Best Films of 2015

Ten months into 2015, I was able to have a better handle on the best films of 2014. Similarly, almost 8 months into 2016, I have a better picture of the best films of 2015. Therefore, another correction is due.

This was the old Best of 2015 list:

1. Embrace of the Serpent (Colombia co-production, Ciro Guerra)

2. El Movimiento (Argentina/South Korea, Benjamín Naishtat)

3. Right Now, Wrong Then (South Korea, Hong Sang-soo)

4. Our Little Sister (Japan, Hirokazu Kore-eda)

5. About Cinema (Brazil, Walter Carvalho)

6. The Assassin (Taiwan co-production, Hou Hsiao-Hsien)

7. The Forbidden Room (Canada, Guy Maddin/Evan Johnson)

8. Cemetery of Splendour (Thailand co-production, Apichatpong Weerasethakul)

9. Taxi (Iran, Jafar Panahi)

10. Piku (India, Shoojit Sircar)

A new updated Best of 2015 list would look like this:

1. The Treasure (Romania/France, Corneliu Porumboiu)

2. The Pearl Button (Chile/France/Spain/Switzerland, Patricio Guzmán)

3. Kaili Blues (China, Gan Bi)

4. Aligarh (India, Hansal Mehta)

5. Embrace of the Serpent (Colombia co-production, Ciro Guerra)

6. El Movimiento (Argentina/South Korea, Benjamín Naishtat)

7. Blood of my Blood (Italy/France/Switzerland, Marco Bellocchio)

8. Right Now, Wrong Then (South Korea, Hong Sang-soo)

9. 45 Years (UK, Andrew Haigh)

10. Masaan (India/France, Neeraj Ghaywan)

I do expect some further changes in the next few months as I still have to catch up with some 2015 titles. However, it is clear that 2015 was a far stronger and richer year in film that I had originally thought.

Best Films of 2015

In contrast to previous years, this year’s best film list consists solely of films released in this calendar year, even if that means a film got only a single screening at an international film festival. There are no older 2013, 2014 titles even if they only got local theatrical screenings this year. As always, film festivals provide the bulk of the movies in this list. Out of the top 10, only 2 films got a regular theatrical run in the city and only one of those titles was released outside of the film festival circuit. The film festival circuit continues to be a wonderful parallel distribution network. Many independent and foreign films only live on the film festival circuit. Once their festival run ends, some of these films disappear for good. Some lucky ones get life via legal digital streams. Some others don’t even appear on torrents.

The regular theatrical release cycle continues to be dominated by commercial studio films while independent local and foreign cinema struggle to get screen time. If a city does not have a Cinematheque or an Arthouse cinema, then chances are, there will be limited chances to see independent and foreign films in a cinema. The contrast between studio and foreign cinema was perfectly highlighted on Dec 18. On that day, there were 99 shows of STAR WARS in local cinemas while one of the arthouses had a single show of DHEEPAN, the Palme d’Or winner at Cannes. This is the 1% vs 99% battle in terms of contemporary cinema. A film that wins the top prize at Cannes is certainly going to be distributed but films that don’t win at Cannes or get much festival love will struggle to get even a single show, even if they are worthy films. Great cinema is still being made even though it is getting harder to see in a local theatre.

2015 saw the release of films by multiple Asian masters. 5 of those films make this top 10, while Jia Zhang-Ke misses out with his emotionally beautiful MOUNTAINS MAY DEPART. There are still many films that I need to catch up on, especially ARABIAN NIGHTS, THE PEARL BUTTON, THE TREASURE, OFFICE, THE EVENT. For all those missed titles, there are many more that I was fortunate to have seen. Here are my Top 10 films of 2015, followed by 16 honourable mentions.

1. Embrace of the Serpent (Colombia co-production, Ciro Guerra)

Modern day travel is taken for granted where people can get on a plane and be in another continent in less than a day. However, there was a time when travel was truly an unpredictable journey. Ciro Guerra’s EMBRACE OF THE SERPENT gives us that sense of adventure by taking the viewer back in time and depicting what it would have been like to be the first person to encounter a civilization. The end result is a mesmerizing soulful journey into the unknown. The film is set in two time periods both in the early 1900’s in the Amazon part of Colombia. The Amazon takes up over a third of Colombia yet very little is known about this area and even less shown on the screen. No film has been made in this region in over 30 years and in order to make this film, Guerra and his crew had to fly in all the equipment as there are no roads which connect parts of the Amazon to the rest of the country. The film took over 5 years to make so this is a personal journey for Guerra as well. Filmed in stunning black and white, EMBRACE OF THE SERPENT starts off by showing how three men become reluctant partners in a journey that proves to be a life changing experience for them. The second part of the film takes place about 40 years after the first part and features a traveler who is retracing the path charted out by an earlier character in the film. The images are hypnotic while the film raises relevant questions about the impact outsiders have on an existing civilization.

2. El Movimiento (Argentina/South Korea, Benjamín Naishtat)

“1835. Argentina. Anarchy. Plague”. These opening words set the stage for a film which dives into a world on the verge of collapse. A man emerges, promising to unify the people with “The Movement” which will save everyone from utter despair. This is the promise from a leader (Pablo Cedrón in a hypnotic performance) who will take the people out of the dark ages. Filmed in black and white with minimal lighting, EL MOVIMIENTO depicts a post apocalyptic world but in reality, the film could be set in contemporary times in any country around the world. This is because political parties use a message of fear when talking about their rival political parties and the message is always that if the people don’t elect their party, the world will end. In this regard, Naishtat’s film could easily be about a left or right wing party, a power hungry dictator or just a puppet standing in for a shadow organization. The film abstracts out enough elements to depict how all movements start out with a leader, a few ideas, alcohol, plenty of conversations and promises. EL MOVIMIENTO also shows that a filmmaker can accomplish a lot with a limited budget, smart cinematography, editing and music.

3. Right Now, Wrong Then (South Korea, Hong Sang-soo)

On the surface, it appears that Hong Sang-soo is repeatedly making the same movie as his films feature elements of love, relationships, drinks, memory and conversations. He uses abrupt zooms in lieu of abrupt cuts and in a few of his recent films, he has broken the film down into multiple parts. A lot of those elements are to be found in his newest feature but he demonstrates that he is in complete control of elements and is not making the same film. Instead, he is tweaking minor ingredients in his filmmaking recipe to demonstrate how a few events can drastically alter one’s life leading a person in a completely different path. In RIGHT NOW, WRONG THEN, he presents us with two versions of the same story. The first segment is more of a traditional Hong Sang-soo film which shows a familiar story about how a film director meets a woman on a chance encounter. A few conversations later, the alcohol flows freely which ensures the characters true emotions gush out, resulting in some awkward conversations and moments. In the second segment, the same characters are involved but the alcohol is toned down a little bit. This subtle change drastically alters the flow of events resulting in a different scenario. Both segments are vintage cinema but by presenting us with two distinct versions, Hong Sang-soo allows audience to choose which version they prefer. Both versions are rooted in reality and depict how individuals can choose to live their lives, either by being completely honest and vocal about their feelings or being quiet and reserved.

4. Our Little Sister (Japan, Hirokazu Kore-eda)

In his last film, LIKE FATHER, LIKE SON Hirokazu Kore-eda illustrated the two-way relationship that exists between parents and their young children. The film was shown from the perspective of a father’s bond towards his son. Therefore, it is appropriate that in OUR LITTLE SISTER, Kore-eda turns the focus on daughters in the absence of a father figure. As a result, he has now covered another vital angle of how members of a family shape each other. The film depicts relationships and interactions with honesty and without the absence of any melodrama. Since his films are often compared to Ozu, Hirokazu Kore-eda obliges us with a chimney shot that directly references the cinema of Ozu.

5. About Cinema (Brazil, Walter Carvalho)

Walter Carvalho is an accomplished cinematographer and it is not a surprise to see his film begin with a stunning image of a broken down projector located in what was once a cinema. The forgotten ruins of a cinema is clearly a symbol for film reels and 35mm projectors in a digital world. That image is also the perfect launching pad for what follows in this documentary which gets at the core of what cinema truly is. It answers this question by interviewing an accomplished list of directors ranging from Béla Tarr, Hector Babenco, Lucrecia Martel, Jia Zhang-Ke, José Padilha, Karim Aïnouz, Asghar Farhadi, Gus Van Sant, Ken Loach to Andrzej Wajda. The film also interviews Salvatore Cascio, the actor who played the famous ‘Toto’ in CINEMA PARADISO. The end result is a work that highlights the power of films and reinforces one’s love for cinema.

6. The Assassin (Taiwan co-production, Hou Hsiao-Hsien)

THE ASSASSIN shows that in the hands of an auteur a wuxia genre can be transformed into a work of breath-taking art. Hou Hsiao-Hsien references his earlier films but also dives into a political landscape with a razor sharp eye for detail.

7. The Forbidden Room (Canada, Guy Maddin/Evan Johnson)

The most creative film of 2015 oozes with life and energy from every frame. The film effortlessly transcends genres ranging from horror, comedy, mystery to avant-garde while bravely spinning stories at a relentless pace leaving the viewer out of breath. The end result is a fun carnival ride through the history of Maddin’s cinema and overall film genres. As an added bonus, there are many surprising cameos from actors who suddenly pop-up and disappear rapidly amid the cuts.

8. Cemetery of Splendour (Thailand co-production, Apichatpong Weerasethakul)

Like last year’s TIMBUKTU, CEMETERY OF SPLENDOUR features a beautifully shot soccer scene which has huge political implications. In TIMBUKTU, the boys are forbidden to play with a soccer ball, so they play in the soccer field with no ball. They move around pretending they are kicking or shooting an invisible ball. In CEMETERY OF SPLENDOUR, the boys have a soccer ball but the field they are playing in is dug up. As a result, the boys have to navigate their way around/over mountains of dirt in order to make their way to the other goal. The mountains of dirt represent the hurdles and difficulties that exist in Thai society that people have to face everyday. In the past, Apichatpong was a bit subtle with regards to the political implications in his films but here he doesn’t hold back. This is his most open political film albeit depicted in a manner which builds on the themes of his previous films by beautifully stitching together history, myth, fables, dreams, nightmares and harsh reality, which must be seen with wide open eyes.

9. Taxi (Iran, Jafar Panahi)

TAXI is the third film from renowned auteur Jafar Panahi after he was banned from making films by the Iranian Government in 2010. Like THIS IS NOT A FILM, the first film Panahi made under the ban, TAXI does not appear to be a scripted film. TAXI features Jafar Panahi driving a taxi around the streets of Tehran, picking up passengers and dropping them off at different locations. All the interactions with passengers are recorded from a camera on his dashboard, so technically, Panahi does not appear to be directing anything. However, the inclusion of smart dialogues, shift in camera angles and the presence of a few memorable passengers reveals Panahi’s brilliance. Pushed into a corner by the government, Panahi has tapped into the same creative energy as THE WHITE BALLOON and CRIMSON GOLD; films he directed before the ban. He uses a taxi as a medium to bring forth relevant discussions about society, freedom, censorship, public vs private space and even film distribution. Everything is presented with plenty of humour, some melodrama yet bathed in reality.

10. Piku (India, Shoojit Sircar)

Writer Juhi Chaturvedi and director Shoojit Sircar are successfully able to transfer the wit, sarcasm and humour associated with Bengali language cinema to Hindi cinema. The key to pulling off their script is the acting of the three main actors whose characters ensure a balance is maintained on screen. Amitabh Bachchan’s character of Bhaskor is loud and always looks to dominate every conversation in the room with his own problems, which are always the worst in the world. On the other hand, Irrfan Khan’s character of Rana exudes a calm collected demeanour and is the exact opposite of Bhaskor in the volume index. Rana quietly observes events yet manages to interject in a timely manner to diffuse anything from blowing up. Then there is Deepika Padukone’s character of Piku, the core of the film, the engine that keeps everything running. Her performance reminds of traditional Bengali actresses and she has put in one of the best acting displays seen in the last few years in Hindi language cinema.

Honourable mentions (in alphabetical order):

Adrien (Canada, Renée Beaulieu)

This assured debut film recalls Denis Côté's cinema mixed with some lovely shots reminiscent of the Dardenne brothers. The brave decision of Renée Beaulieu to let some of the film’s crucial events play out without any dialogues results in a remarkable payoff as the on-screen tension builds before the steam is calmly let out.

Bleak Street (Mexico/Spain, Arturo Ripstein)

In the tradition of Luis Buñuel’s Mexican films, BLEAK STREET depicts a realistic view of street life without any filters. Ripstein doesn’t hold back and plunges the viewer into a cruel and filthy world yet infuses the film with plenty of heart.

Dog Lady (Argentina, Laura Citarella/Verónica Llinás)

Finally, a female counterpoint to Lisandro Alonso’s lonely male cinema. However, Citarella and Llinás add a societal layer to their film on top of Alonso’s structure. The characters in Alonso’s films are situated in nature and his films are about individuals. Citarella and Llinás’s film follows a lonely female character but by setting their character on the fringe of society, balancing the line between urban-rural life, they create a social commentary which makes the main character universal. As a result, their film raises questions about society and poverty.

Happy Hour (Japan, Ryûsuke Hamaguchi)

A beautiful mature work that focuses on four friends who depend on each other’s support in order to cope with their lives. When one of the characters confides that she is seeking a divorce, it sets in motion a sequence of events which unravels their friendships and impacts the remaining character’s family relationships. The running time of just over 5 hours will restrict this film’s distribution possibilities but that is a shame as this film achieves a level of depth that most TV shows fail to do in over 10+ hours.

In Jackson Heights (USA, Frederick Wiseman)

A remarkable film which manages to highlight the rich diverse cultural history that exists within a few blocks of this famous New York neighbourhood. The film truly shows the sense of community that exists in the neighbourhood while the patient camera captures the sparkle of life that exists in every street corner in Jackson Heights. It is clear there are thousands of stories that can be found in Jackson Heights and Wiseman lets us listen in to some remarkable stories. The film also smartly depicts moments which dive into the dollars and cents involved when comparing small businesses vs big corporations, struggles that are taking place not only around North America but around the world.

James White (USA, Josh Mond)

Shot with a raw intensity, Josh Mond’s film depicts its titular character (Christopher Abbott) who is just trying to get his life together. James is lazy and wants to enjoy his life. However, after his father passes away, he learns his mother has cancer. That thrusts a huge weight of responsibility on his shoulders, something he is not ready for. The camera doesn’t shy away from observing James in his moments of weakness while the story doesn’t try to glorify James or give his character any heroic redemption values. As a result, we are left to view the character with brutal honestly and are free to form our own views.

Mediterranea (Italy co-production, Jonas Carpignano)

The debut of this film along with DHEEPAN at Cannes could not have been more timely. Both DHEEPAN and MEDITERRANEA show the social integration problems that await a new wave of refugees and immigrants coming into Europe. While DHEEPAN goes off in a different dramatic direction, MEDITERRANEA continues following a more neorealist path in letting events unfold.

Ninth Floor (Canada, Mina Shum)

A timely documentary from a Canadian perspective. The film depicts a horrible incident of racism that took place in Sir George Williams University (Montreal) back in 1969 against a group of Caribbean students. The real strength of the film is the inclusion of archival footage which lets viewer see the full extent of racism and discrimination that once existed in Canada. The film is highly relevant today as every wave of new immigrants to Canada have likely faced similar sentiments when they first arrived.

One Floor Below (Romania co-production, Radu Muntean)

A masterful work that is another shining example of the recent Romanian New Wave which depicts human behaviour and emotions in a realistic manner.

Poet on a Business Trip (China, Ju Anqi)

Originally shot in 2002 but not edited until 2013, POET ON A BUSINESS TRIP is part documentary and part poetry. Structured around 16 poems, the film depicts travels in Xinjiang, the western-lying Uyghur province of China. The images and people seen on screen are hardly familiar sights in Chinese cinema, thereby making this a genuinely independent film that is a rarity in China.

Taklub (Phillipines, Brillante Mendoza)

Similar to what he did with SLINGSHOT and FOSTER CHILD, Mendoza embeds his actors in a real life location with non-actors thereby achieving a level of realism where the line between reality and fiction disappears. The film also raises worthy points about how aid is distributed to areas impacted by natural disasters such as typhoons and floods.

Talvar (India, Meghna Gulzar)

Last year, the Indian film COURT showed the Kafkaesque legal system in India. TALVAR takes a step back and depicts the police investigations which can result in an endless loop of court trials, thereby paving the path to events shown in the film COURT. TALVAR is based on a real life court case and Vishal Bhardwaj’s script coupled with Meghna Gulzar’s direction ensures the audience gets to witness alternate view points, Rashomon style.

The Smalls: Forever is a Long time (Canada, Trevor Smith)

This film throws out the rule book when it comes to music documentaries and rewrites the script.  Even though the film is about one band called The Smalls, its smart editing and overall framework gets to the essence of why people fall for a certain band and why a piece of music resonates with some individuals more than others. Werner Herzog has mentioned how he loves letting the camera run a little bit longer after a scene is over in order to capture a magical moment. Such a magical moment takes place in THE SMALLS as well, where the camera stays a little bit longer at one of the band’s concerts. This magical scene depicts the trance like impact music has on people and why people pour their heart out when listening to their favourite band. The entire film is also enhanced by some beautiful contemplative shots which allow us to get a sense of the wider universe around a musical band and how ordinary objects and venues spring to life when musical notes fill the air.

The Wakhan Front (France/Belgium, Clément Cogitore)

An extraordinary film that deceives expectations. Starts off as a war film but moves into another genre with the mysterious disappearance of soldiers which points towards supernatural occurrences. There are also some lovely nods to Claire Denis’s BEAU TRAVAIL.

Under Construction (Bangladesh, Rubaiyat Hossain)

Rubaiyat Hossain smartly uses her main character as a lens to explore both female identity in Bangladesh and also her city, Dhaka, which also plays a prominent part in the film.

Viaje (Costa Rica, Paz Fábrega)

Filmed in gorgeous black and white, VIAJE is an honest, charming and mature depiction of relationships.

Best Films of 2013

The first half of any year is normally catching up with the previous year’s films which slowly make their way across art house cinemas or DVD/VOD. This was certainly the case earlier in the year when 2012 titles dominated the best of 2013 year list but in the last few weeks, a few worthy 2013 titles have started to fill the darkness in cinemas. Plus, the fall film season is just around the corner and with it comes The Calgary International Film Festival (CIFF) & some of the best new global cinema. So this list will change in the next few months but for now, here are the films that have left quite an impression.

1. Neighbouring Sounds (2012, Brazil, Kleber Mendonça Filho) 

A rich sound design layered with stunning visuals results in an immersive experience.

2. Leviathan (2012, USA/France/UK, Lucien Castaing-Taylor, Verena Paravel) 

The fluid style jolts the senses forcing one to experience the world in a new light.

3. Before Midnight (2013, USA, Richard Linklater) 

Before Midnight depicts a perfect way to make a trilogy as the characters grow off-screen and each film allows the audience to catch-up with events in their lives, just like old friends do when meeting after a long gap.

4. The Act of Killing (2012, Denmark/Norway/UK, Joshua Oppenheimer)

Even though the documentary is rooted in Indonesia, it is universal in depicting how men kill with the aid of media and politicians. The depiction of torture/killing could easily be set in Latin/South America/Africa while the media manipulation applies to most nations. But no individuals will ever admit their crime with such brutal honesty as those in The Act of Killing, making it a living digital document. The killers walk about the city freely, sometimes boasting about their murders. Such honesty ensures the film hits like a ton of bricks but it is one of the most essential and relevant docs ever made.

5. A Hijacking (2012, Denmark, Tobias Lindholm) 

Just like his previous film R, Tobias Lindholm uses a double perspective to paint a complete picture of events. And he does so without using any violence or even having a hero in the film. The entire film instead focuses on tense hostage negotiations which end up becoming bargaining sessions stretched over weeks and months.

6. Frances Ha (2012, USA, Noah Baumbach) 

Noah Baumbach and Greta Gerwig have created a memorable character whose honesty puts her in many foot-in-mouth moments but those awkward moments only add to the film's bittersweet style.

7. Saheb Biwi Aur Gangster Returns (2013, India, Tigmanshu Dhulia) 

Tigmanshu Dhulia has managed to take the strongest aspects of the first Saheb Biwi Aur Gangster (2011) and elevated it with seductive sexual and political elements. Jimmy Shergill continues to thrive in what may be his finest on-screen role to date.

8. In Another Country (2012, South Korea, Hong Sang-soo) 

Hong Sang-soo's easy flowing style incorporates Isabelle Huppert's whimsical character perfectly resulting in plenty of humor.

9. Fruitvale Station (2013, USA, Ryan Coogler) 

Devastating cinema! Even though one knows the end, the verite style allows one to be drawn into Oscar's life (Michael B. Jordan, perfect) resulting in a gut-wrenching feeling when the final credits roll.

10. Computer Chess (2013, USA, Andrew Bujalski) 

A playful look at various computer programmer personalties, ranging from the very shy to those whose supreme confidence borders on arrogance. The black and white visuals coupled with the video footage give the film a 1980’s look and feel, at a time when computers were bulky machines that required some effort to transport from room to room. The humor is derived from the collection of eccentric personalities and as a result, the scenarios feel natural and not forced. As a bonus, the film also literally depicts HAL's birth.

Honorable mention

Lootera (2013, India, Vikramaditya Motwane) 

At first, Lootera looks like another Bollywood love story but thankfully, the love story is a facade which gives way allowing a Bengali inspired technically rich film to emerge. The sound design in Lootera is mesmerizing & allows everyday sounds to filter through the frame when needed.

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

Best Films of 2011

It is always hard to put together an end of the year list when one does not have reasonable access to films from around the world. In previous years, I was fortunate to see many worthy cinematic gems thanks to film festivals such as CIFF, VIFF and Rotterdam. Of course, depending on single screenings at film festivals as a primary source for foreign cinema is never a viable option because of the cost and effort involved in attending multiple film festivals. So when the number of film festival offerings dropped in 2011, so did my access to foreign cinema. Thankfully, the year was not a complete washout and I still managed to catch a decent number of worthwhile films. As usual, the list features older titles that I could only see this year theatrically or on DVD.

Favorites roughly in order of preference

1) Le Quattro Volte (2010, Italy co-production, Michelangelo Frammartino)

Michelangelo Frammartino’s remarkable film uses an unnamed town in Calabria as an observatory to examine the metaphysical circle of life. Depicting such metaphysical topics is not an easy task, but Frammartino pulls this off with considerable ease, plenty of humour, tender emotions and a pinch of mystery.

2) Do Dooni Chaar (2010, India, Habib Faisal)

Habib Faisal’s directorial debut astutely depicts the struggles of a middle class family in Delhi. The Duggals may be fictional characters but one can easily find reflections of their characters in virtually every Delhi colony. Filmed entirely on location, Do Dooni Chaar is absolutely charming and features two excellent performances from Rishi Kapoor and Neetu Singh. The film only got a limited release in 2010 but thankfully a DVD release in 2011 means the film can be seen by a larger audience.

3) Drive (USA, Nicolas Winding Refn)

Drive perfectly adapts James Sallis’ book while carving out a distinct identity of its own. Like Driver's car, the film is easily able to shift gears and speed up when needed and slow down in a few sequences. On top of that, the film is enhanced with a visual and musical style that evokes the cinema of Michael Mann with a pinch of David Lynch.

4) A Separation (Iran, Asghar Farhadi)

In discussing a conflict in his actuality film A Married Couple, the late Allan King remarked that viewers often projected their feelings on the screen and took sides with one of the characters. King’s words come to mind when watching the conflict in A Separation, a film that refuses to take sides with either of the characters. Some calculated editing and the distance maintained by the camera in a few scenes means that viewers are forced to believe everything they see on face value whereas in reality, the truth is hidden in between the cuts. A truly remarkable film that starts off with a divorce hearing but then moves in a much richer direction by observing humans in their moments of fear, stress and anxiety.

5) Dhobi Ghat (India, Kiran Rao)

Dhobi Ghat pays a beautiful and poetic tribute to Mumbai by exploring the emotional state of four characters. The script shrinks the vast and chaotic city down to the microscopic level of these four characters so that they can be observed in tight quarters. Each character has their own set of complex problems and Kiran Rao lets the actors brilliant expressions and body language form a guide to their inner feelings. Throughout the film, the four actors appear to be living their parts as opposed to acting out scripted lines.

6) Another Year (2010, UK, Mike Leigh)

A happily married couple serve as a sponge to absorb the misery of their friends. The film shows that some people are predisposed to always emit a negative energy while there are a few who are strong enough to withstand all the unhappiness around them.

7) Nostalgia for the Light (2010, Chile co-production, Patricio Guzmán)

Just as rays of light are delayed in their arrival to our planet, horrors of the past sometimes take a long time before they are unearthed. Patricio Guzmán’s emotional and meditative film manages to connect exploration of the stars with truths buried in the ground.

8) Aurora (2010, Romania co-production, Cristi Puiu)

Viorel’s (Cristi Puiu) disenchantment and frustration with society around him continues to build until he acts out in a burst of violence. However, the film is not concerned with the consequences of his actions but is more interested in his behavior prior to and after his violent act. Aurora is a fascinating character study that is packed with plenty of dark humor and features a remarkable climax that dives into the same rabbit hole that consumed Mr. Lazarescu (The Death of Mister Lazarescu) and Cristi (Police, Adjective).

9) The Kid With a Bike (Belgium co-production, Jean-Pierre Dardenne/Luc Dardenne)

The film’s non-stop energy is personified by the young lead character who is able to take all the kicks and roll with the punches. A truly magnificent film but then again one would not expect any less from the Dardennes.

10) Melancholia (Denmark co-production, Lars von Trier)

The end of the world sequence naturally grabs all the attention but the film’s dramatic core lies in the wedding dinner where sharp jabs are traded. These honest verbal punches echo The Celebration and Rachel Getting Married but the words in Melancholia pack more venom and are meant to break the other person down. Justine (Kirsten Dunst) desperately tries to make things work but deep down she knows that some celestial bodies are meant to collide and destroy each other.

11) The Tree of Life (USA, Terrence Malick)

A perfect symphony of camera movements and background score elevates one family’s tale into a much grander scale. The camera continuously zips around the characters, hovers over them, dives down low or swings from a corner in the room. The camera even moves back in time where it patiently captures the big bang and peers into the future as well.

12) Flowers of Evil (2010, France, David Dusa)

David Dusa’s remarkable debut feature is one of the most relevant films to have emerged in recent years. It is a rare film that depicts the revolutions of change taking place around the world by smartly incorporating social media such as facebook, twitter and youtube within the film’s framework. The film also features a groovy background score and makes great use of Shantel’s Disko Boy song.

Note: I was part of the three person jury that awarded this best film in the Mavericks category at the Calgary International Film Festival.

13) The Whisperer in the Darkness (USA, Sean Branney)

Sean Branney’s perfect adaptation of H.P Lovecraft’s short story remarkably recreates the look and feel of 1930’s cinema. The entirely black and white film uses the background score to maintain tension and suspense throughout. In fact, the tension does not let up until the 90th minute when a few moments of rest are allowed before the film heads towards a pulsating finale.

This film was also in the Mavericks Competition at CIFF.

14) Alamar (2009, Mexico, Pedro González-Rubio)

A tranquil and beautiful film about a father’s journey with his son. This is a perfect example of a film that proves that one does not need 3D to have an immersive cinematic experience.

15) Meek’s Cutoff (2010, USA, Kelly Reichardt)

The setting may be 1845 but at its core Meek’s Cutoff is a contemporary film about a journey through an unknown and potentially dangerous landscape. How much faith should be placed on a stranger? If this was such an easy question to answer, then the world would indeed have been a better place.

16) Attenberg (2010, Greece, Athina Rachel Tsangari)

A warm and tender film that puts a spin on a conventional coming-of-age tale by featuring honest communication between a father and daughter.

17) Kill List (UK, Ben Wheatley)

Ben Wheatley’s film packs quite a powerful punch and increases the tension and violence as it races along at a riveting pace. One remarkable aspect of the film is that it keeps quite a few pieces off the screen thereby allowing the audience to fill in their own version of events related to the characters background and even to origins of the cult group. It is tempting to talk about the hunchback but it is best viewers are left to encounter him on their own terms.

18) The Turin Horse (Hungary co-production, Béla Tarr/Ágnes Hranitzky)

Béla Tarr crafts his unique end of the world scenario with a few bare essentials -- an old man, obedient daughter, rebel horse, untrustworthy visitors, an angry wind, potato, bucket, well, table, chair and a window. The film features an array of reverse and sideway shots that manage to open up space in a confined house setting.

19) Buried (2010, Spain/USA/France, Rodrigo Cortés)

Buried proves that in the hands of a talented director a bare bones scenario of a man buried in a coffin can make for an engaging film.

20) The Desert of Forbidden Art (2010, Russia/USA/Uzbekistan, Tchavdar Georgiev/Amanda Pope)

The Desert of Forbidden Art is a living breathing digital work of art that gives new life to paintings that are tucked away from the world. The two directors continue the work of the documentary’s subject Igor Savitsky in showcasing art to the modern world via the medium of cinema.

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Honorable Mentions, in no particular order

Undertow (2009, Peru co-production, Javier Fuentes-León)

Senna (2010, UK, Asif Kapadia)

Martha Marcy May Marlene (USA, Sean Durkin)

Of Gods and Men (2010, France, Xavier Beauvois)

We Have to Talk About Kevin (UK, Lynne Ramsay)

The Ides of March (USA, George Clooney)

Shor in the City (India, Krishna D.K, Raj Nidimoru)

Blue Valentine (2010, USA, Derek Cianfrance)

Red Riding Trilogy (2009, UK, Julian Jarrold/James Marsh/Anand Tucker)

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Some other notable performances/moments

The entire cast of Margin Call are fascinating to watch although Jeremy Irons steals the show with a character that oozes evil and power.

Jimmy Shergill does a commendable job of portraying a prince who is striving to hold onto power despite having no money in Saheb Biwi Aur Gangster.

Just like in last year’s Ishqiya, Vidya Balan once again upstages her male counterparts in The Dirty Picture.

The opening moments of Hugo prove that in the hands of an auteur 3D can be a breathtaking experience rather than a loud explosive mess.

Best Films of 2010

An incredible cinematic year as highlighted by the presence of 68 films from a total of 27 countries. 43 of the 68 films (63%) came courtesy of film festivals with Rotterdam & CIFF providing more than half of the 43 film tally. Only 16 titles (24%) received a theatrical release in my city and 9 were found on DVD (13%).

I have decided to break things up into three categories to reflect a subjective ordering -- Gold (Favourites), Silver (worthy viewing), Bronze (Honorable Mention).

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Gold (20 titles) -- in order of preference

1) Kill the Referee (2009, Belgium, Y. Hinant/E. Cardot/L. Delphine)

Carlos and The Social Network worked hard to recreate reality whereas Kill The Referee captures real images viewed by millions of people and manages to turn them on their head. The film provides a fly on the wall perspective to referee committee meetings with UEFA officials and allows us to listen to on-field conversations between referees, linesmen and the players. The effect of this audio is as ground breaking like watching a talkie for the first time after only seeing silent films for decades.

The documentary also provides some of the best acting performances of the year. People who claim soccer players playact on the field will finally have proof with this film but the most surprising aspect is to discover that some referees are aware of cameras and can put on quite a show. Roberto Rosetti and Howard Webb are well knows refs but this film shows they would make worthy film actors as well.

This soccer documentary offers plenty to chew on for non-soccer fans and highlights how in the hands of the right directors/editors, documenting a game can provide plenty of drama, emotion and tension that scripted cinema can sometimes never capture.

2) Liverpool (2008, Argentina, Lisandro Alonso)

Lisandro Alonso’s free moving camera allows us to soak in the beautiful country side while providing a haunting tale. Messi & Argentina may not have won the World Cup this year but this Argentine film won my 2010 Movie World Cup.

3) El Pasante (Argentina, Clara Picasso)

Clara Picasso's sublime film cleverly uses a Buenos Aires hotel setting as a springboard to examine wider issues, such as male-female power games and the thin boundary that exists between private and public life. Not a single minute is wasted in the film's brisk 64 minutes.

4) The American (USA, Anton Corbijn)

5) R (Denmark, Tobias Lindholm/Michael Noer)

One of the most brutal and dark films of the year!! The tag 'dark film' is easily thrown around but in the case of R, the tag is entirely justified. Besides being completely savage, R is intelligent and that is demonstrated by a clever perspective shift two-thirds of the way into the film.

6) Manuel De Ribera (Chile, Pablo Carrera/Christopher Murray)

This visually stunning film is a fascinating mix of Lisandro Alonso and Bela Tarr yet is completely original.

7) The Robber (Austria/Germany, Benjamin Heisenberg)

A highly entertaining yet intelligent film. The two highs of running and robbing give Johann’s life meaning and as a result, the entire film is defined by fast movement, shown by Johann's marathon runs or his perfectly timed car getaways.

8) Carlos (France, Olivier Assayas)

9) Shutter Island (USA, Martin Scorsese)

A riveting throwback to the cinema of the 1950’s/60's when heightened music foreshadowed impending danger awaiting characters. Martin Scorsese has made a perfect Hitchcock tribute.

10) The Life and Death of a Porno Gang (2009, Serbia, Mladen Djordjevic)

11) Ocean of an Old Man (2008, India, Rajesh Shera)

12) Woman on Fire Looks for Water (2009, Malaysia/South Korea, Woo Ming Jin)

13) Valhalla Rising (Denmark/UK, Nicolas Winding Refn)

14) Incendies (Canada, Denis Villeneuve)

A beautifully crafted film that packs a mighty emotional punch. The film starts and ends in Canada but the rest of the film dives deep into the Middle East and is the kind of cinema that Canada needs more of, films that use second generation Canadian characters as a launching pad to explore their complex cultural background.

15) Uncle Boonmee Who Can Recall His Past Lives (Thailand co-production, Apichatpong Weerasethakul)

Joe latest brew manages to blend dreams, spirits, reality, past and future in a single flowing work. Plus, there are some images that stay long in the memory. Red Eyes. Spirits at dinner table. And that catfish.

16) The Social Network (USA, David Fincher)

All about a girl and a drunken night of coding. Ah the endless possibilities of university life when everything is within reach. Sometimes, those possibilities work out for a select few while others sit back and enjoy the fruits of their labor.

17) Tony Manero (2008, Chile/Brazil, Pablo Larraín)

A chilling film that shows that sanity cannot exist in a brutal dictatorship when individual survival and happiness blinds people.

18) Waste Land (Brazil/USA, Lucy Walker)

19) Scott Pilgrim vs the World (USA/UK/Canada, Edgar Wright)

A living breathing video game that humorously depicts the baggage a new relationship can sometimes bring. Ofcourse, not all relationships require killing 7 ex’s but strange things can take place in the Canadian snow.

20) Road, Movie (2009, India, Dev Benegal)

Dev Benegal’s film may feel heavily inspired by the wonderful Brazilian film Cinema, Aspirins and Vultures but Road, Movie manages to adapt perfectly to the Indian landscape. Plus, the added love for Indian cinema certainly makes this a wonderful treat.

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Silver (27 titles) -- in no particular order

Avenida Brasilia Formosa (2009, Brazil, Gabriel Mascaro)

A vibrant documentary that gives an insightful look at a Recife arrival city and the subsequent relocation of its residents to a squeaky clean yet isolated apartment complex. The film shares some ground with Pedro Costa's In Vanda’s Room and Colossal Youth with the one difference being that Gabriel Mascaro pulls his camera back to give us overhead shots of the arrival city thereby putting the plight of the residents into perspective.

Black Swan (USA, Darren Aronoksy)

A complex physiological battle is rendered in a simple accessible visual manner where reality and nightmares occupy the same frame.

The Japanese Wife (India, Aparna Sen)

Aparna Sen’s most accomplished visual film is also a tribute to a time when hand written love letters provided people with hope and sense of purpose.

Exit Through the Gift Shop (USA/UK, Banksy)

A humorous hoax that raises some valid points about the true price of art. Interestingly, this film is also the first time where the identity of the director is a mystery. Yes, the director is Banksy but good luck at seeing his face.

Curling (Canada, Denis Côté)

Denis Côté has gone with the bold choice to give Curling a cold chilly look. As a result, it takes a while to warm up to the material but once one gets past the cold exterior, then one can admire the tale of a father's resolve to raise his daughter away from society. In a way, Curling is a cousin of the Greek film Dogtooth in showing how incorrect parental decisions can alter a child’s life.

Winter’s Bone (USA, Debra Granik)

A powerful film that shows if one’s own blood is willing to kill their kin, then one has no need for enemies.

A Useful Life (Uruguay, Federico Veiroj)

This Uruguayan feature does not feel like fiction at all but instead feels like a documentary reflecting the sad state of our times when independent/art-house theaters and cinematheques are on the verge of extinction. The beautiful ending sequence clearly evokes the French New Wave. A must see film for cinephiles.

Ishqiya (India, Abhishek Chaubey)

Wonderfully acted and has the bonus of having the single best song of any Indian film in 2010.

Certified Copy (France/Iran/Italy, Abbas Kiarostami)
Burma VJ (2009, Denmark co-production, Anders Østergaard)
Woman without a Piano (2009, Spain, Javier Rebollo)
The Secret in Their Eyes (2009, Argentina/Spain, Juan José Campanella)
Inception (USA/UK, Christopher Nolan)
The Fighter (USA, David O. Russell)
Like you know it All (2009, South Korea, Hong Sang-Soo)
Sebbe (Sweden, Babak Najafi)
Crab Trap (2009, Colombia/France, Oscar Ruiz Navia)
Band Baaja Baaraat (India, Maneesh Sharma)
Win/Win (Holland, Jaap van Heusden)
Inside Job (USA, Charles Ferguson)
Kinatay (2009, Philippines, Brillante Ma. Mendoza)
Hunting & Zn (Holland, Sander Burger)
Lucky Life (USA, Lee Isaac Chung)
Steam of Life (Finland, Joonas Berghäll/Mika Hotakainen)
The Maid (2009, Chile/Mexico, Sebastián Silva)
The Illusionist (UK/France, Sylvain Chomet)
Mesrine 2: Public Enemy #1 (2008, France/Canada, Jean-François Richet)

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Bronze (21 titles) -- in no particular order

Heartbeats (Canada, Xavier Dolan)

Xavier Dolan's second feature is playful, funny and manages to neatly tuck in cute cinematic homages especially to the French New Wave.

Despicable Me (USA, Pierre Coffin/Chris Renaud)

It is difficult to raise kids but that task is made harder when one has ambitions to shrink the moon and conquer the world!

You Are All captains (Spain, Oliver Laxe)
Between Two Worlds (2009, Sri Lanka, Vimukthi Jayasundara)
Mundane History (2009, Thailand, Anocha Suwichakornpong)
Monogamy (USA, Dana Adam Shapiro)
Pelada (USA co-production, L. Boughen/R. Fergusson/G. Oxenham/R. White)
Taylor’s Way (2009, Canada, Rene Barr)
Oki’s Movie ( South Korea, Hong Sang-soo)
Harishchandrachi Factory (2009, India, Paresh Mokashi)
Love, Sex Aur Dhoka (India, Dibakar Banerjee)
Scheherazade Tell Me a Story (2009, Egypt, Yousry Nasrallah)
The Light Thief (Kyrgyzstan co-production, Aktan Abdykalykov)
Nora's Will (2008, Mexico, Mariana Chenillo)
Lola (2009, Philippines, Brillante Ma. Mendoza)
The Tiger Factory (Malaysia/Japan, Woo Ming Jin)
Bioscope (2008, India, K.M. Madhusudhanan)
Striker (India, Chandan Arora)
Guest (Spain, José Luis Guerín)
Peepli Live (India, Anusha Rizvi)
The Ghost Writer (France/Germany/UK,Roman Polanski)

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If I were to remove film festival & foreign DVD titles from the equation and only depended on local theaters to see movies, then I would be left with only a handful of worthy titles every year. So viva film festivals!

Note: I am including 9 DVD titles, most of them being 2008/09, because these films never received a theatrical release in my city.