent of Aki Kaurismäki, Corneliu Porumboiu (Police, Adjective) and the recent wave of Greek films directed by Giorgos Lanthimos (Dogtooth, Alps) & Athina Rachel Tsangari’s (Attenberg).

10. Sleeping Sickness (2011, Germany co-production, Ulrich Kohler) 

15 Honorable Mentions roughly in order of preference:

Teddy Bear (Denmark, Mads Matthiesen) 

An award winning body builder who not only lives with his mother but is afraid of her. Despite his hulk like appearance, he has no luck with love. So he decides to fly to Thailand to find a bride. This setup brings plenty of humor and credit to the director to allow events to flow naturally without any extra drama.

The Queen of Versailles (USA co-production, Lauren Greenfield) 

Even though Lauren Greenfield’s documentary looks at a single American family, the Seigels, the film is a case study of the excess spending that played a part in the American Economic crisis of 2008. The Siegels clearly spent beyond their means but they were not alone in doing so. After 2008, when easy access to money was shut down, the previously wealthy Siegels suffered the same fate as the average American of having to cut back and making drastic changes in their lives. Essential viewing!

Polisse (2011, France, Maïwenn) 

An unflinching look at a French police division dealing with children and juvenile crime cases. The verite style heightens the tension and shows that even the police officers dealing with the cases are not immune to losing control.

Reality (Italy, Matteo Garrone) 

A devastating case study of a man who is so blinded by his quest for fame that he starts to lose grip on reality and starts to throw his life away.

Killing Them Softly (USA, Andrew Dominik) 

Andrew Dominik makes a very good decision to adapt George V. Higgins’ 1974 novel Cogan's Trade to the 2008 American economic crisis. The original book is devoid of any political or economic elements but the film depicts the effects of financial strain on the characters in every frame. The opening shots of abandoned houses plus the non-stop sound bites of presidential debates highlight that even assassins and mobsters are feeling financial pressure in cutting back. The grayish look of the film also emphasizes the constant gloom that envelopes all the characters. As good as the film is, two stylistic scenes don’t mesh with the rest of the film’s look. The slow-motion car killing and the drug trip may look good on their own but they have no place in an otherwise tightly constructed film.

Arcadia (USA, Olivia Silver) 

A wonderful American film about a father’s road trip with his children to their new home. The strong start sets the tone of the father’s parental methods early on, which makes for a fascinating viewing. John Hawkes puts in a strong performance but the young actors also shine brightly and evoke tender emotions. This film is another one of those that belongs to the Neo-Realist American cinema category which depict genuine stories with a fly on the wall perspective.

Take This Waltz (2011, Canada, Sarah Polley) 

Perfectly etched characters depicted in a beautiful fluid manner. Plus, Leonard Cohen's title song elevates the film emotionally.

I’m not a Rockstar (Canada, Bobbi Jo Hart) 

Bobbi Jo Hart has edited over 4 years of footage to craft a documentary about the struggles and journey of a young girl, Marika Bournaki, to become a pianist. There are few scenes which show Marika’s natural talent but for the most part, the film shows her relationship with her father and the sacrifices the father makes for her success. This focus on father-daughter is why the film works so well as we get to know both of them better and even listen to things that we should not have access to. The subject matter applies to all arts in general and highlights pitfalls that can trip up young artists.

The Dynamiter (2011, USA, Matthew Gordon) 

A visually stunning film that belongs to the same category of New Realist American cinema such as Ballast and Wendy and Lucy, films that show a true slice of American life by focusing on characters completely absent from the big Hollywood productions.

The Student (2011, Argentina, Santiago Mitre) 

A razor-sharp political film that examines core issues at the heart of politics: tactics, strategy, managing & manipulating people.

Mallamall (Canada, Lalita Krishna) 

A highly relevant Canadian documentary that looks at India's economic rise via the countless malls being constructed there. The film also highlights a Canadian connection crucial in developing these mega stores, something that is hardly ever seen in any newspaper headlines.

Snowtown (2011, Australia, Justin Kurzel) 

A chilling work that shows how evil can slowly build up until it explodes with horrific consequences. Based on a true life crime, this Australian film shares some aspects of family & crime shown in 2010’s Animal Kingdom but Snowtown is far darker.

The Color Wheel (2011, USA, Alex Ross Perry) 

Alex Ross Perry and Carlen Altman’s vibrant script ensures that The Color Wheel stands apart from other American independent films by including dialogues and jibes that have a purpose in illustrating the character’s insecurities and personalities.

Heleno (2011, Brazil, José Henrique Fonseca) 

Jose Henrique Fonseca has created a devastating portrayal that perfectly depicts the self-destructive habits that led to the Brazilian soccer player Heleno de Freitas' decline. At times, it is painful to watch Heleno throw everything away but given his personality, his fall from grace seems inevitable. The music and black and white visuals nicely evoke the 1940’s-50’s and enhance the mood of the film.

Lowlife (Canada, Seth Smith)

And now for something completely different. This unique film follows two characters who get high on slugs. Their repeated usage of slugs blurs the line between reality and their slug induced nightmares. The drug visions are shown in black and white while reality is shown in color but as the film progresses that changes, especially with a jaw dropping ending.

Best Performances & Cinematography of 2012

There have been many worthy films in 2012 but also many more fine performances and great visuals. So I created a separate entry just to highlight actors & cinematographers prior to publishing a best of 2012 film list.

Lead performances (both male & female) 

Denis Lavant in Holy Motors

Denis Lavant is the perfect vehicle for allowing Leos Carax to explore various film genres in a unique and mesmerizing manner. Easily the best performance of 2012.

Joaquin Phoenix, Amy Adams and Philip Seymour Hoffman in The Master

Joaquin Phoenix and Philip Seymour Hoffman are an ideal one-two punch that power Paul Thomas Anderson’s devastating film. However, Amy Adams holds the Master’s power (literally) in her hand and in a quiet manner manages to shine through.

Emmanuelle Riva and Jean-Louis Trintignant in Amour

Riva and Trintignant put in gut-wrenching and emotional performances as their characters deteriorate in a confined space.

Daniel Day-Lewis in Lincoln

Safe to say Daniel Day-Lewis IS Lincoln, not an actor playing the part. But then again, one expects nothing less from Daniel Day-Lewis who completely takes on the persona of every character he plays. It is still shocking to think that he had once retired from acting altogether. 

Christoph Waltz in Django Unchained

Waltz is given plenty of juicy dialogues to flesh out his memorable character.

Manoj Bajpai in Gangs of Wasseypur

Manoj Bajpai has performed many worthy roles in his career but he is still best known for portraying the wild Bhiku Mhatre in Satya more than a decade ago. That is why it is refreshing to see him tap into the same energy in Gangs of Wasseypur. The film also highlights that in the hand of the right director, Bajpai is one of the best actors working in the Indian film industry.

Irrfan Khan in Paan Singh Tomar

It is hard to imagine anyone else acting the title role in Paan Singh Tomar other than Irrfan Khan. His relaxed style ensures that his character does not deviate too much in tone when he is happy, angry, sarcastic or just plain innocent.

Nina Hoss in Barbara

Nina Hoss puts in a pitch perfect performance by playing a character required to control her emotions in every instance.

Matthew McConaughey in Killer Joe

McConaughey plays slimy variations of a similar character in Killer Joe, Bernie & Magic Mike. But he is truly on the top of his game in Killer Joe where he plays a corrupt cop who oozes evil while delivering precise dialogues.

Aniello Arena in Reality

It is heartbreaking to watch Arena’s character throw his life away in Reality but he has put in performance that has shades of a young Robert De Niro from Scorsese’s The King of Comedy.

Michelle Williams in Take This Waltz

Michelle Williams nicely slips into a character who is easily bored of men and things very quickly. As a result, her character will never be happy in life & Williams’ expressions convey this impending sadness behind every smile.

Matthias Schoenaerts in Rust and Bone, Bullhead
Marion Cotillard in Rust and Bone

Matthias Schoenaerts plays a different shade of a tough character in Bullhead & Rust and Bone. In Bullhead, Schoenaerts is a physical force of nature but one who has trouble finding love because of a past which has scarred him for life. His character is still physically imposing in Rust and Bone but he has no trouble getting love and can pick up a woman at the drop of a hat. The Dardennes' style used by Jacques Audiard ensures that Schoenaerts and Cotillard’s characters are properly showcased thereby finding beauty in moments of brutality & pain. Also, the visual style is definite proof that Marion Cotillard is gorgeous without any make-up.

Rodrigo Santoro in Heleno

Santoro plays a footballer prone to self-destruction. Just like Reality, it is painful to watch someone throw their live away but Santoro shines in every moment of joy, misery and anger.

Vidya Balan in Kahaani

For the last few years, Balan has outperformed her male co-stars so it was appropriate that she finally got a film where she was the main lead. And she nicely carries Kahaani on her shoulders.

Best Supporting Actor (Male & Female)


Rishi Kapoor in Agneepath

Rishi Kapoor’s ruthless portrayal of Rauf Lala comes as a real surprize given the warm loving characters that Kapoor has played in the past. Yet, Rishi Kapoor is able to extract enough charm from his past characters and transform it into the sinister Rauf Lala who appears to be trustworthy when needed and is ruthless when he wants to eliminate his enemies.

Tigmanshu Dhulia in Gangs of Wasseypur

It was a real surprize when Anurag Kashyap gave director Tigmanshu Dhulia an acting role but the move has paid off incredibly. If one has to see what is wrong with India and its politicians, then one need not look further than Dhulia’s corrupt and manipulative character of Ramadhir Singh.

Gina Gershon in Killer Joe

Gershon puts in a raw performance for a character forced to take the blows, both emotional and physical.

Leonardo DiCaprio in Django Unchained

DiCaprio’s smooth yet wickedly evil plantation owner is a masterful performance.

Brad Pitt in Killing Them Softly

The only thing negative about Brad Pitt’s character of Jackie is that he is not given enough screen time.

Carlen Altman in The Color Wheel

Altman’s character of JR delivers a non-stop flurry of dialogues from the get go and is a delight to watch.

Nawazuddin Siddiqui in Gangs of Wasseypur

Nawazuddin Siddiqui had quite a year by starring in many big named films such as Paan Singh Tomar, Kahaani and Talaash. But he gets the meatiest role in Gangs of Wasseypur and he excels in playing a drug addicted gangster thrust into seeking revenge for his family.

Best Cinematography

Gökhan Tiryaki, Once Upon a Time in Anatolia
Caroline Champetier, Holy Motors
Mihai Malaimare Jr., The Master
Rui Poças, Tabu
Julián Apezteguia, Gone Fishing
Amol Gole, The Bright Day
Ben Richardson, Beasts of the Southern Wild
Roger Deakins, Skyfall
Stéphane Fontaine in Rust and Bone
Lucio Bonelli, Found Memories
Claudio Miranda, Life of Pi

The Master

The Master (2012, USA, Paul Thomas Anderson)

"Nothing frightens those in authority so much as criticism. Whether democrats or dictators, they are unable to accept that criticism is the most constructive tool available to any society because it is the best way to prevent error. The weakness of rationally based power can be seen in the way it views criticism as an even more negative force than a medieval king might have done. After all, even the fool has been banished from the castles of modern power. What is it which so frightens these elites?"-- Voltaire’s Bastards by John Ralston Saul. 

The above words from John Ralston Saul came to my mind when viewing a scene in The Master when Lancaster Dodd (Philip Seymour Hoffman) gets quite upset when someone questions his methods. Dodd starts attacking the questioner even though the person raised a question in order to have a rational debate. However, it is clear that any form of questioning of Dodd’s methods will be met with such hostility. In fact, Dodd appears as a person who would not entertain any rational analysis of his work. He wants everyone to follow his words as gospel, which is why he surrounds himself with those who blindly follow his words/writing. The only exception to this blind follower rule is Freddie Quell (Joaquin Phoenix) who does not believe in Dodd’s methods. But Freddie is fiercely loyal to Dodd and acts like a bodyguard willing to rough up anyone who troubles Dodd. As useful as his muscle is, Dodd keeps Freddie around for his alcoholic creations.

Paul Thomas Anderson brilliantly reveals that Dodd is a fake who makes up things as he goes along. In order to come up with new ideas and visions, Dodd needs alcohol. As it turns out, the only thing that Freddie can maintain focus for is mixing alcohol. Otherwise, Freddie is constantly haunted by sexual desires which prevent him from maintaining any form of focus. So Freddie's strange brews help in soothing Dodd. In return, Dodd is willing to liberate Freddie’s soul by training him in his methods. The two share a master-pupil relationship but even though Lancaster Dodd is shown be the master, it turns out his control is an illusion. One example of a scene where this illusion is shattered takes place when Dodd needs his wife Peggy’s (Amy Adams) assistance to masturbate. As Peddy holds Dodd’s member in her hand, it is clear that she exerts a lot more power than previously shown in the film.

In debunking Lancaster Dodd’s methods, The Master shares some sentiments with Todd Haynes’ Safe which also shows a fake teacher willing to profit from others. While Safe is a bit subtle in exposing a fraud, Paul Thomas Anderson’s film is far more savage and does not leave any doubts as to Dodd’s identity. In exposing Dodd, The Master is also a devastating case study of how some people could easily be manipulated by impressive speakers. In this regard, The Master is a film whose message is much more universal and not grounded to just a single religion or ideology. The core message about manipulating people could easily be applied to political parties who try to seduce voters by telling them what they want to hear.