Allow me to begin with a cliché: 2010 has been an insipid year at the movies. I really struggled to come up with this list because it just didn’t feel like there were many contenders for it. The tail of this list is shaky at best and I wouldn’t want to defend it with all my heart, I think. I’m not saying that there were no great films made in 2010. One bizarre phenomenon of the recent years has been the growing time difference between the world premiere of a film and its distribution/release. Movie lists this year have been almost entirely made of films that actually premiered in 2009 (or earlier) and, going by the trend, it wouldn’t be really a surprise if the 2011 lists consisted wholly of movies that premiered in 2010. (This list, however, is based on world premieres alone). This is not a wild thought at all, considering how stellar the list of filmmakers who premiered their films this year, without a release, has been. (Trust me, there are about 50 big titles that haven’t been mentioned in many of the lists. My biggest misses this year include The Strange Case of Angelica, The Autobiography of Nicolae Ceausescu, Nostalgia for the Light, The Ditch, Meek’s Cutoff, Get Out Of The Car, Cave of Forgotten Dreams, Aurora and The Four Times, among others. Rest assured that I’ll drop an updated list here around March, hopefully). Given this, 2011 is truly going to be one hectic year for film buffs, with dozens of vital films from both years to be seen. Fasten your seat belts.
1. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, Thailand/UK/France/Germany/Spain/Netherlands)
That Uncle Boonmee Who Can Recall His Past Lives is the greatest feature by the Thai director is only worthy of a footnote. It is, in fact, what Nathaniel Dorsky calls Devotional Cinema. Boonmee is a work that amalgamates the process of film, human metabolism and the intermittence of our being like no other. Treating life as one continuous entity without a beginning or an end, where death and reincarnation are just various modes of existence, Boonmee so lovingly examines how these modes are integral to functioning of film where, in each frame, the past dies, yet persists and projects itself into the future. Furthermore, the film is also Weerasethakul’s response to the recent upheavals in his country where the political past of the country seems to resist death, reincarnating itself in kindred happenings of the present. Weerasethakul’s picture is at once a tribute to national cinema of the past, an elegy for film and a welcome note to digital filmmaking. It is at once a return to nascence and a leap into the future. Uncle Boonmee is cinema. Uncle Boonmee is cinema.
2. Film Socialism (Jean-Luc Godard, France/Switzerland)
Even if Godard confirms the rumour that he’s going to call it a day, there’s nothing really to get vexed about. That’s because he has produced a body of work that is yet to be discovered in its full form, qualitatively and quantitatively. Film Socialism is not his last film because it is his last set of films. Yes, like that gargantuan video work of the 90s about the history of cinema, Film Socialism is a work that reconfigures and renews itself every time one sees it. It might all seem like a loosely connected set of arbitrary images, sounds and words. But that’s because arbitrariness is in its very DNA. If not anything else, it is “about” arbitrariness – of value, of ideologies, of laws and of languages – and the death of grand truths. Itinerating between the 70s style agitation, 80s style humanism and 90s style lamentation of his works and with a novel appreciation for individual images, words and objects, Film Socialism is simultaneously a summation of his career and an undoing of it. From the self-deprecating opening line of his first feature, to the “No Comment” 50 years later, Godard has probably said everything in between. Film Socialism is his signature.
3. Honey (Semih Kaplanoglu, Turkey/Germany)
Young Yusuf always looks up to his father. Literally. This might be partly due to his undernourishment, but it is also because he refuses to grow up. The final and the finest film in Kaplanoglu’s trilogy, Honey evokes the experience of childhood, or rather the experience of its end, like a few films do, intertwining reality, memories, dreams and anxieties of the age. It so affectingly captures what it means to be thrust into a fatherless world: a family without father, a film without a hero, a universe without God. (The previous film in the triad deals with Yusuf’s relationship with his mother). Yusuf’s conversations with his father, themselves, resemble private confessions to a higher power. Kaplonoglu’s picture is somewhat of a paradox. The reverse chronological structure of the trilogy prompts psychoanalysis while Honey itself is, cleverly, non-reductive. Like Erice’s The Spirit of the Beehive (1973) and Kiarostami’s Where Is the Friend’s Home? (1987), Honey is a film about childhood confronting adulthood against its own wishes. Ana dares to leave behind her childhood. Ahmed survives the confrontation. Yusuf refuses to grow up.
4. Certified Copy (Abbas Kiarostami, Iran/France/Italy)
Abbas Kiarostami’s Certified Copy, at its worst, is a rundown of modern western philosophy, especially its key questions about perception, beauty and the self. So allow me to steal some from old Fred to sum up the film: “Artists alone hate this lazy procession in borrowed manners and left-over opinions and they reveal everyone’s secret bad conscience, the law that every man is a unique miracle; they dare to show us man as he is, unique even unto each move of his muscles; even more, that by strictly in consequence of this uniqueness, he is beautiful and worth regarding, new and incredible, as every work of nature, and never boring.”. Kiarostami probes the validity of every clause above and keeps examining what the ideal way to live is and whether there is an ideal way at all. Does one understand the world through grand mechanisms and regard what one sees and hears as abstractions of invisible truths or does one confront these concrete objects as they are and deem the ideas uniting them as abstract and removed from experience? Kiarostami’s film is an irresolvable tug-of-war between subtexts and surfaces, accidents and forethought, conservatism and radicalism and, well, form and content.
5. My Joy (Sergei Loznitsa, Ukraine/Germany/France/Netherlands)
I can’t believe I’m including this patently cynical, relentlessly dystopian and ideologically simplistic film in this list, but the talent and craft here are undeniably overwhelming. Sergei Loznitsa’s My Joy is a film that threatens the uniqueness of Uncle Boonmee in that it too collapses historical time to sketch the sociopolitical portrait of a country that has ceased to progress and is moving around in circles of betrayal, oppression and violence. Its causes might be varied – residual bureaucracy, newfound market economy, WW2, Cold War – the manifestations nevertheless, Loznistsa suggests, are the same. Echoes of a scene are felt in another, similar situations and outcomes permeate historically different periods and essentially nothing changes except costumes and period details. It’s as if the director and the set of actors are trying in vain to recreate another age that might offer escape. Loznitsa uses interruption itself as a stylistic device wherein the genre (road movie “detours” into a sci-fi nightmare) and the narrative (character identification killed) are disrupted for treatises on power and its abuse. As presaged in the opening scene, it is the director as tyrant and the audience as victim.
6. Of Gods And Men (Xavier Beauvois, France)
At a time when blanket rejection of all religion is the most advertised and subscribed worldview, Xavier Beauvois’ Of Gods and Men comes as a much needed dose of sobriety. A worthy successor to that staggering Winter Light (1963, plugs to Bergman galore), Of Gods and Men is a expertly mounted tightrope act that strikes a tense balance between faith and reason, individualism and collectivism, idealism and materialism and democracy and authoritarianism. True to this spirit of philosophical investigation, the best shots in the film are composed like tableaus from ancient Greece, of which either God or the audience is regularly made a part. The stance here is, clearly, neither pro-religion nor anti-terrorist. The film is neither a critique about the perversion of religion by politics nor a lamentation about the loss of faith in a Post-Enlightenment world. It is about what Faith means to the individual. The monks in the monastery are neither theists deluded by the promise of a paradise nor victims caught in the vortex of international events. They are merely Kierkegaardian knights who leap beyond rationality to discover what it means to be human, to be mortal, to believe.
7. Shutter Island (Martin Scorsese, USA)
An hommage to Alfred Hitchcock among others, and possibly a remake of Vertigo (1958) as well, Martin Scorsese’s atmospheric wonder Shutter Island is about the absolute loss of control, about not being able to know whether you’re awake or dreaming, about being swept off solid ground and left floating and about the agony of losing everything that was dear to you. For filmmakers, especially ones as authoritative as Hitch and Scorsese, this fear of losing hold is so palpable and justified. Set in post-war America, where red signaled danger in more ways than one and where either you were crazy or the entire world around you was, Scorsese’s film has someone or the other consciously playing roles throughout. The sense of artificiality and instability is accentuated all through with tribute-providing rear projection and matte backgrounds. As literalized in its story, Shutter Island is also a battle between modernist paranoia and postmodernist schizophrenia wherein the director’s playfulness is pitted against ambitions of serious, personal expression. And I’m sorry to spoil it for you, but there’s no twist in the film.
8. I Wish I Knew (Jia Zhang-ke, China)
The greatest filmmaker of the last decade continues to do what he does best: make great films. Jia Zhang-ke’s I Wish I Knew, a cousin to his previous film, is a symphony of city symphonies. The sheer scope of Jia’s investigation and the humungous historical and geographical ground he covers is daunting. Walking a thin line between state propaganda and personal vision, dispassionate observation and critique and aesthetization and respectful documentation, Jia has created a film that might look like the most reverential and non-committed of all his works. Like his last film, Jia probes how the older Shangainese’s history and identity has inextricably been linked with that of the city and the state and how the younger generation seems to have found the luxury to be apolitical and the freedom to move beyond. Globalization isn’t so bad after all. Or is it? One could arrive at two wholly different films by just editing the film in two different ways – one film that the state wants Jia to make and the other that we want Jia to make. Jia’s probably made the film he wants.
9. The Social Network (David Fincher, USA)
As the marketers of old studio films would say, The Social Network is a film for everybody. It truly is a film for every ideology, every reading and every level of engagement. The film is whatever you want it to be. There’s something about Sorkin’s Zuckerberg that’s both seductive and repulsive. His triumph is one that’s both inspiring and horrifying. Barring the last scene of the film, which probably kills off the ambivalence thus far and impresses itself on our memory of the film a little too heavily, the film does a remarkable balancing act, placing immense trust on the details for the maintenance of this ambiguity. It doesn’t have as much to say about how we live our lives online as it does about how we generally live in a world infested by final clubs of every sort, all the time conforming to popular ideas about the price of genius. That’s why The Social Network works much better when read as a slightly metaphysical tale, displaced from its context, than as a critique of the new world. There’s a vicious, Greenberg-like bitterness about this new phenomenon no doubt, but there’s also a sense of optimism beyond its control which acknowledges that there might be a way out after all.
10. Scott Pilgrim Vs. The World (Edgar Wright, USA)
A hundred years from now, when social researchers (or aliens, if you are a Mayan) attempt to find out about this little curiosity called the internet, they will refer not to Fincher’s white elephant but this wicked termite that has volumes to say about how most of us perceive the world today. If The Social Network is about Web 2.0 as seen from outside, Scott Pilgrim vs. the World is the same experienced from within. If Fincher’s film is the Facebook movie, Wright’s is the Twitter movie. There is barely an action, a line or an event that is allowed to complete. Everything that is marginally superfluous or even implicit is edited out. Information travels at the speed of light and it is, more often than not, trivial, useless and self-parodying. Time and space melt down to form a unified, nearly irrational warp zone where there’s almost no difference between reality and dream. This confusion of identities, so typical of our era and often alluded to in the film, is reflected in the pastiche-like nature of the film which borrows as much from web design and TV commercials as it does from comic books and video games. Devilishly inventive, “sublime”.
(Image Courtesy: Various)
January 1, 2011 at 11:51 pm
Honorable Mention: SMASH HIS CAMERA (Leon Gast, USA)
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January 2, 2011 at 12:39 am
I have not seen half of the films from the above list and even though I really want to see them, I have no idea when I will get the chance. Like you mention, 2011 might be a busy catchup of sorts.
Normally, I have found a 1.5-2 year difference from the release of a film at Cannes/TIFF to me actually seeing it, and when I do see it, it will most likely be on DVD because of no theatrical release. On the other hand, there are some films I have been lucky to see a year ahead of most people. For example, I saw Dogtooth and Everyone Else in 2009 and both films only started to get attention in 2010.
And most of my fav films from 2010 were only on the film festival circuit and a few of them won’t get a Canadian theatrical release until 2011.
I also felt that Shutter Island was a tribute to Hitchcock. I have never see a Hitchcock movie in a theater and Scorsese’s film gave me an idea of what I might have experienced had I seen Vertigo for the first time in a theater.
I am curious to see Honey. I admired Kaplanoglu’s previous film Milk whose opening sequence was quite memorable in a haunting sort of way. Of course, Honey was also the film that stirred up the contemplative cinema dialogue via Sight & Sound, so I do want to see what the fuss was about :)
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January 2, 2011 at 12:47 am
Thanks for that elaborate comment, Sachin. Yes, even I got the chance to see DOGTOOTH last year, but I thought I’d give that a skip. And I see that it made most of the lists this year!
Yes, SHUTTER ISLAND was pretty terrific. And even if there are other horror films nested within, the Hitch influence is overwhelming.
Do check out ANGEL’S FALL and EGG as well, along with HONEY. All are worth it. Yep, the slow cinema spat was the one memorable thing for me, on criticism front, all year.
Thanks again and Cheers, Sachin!
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January 2, 2011 at 1:10 am
Thanks, I will surely check those films out.
I also wanted to mention great reference to Scott Pilgrim as the Twitter movie. Information did travel in an instant in that film. Like a text message being sent out from a passed out room-mate :) Everyone was always in the know.
And it was quite hilarious when Gideon claimed it took him all of 2 hours to get all the exes together. In today’s instant available info age, 2 hours does seem like an eternity and no wonder it amounted to a lot of work on Gideon’s part :)
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January 2, 2011 at 8:49 am
Hehe, yeah. There were times when the film was pushing its luck. But for the larger part, it was hysterical.
Cheers!
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January 2, 2011 at 3:22 am
“Film Socialisme”, “Copie Conforme” and “The Social Network” are in my top 10 of this year as of this moment, but I always put my list around february (maybe around Chinese new year? hahahaha).
These are three examples of three different moments of cinema, I feel that Socialisme is a desestructuration of the cinema of the past, as if it was the death of it, its last example and the last straw, if you’ve seen this movie you can’t make a movie traditionally enough anymore.
The Social Network is the example of today’s cinema, trendy and goes with the ages, tries to tell something about the time we live in, a detatchment from one other, also well made, but… how many will remember it in the future? (It’s a great movie, but I feel it may fade away with time).
And Certified Copy is the example of the Cinema of the Future, not in its structure or plot, but more about the way it is made, the combination of talents from around the world, the unavoidable style of the director, wathever the project is, the feeling of a social message that goes through ages.
“Shutter Island” I loved, but didn’t make my top 10, that’s because I also count short films in my list, and this year Don Hertzfeldt did a truly amazing one. I also consider it a trend on its own, the cinema that talks about cinema, a “genre” I truly love, but it’s easily dismissed by other critics (i.e. my love for Tarantino).
I have yet to see “Scott Pilgrim”.
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January 2, 2011 at 3:23 am
Also, you missed a great one with “Nostalgy of the Light”, hope you see it soon, it’s on my list, (top 5 I think).
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January 2, 2011 at 8:57 am
Ah, you make a very interesting comparison there, Jaime. Past-Present-Future.
Thanks for the detailed comment and the recommendation of Hertzfeldt. Will check him out soon.
And yes, Looking forward to your list. I’ll probably post another list at that time as well, when I’ve watched Guzman’s film and others.
Speaking of trends, I just spotted a weird trend in this list. It’s sort of “symmetrically complementary”. I mean, imagine the double bills here:
1 and 10: Couldn’t be more different, but are the perfect introduction to editing styles in cinema.
2 and 9: Both about the current situation, And both about capitalism and socialism simultaneously.
3 and 8: One’s a melody set in the woods and the other a city symphone.
4 and 7: Two dual-layered movies with no fixed reality to hold on to.
5 and 6: One is a nihilistic fare which depicts a Godless universe without hope, the other is so full of hope, Faith and humanism.
Strange coincidence indeed.
Thanks again and wish you a happy new year, Jaime!
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January 2, 2011 at 4:57 pm
Wonderful writing, JAFB!
I am always fascinated by lists and especially when the ‘list-maker’ is so knowledgeable.
I am not a big fan of Jia Zhangke’s (I find his films too detached. I react to them a little like I do to Tsai Ming Liang’s) but I will try and see I WISH I KNEW. I haven’t heard of HONEY and I haven’t seen UNCLE BOONMEE (and this is quite a recommendation). I’m afraid I don’t like either SHUTTER ISLAND or SCOTT PILGRIM but I’m delighted to see FILM SOCIALISME here.
One film I haven’t seen that I wish I had is 36 VUES DU PIC SAINT LOUP by Jacques Rivette. My top films of the year are FILM SOCIALISME and BLACK SWAN.
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January 2, 2011 at 8:45 pm
Thanks Stephen. BLACK SWAN? That really is interesting, because I’d think the film is vulnerable to the exact complaints that you had placed for CITIZEN KANE. Would love to see your review of it.
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January 4, 2011 at 10:39 pm
I’ve made some notes. If I feel like I have something worthwhile/different to write down it will be posted in a couple of days or so.
JAFB,
Do you mean that Black Swan could be called heavy-handed or obvious in the same way I thought Citizen Kane was?
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January 4, 2011 at 10:53 pm
A great poll you have up there, JAFB.
Given my latest post, I voted automatically for the top option only to remember too late that it’s not my favourite after all(!)
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January 5, 2011 at 12:25 am
Stephen,
Yes, If I did read your review of KANE right. I think BLACK SWAN is all surface while it wants to be otherwise.
Please do post those notes if possible. Would be rather interesting. I’m yet to catch up with your article on THE LAST AIRBENDER. Soon, I promise.
Cheers!
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January 3, 2011 at 1:28 am
Needless to say, your list is a reminder to anyone who poses as an ‘imposter’ on the film boards! Ha! After seeing 220 films in 2010 on the big screens and maybe another 80 classics in retrospectives, I still must concede that I haven’t seen one-half of your own Top 10. And to boot I aboslutely and unquivocably despise your #10 film, SCOTT PILGRIM. I lament not including SHUTTER ISLAND on my own Top 10, though afinal revision will be made in a few days after I see the documentary WASTELAND. If Ms. Walker’s documentary doesn’t make the cut, then Scorsese is in for my traditional #10 tie. (I always cheat and have 11 for ten spots). The two films I REALLY REALLY want to see are FILM SOCIALISM and OF GODS AND MEN! I cannot and will not consider UNCLE BOONMEE for 2010, as my own long-held rules adhere to when the film opens commercially on USA screens (which will be in March at the Film Forum) but I vigorously applaud the choice, and have long adored this director! As to BLACK SWAN, I politely take a pass. Ha!
Your capsule write-ups continue to set the bar in the blogging circle we are both part of, and again your choices should sovber up some others who may have thought they comprehensively covered the foreign-language scene! Ha!
My own choices, tentatively are as follows, going with a Top Ten and them a Runners-Up 10:
The Top Ten:
1 Lourdes (France)
2 Blue Valentine (USA)
3 Carlos (France)
4 Another Year (UK)
5 Rabbit Hole (USA)
6 Un Prophete (France)
7 Toy Story 3 (USA)
8 White Material (France)
9 My Dog Tulip (UK)
10 The Strange Case of Angelika (Brazil)
Runners-Up:
Fish Tank
Inside Job
Mademoiselle Chambon
Jean-Michelle Basquiat: The Radiant Child
Never Let Me Go
Shutter Island
Welcome
Vincere
How to Train Your Dragon
The Social Network
Happy New Year’s to you and yours JAFB, and it’s been an education and a delight every time I stop in! And your a gentleman and a real nice guy to boot!
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January 4, 2011 at 12:25 am
Thank you so much, Sam. You’re too generous with words, as always. Happy new year to you and your family as well.
I’m delighted that The Strange Case of Angelica made it to your list. This is the one film I look forward to the most. I’m sort of sure that my updated list (Hopefully in March!) will seriously be vied for by ANOTHER YEAR and ANGELICA.
And yes, I now HAVE to see LOURDES!
Thanks again for such a detailed comment. Cheers!
Reply
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January 3, 2011 at 7:56 am
O.M.G.
I somehow, by terrible accident left out THE KING’S SPEECH, which will place at #7
My bad.
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January 3, 2011 at 10:46 am
[…] Just Another Film Buff (the prince of a guy, Srikanth) has a Top Ten list for the ages at The Seventh Art, that as always treats film as an art form, as well as it should be: https://theseventhart.info/2011/01/01/favorite-films-of-2010/ […]
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January 4, 2011 at 11:00 am
Happy New Year! Just realized that Clark Kent is Superman, namely, Just Another Film Buff is Srikanth aka Seventh Art!
I had been searching for “Certified Copy” unsuccessfully for a long time but it’s French title quoted above by you homes me to the shikar, so thanks.
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January 5, 2011 at 12:25 am
Thank you Mr. Rana and wish you a happy new year as well.
Hope you see the latest Kiarostami soon. I know you will, considering the number of Kiarostami films you’ve blogged about.
Cheers!
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January 5, 2011 at 12:14 am
Loving this end of year list, some fab films but afraid I haven’t seen many of them but will be soon, well, if I get the chance, nice to see Scott Pilgrim making an appearance and Film Socialism looks pretty brilliant – I know it is headed to DVD shortly. Have to say I haven’t had time to make a list but will do soon. I think I would have included Inception and Toy Story 3 but your choice of films is always quite special and really does well to flag up the great output from world cinema – real films so to speak. I’m not so sure about Social Network on reflection – will it stand up to repeated viewings?
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January 5, 2011 at 12:15 am
Hang on, what happened to Carlos?, you loved that one and so did I.
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January 5, 2011 at 12:24 am
Thanks a ton Omar,
Would love to see a list from you. Yes, I feel THE SOCIAL NETWORK might fare better with repeated viewings because it will precisely say what you want to hear from it. I mean, it is slightly cynical, but I daresay it presents a very rounded and rich view of the phenomenon. But then, it’s here only because it’s 2010!
I liked CARLOS a lot, but didn’t feel like it was the top of the year material – at least the full cut. I’d like to see the theatrical version which I think should be – rightly – less encyclopedia-ic and more personal.
Cheers!
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January 6, 2011 at 8:51 pm
JAFB,
I thought you might want to know that I managed to put my thoughts on Black Swan together (there may be a second piece though) and I have just posted them.
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January 8, 2011 at 10:47 am
Oh good. Thanks for pointing me to it, Stephen!
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January 7, 2011 at 7:57 pm
like ur list vry much…. but i feel ZEPHYR and ENTER THE VOID must ve made the list….do check out CHITRA SUTRAM by vipin vijay, a landmark achivement in Indian cinema….
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January 8, 2011 at 10:48 am
Thanks Arun,
I haven’t seen any of the films you mention. And ENTER THE VOID will not make this list, even if I’ve seen the film because it premiered in 2009.
Thanks for the recommendations and cheers!
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January 8, 2011 at 5:45 pm
enter the void – unfinished version was premiered in 2009 coz Thierry Frémaux requested to do so….. the original version premiered late 2009/10…. i would b glad if u could watch it n write abt it coz its one of the most important film of the decade….
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January 8, 2011 at 5:47 pm
Ah, is that so? Will do, if I gather the stomach!
Thanks and Cheers!
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January 8, 2011 at 5:50 pm
BTW, where ever did you see CHITRA SUTRAM and ZEPHYR? They seem to have hit only a very few fests.
Cheers!
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January 8, 2011 at 8:52 pm
Iffk…saw honey , uncle bonmee & certified copy also in d same fest….. there was also a seminar abt film criticism today…a sort of debate arose over film writing on net…i used ur site to xplain d kinda of reach d medium has…some cinema site owners had come too…girish kasaravalli ebjoyed it n while talking to him i mentioned abt ur site….keep up d gud work…
cheers!!!!!!!!!
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January 8, 2011 at 8:58 pm
My hat tips to you, Arun! Very grateful.
My biggest regret last year was missing the IFFK. WIll try to make it there this year. OTOH, the most exciting experience was meeting Kasaravalli and interacting with him at the premier of his latest.
Thanks again and cheers!
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January 9, 2011 at 7:20 pm
You mentioned all of my problems I have with My Joy. Patently cynical, relentlessly dystopian and ideologically simplistic. We get it man, Russia sucks! It’s formally audacious but still I didn’t find it strong enough for me to ignore the aforementioned problem.
Have you seen Silent Souls? That’s where the Russian cinema of 2010 is.
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January 9, 2011 at 7:22 pm
Oh Sy, you hit my weak spot. I’ve been searching feverishly for the subtitles to SILENT SOULS. I want to see it before I present an updated list in March.
Thanks for the much needed nudge. Cheers!
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January 10, 2011 at 10:29 am
[…] Just Another Film Buff (JAFB) is one of those rare internet birds who’s erudite, tasteful, humble, gracious, super-friendly and quick to issue compliments. He’s an utter joy and an inspiration as is his incomparable ‘best of the year’ list at The Seventh Art: https://theseventhart.info/2011/01/01/favorite-films-of-2010/ […]
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January 29, 2011 at 5:31 am
[…] use the commentary I wrote under JAFB’s top 10 list of 2010, which featured this film on the spot number 2. This movie represents the cinema of the past. This […]
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March 29, 2011 at 2:51 pm
@ MY JOY (Sergei Loznitsa)
one of the best films ive seen in recent times :) thanks for the info….
btw did u find the subs for SILENT SOULS ? i need ’em badly :)
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May 2, 2013 at 11:43 pm
I Really Like the top header design, very well written.
did you do it yourself?
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May 2, 2013 at 11:54 pm
Thank you, Sherri. Yes, I did.
Cheers!
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