My Year in Film: 2015 in 21 memorable moments

There’s been more than enough pieces written on the best films of 2015, including two lists (which include Tom McCarthy’s Spotlight, pictured above) to which I already contributed – Sight & Sound and CineVue – so here at Cinematic Investigations, we’ll refrain from adding further to what was considered ‘best’* last year. Instead, this annual review will focus on the complete year’s viewing, including television, films re-watched and those seen at festivals and at home. In a year in which I attended 10 film festivals, viewed 262 films, of which 68 were short and 125 were new** features, this is a way of considering what was personally most memorable, and not necessarily the films themselves, but the whole experience of viewing, discussing, sharing and thinking about film.

  1. Filmmaker interviews at IFFR 2015

As I reported back in January, I was selected to be part of International Film Festival Rotterdam’s Trainee Programme for Young Film Critics. A great honour that allowed me to meet some brilliant people, and conduct interviews with Remy Van Heugten via Skype about his film Gluckauf, in person with Ingo Haeb about The Chambermaid Lynn, on the phone to Martin Radich to discuss Norfolk and via email with Nicolas Steiner for his remarkable documentary, Above and Below.

  1. Tired Moonlight at IFFR and EFG

Britni West’s enthralling, ambiguous Tired Moonlight was the last of 31 films I saw at IFFR. By that point I was exhausted and longing for my own bed, and West’s Super 16mm shot ode to her hometown of Kalispell, Montana gradually lifted me from apathy to pure joy. When I screened it for the Edinburgh Film Guild audience in December, it temporarily made us forget there was a freezing downpour going on outside.

  1. Family cinema trip: Bill & Ted’s Excellent Adventure

My favourite ‘Come and See’ screening at Filmhouse in 2015.

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The Tribe

  4. Brutal cinema part 1: The Tribe

Being a fairly miserable Ukrainian drama in which the only dialogue is un-subtitled Russian sign-language, Miroslav Slaboshpitsky’s The Tribe was a hard sell to the friends I asked to accompany me, but I suggested it could be unlike anything we’ve seen before. It certainly proved more divisive than anything else, sparking a heated debate about whether such depictions of violence are deliberately and unnecessarily provocative.

  1. Orange is the New Black series 3

Particularly episode four, Finger in the Dyke written by Lauren Morelli and directed by Constantine Makris, in which Big Boo’s (Lea DeLaria) backstory is revealed; where an initially playful persuasion by her father to get her to wear a dress as a child, develops into complete parental rejection of her lesbian identity. This series frequently deals with characters struggling with who they are, and this episode showcased DeLaria’s ability as a performer to convey someone who courageously asserts herself, in the face of those who would prefer she pretend to be someone else.

  1. Experimental film and rolling hills – nice one, Alchemy Film & Moving Image Festival.

  2. Amy

Asif Kapadia’s expertly made documentary about Amy Winehouse just about broke me.

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I stay with you (me quedo contigo)
  1. Brutal cinema part 2: I stay with you (me quedo contigo) at IFFR and EIFF.

At IFFR, I saw Mexican artist Artemio Narro’s I stay with you, a deliberately deceptive, willingly provocative experiment in putting female violence on screen and right in the viewer’s face. In an upcoming issue of the Slovenian journal KINO!, I discuss the film and violent women generally with fellow writer Tina Poglajen, but on first viewing I really didn’t know what to make of it. When EIFF Artistic Director, Mark Adams, selected it to screen at EIFF, I looked forward to meeting with Narro again and talking more about the film, having allowed its brilliance and flaws to fully sink in. Narro proved to be one of the best guests at the festival – he’s certainly aware of the challenging nature of the film, and was prepared to lose a good proportion of the audience during the screening.

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With Artemio Narro during the Q&A at EIFF

At his Q&A, I asked him about the film’s wider reception, about his intentions for the film, and the audience too, quizzed him on the random appearance of a horse (actually a unicorn, Narro loves them, even has a unicorn tattoo, which went down well in the country for whom they are the national animal), and the film’s unsettling tonal shifts. It was a film that inspired what any artist can hope for – passionate, thoughtful (and in this case, angry) engagement from the audience.

  1. EIFF’s Doc of the Day: Stand By for Tape Back-Up and other special events, including Haskell Wexler himself.

As programme coordinator at Edinburgh International Film Festival last year, I had the pleasure of planning and delivering a lot of truly special events; a gig reuniting legends of the Scottish post-punk/indie music scene following Grant McPhee’s Big Gold Dream; a Skype Q&A with the Angulo brothers, subject of Crystal Moselle’s incredible The Wolfpack, and In Person events with Neil Innes and Barry Purves. One of my films of the year however turned out to be Ross Sutherland’s Stand by for Tape Back-Up, an autobiographical, semi-experimental documentary that plays with time and memory and incorporates The Fresh Prince of Bel-Air into musings on the afterlife. It’s a film that’s now deeply embedded in my mind as one of the most intriguing and moving I’ve seen.

Also at EIFF, I met again with award-winning cinematographer Seamus McGarvey (High Fidelity, Atonement, The Avengers, We Need to Talk About Kevin, Godzilla) who had brought legendary cinematographer Haskell Wexler to the festival to discuss his work and the issues most important to him. Wexler wanted to spend most of his onstage time praising Seamus, but the latter carefully persuaded him to share some of his experiences from his life’s work, which includes One Flew Over the Cuckoos Nest, Who’s Afraid of Virginia Woolf?, and Medium Cool. Sadly Wexler passed away in December aged 93, I’m privileged to have met him.
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10. Cats Are Cinema: Noel Marshall’s Roar

In which Noel Marshall and wife Tippi Hedren spent eleven years bringing to the screen a film they were sure would raise awareness of the poaching of African big cats and the unfair treatment of big cats in captivity. The result was a shoot with over one hundred cats – lions, tigers, jaguars etc. – seventy injuries to the crew and several near death experiences. The film itself is a completely bonkers and terrifying tribute to the cats, and Marshall and Hedren’s foolhardy commitment to their cause. A late night at EIFF, in which I laughed long and hard.

11. There’s how many teaspoons of sugar in one tablespoon of ketchup?! The influence of That Sugar Film.

There’s four. Four teaspoons of sugar in one tablespoon of tomato ketchup. Thank you Damon Gameau for making That Sugar Film and forever changing my feelings about the sweet stuff. When I met Gameau at EIFF I learned I was the eighty-fifth person to host a Q&A with him – he said I did a good job. What a pro.

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12. Family Cinema Trip: Magic Mike XXL

My sister was ssshhh’ed for whooping during the opening credits – those Edinburgh Cineworld audiences take their fun seriously! And it was, seriously fun.

13. Singing and crying: Hedwig and the Angry Inch at Filmhouse

Only the second time I’d seen John Cameron Mitchell’s cult musical (the first being a Blockbuster video rental sometime around 2002) but this time it was a sing-a-long screening and I soaked up the film’s emotion and wit, impressed by my friends lyrical knowledge and shared sensitivity to Hedwig’s identity crisis.

14. Live narration: Miso Suchy whispers in my ear at Bratislava International Film Festival!

15. Endings: The West Wing

Finally finishing The West Wing brought with it the satisfaction of seeing it through and the sadness that there were no new episodes to see. When we first started it, we found W.G. Snuffy Walden’s score unbearably patriotic (what did we expect?!) but by the end it felt triumphantly appropriate. Other highlights of viewing: assessing Josh’s hair, loving and then missing Sam Seaborn, doing impressions of Bruno’s ‘kelp’ speech, noticing which episodes had a Parks and Recreation version, saying ‘Blues explosion’ during the credits when John Spencer appears.
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16. Jess-i-caaaaaaaa!!!! Jones

A superhero show in which the villain is literally the patriarchy? Yes please. A thousand times yes.

17. All in one night: Master of None

So many brilliant episodes in this series, I loved how each was themed, I loved the compassion and honesty of it, I loved its representation of friendship and millennial anxiety. I loved that it was flawed.

18. Aniston forever and ever and ever

In case you didn’t know, 2015 brought you the blog series you’ve always wanted: a critique of the megastar that is Jennifer Aniston. Watching her films has so far been a mix of irksome, joyful and hilarious, more coming soon.
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19. Carol

I summarised what makes Todd Haynes’ latest so special, and my film of the year, for CineVue, so I’ll simply quote myself here: ‘That it’s so highly lauded is assuredly deserved, as Director Todd Haynes and screenwriter Phyllis Nagy have created a richly realised depiction of romantic love that envelops the viewer completely in its characters’ world. Both Rooney Mara as shop clerk and aspiring photographer Therese, and Cate Blanchett as the titular married woman, falling in love in 1950s New York, give exceptional performances, and have a chemistry palpable in every glance. The result is a film the very texture of which, highlights Carol and Therese’s relationship as one defined by both their unnameable intimacy and the distance between them, agonisingly reconciled in the film’s last, brilliantly tense final scene.’

20. Finally saw Frozen and understood its genius (see video below)

21. Best Christmas film: Sean Baker’s Tangerine.

 

 

 

 

*For the record my official Top Ten, offered to CineVue is:
1. Carol
2. The Diary of a Teenage Girl
3. Spotlight
4. Stand by for Tape Back-Up
5. Dreamcatcher
6. It Follows
7. Arabian Nights
8. The Forbidden Room
9. Anomalisa
10. Force Majeure
** Any film that had its first screening in 2015, internationally.

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My Year in Film 2014: Tarr, Tsai and more…

Having already taken part in a poll for the top films of 2014 elsewhere (See CineVue Top 20 Part One and Part Two), which included any film having a received a world or UK Premiere, an annual review on Cinematic Investigations will take a different approach to reflecting on this year’s highlights. Based purely on this writer’s cinema-going habits, I will pick out the top ten experiences in a cinema, regardless of premiere or release date. These are ordered chronologically, 10 being in the early part of the year and so on.
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10. Her | Spike Jonze

Two days after dreaded Valentine’s day, I saw Her, a gorgeous, intelligent, moving portrait of contemporary communication and relationships. Jonze presented a world where a kind of uniform aesthetic sensibility existed without comment – everyone and every environment seems lush, and clean and clear, and yet the streamlining of individual lives through personalised operating systems with artificial intelligence simply reveals what we know about ourselves already – we humans with our fragile bodies are flawed, imperfect and irrational.

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  1. Postcolonial Cinema Weekend | AV Festival | Newcastle upon Tyne

At AV Festival for the month of March, the theme of Extraction allowed for an exploration of the raw materials that comprise our experience of the world, with a film programme that included such lesser-seen much praised works as Wang Bing’s West of the Tracks (2002) and Michael Snow’s La Région Centrale (1971). Over the 7-9 March, artists and filmmakers gathered to share their films addressing the outcomes of decolonialisation. Highlights were a screening of Statues Also Die (1953) by Chris Marker and Alain Resnais from 35mm followed by Turner Prize winning It For Others by Duncan Campbell, who was present to talk about the influence of Marker and Resnais, and his representation of the commodification of objects through contemporary dance.

Stray Dogs

8. Stray Dogs | Tsai Ming Liang

‘In anger my hair stands on end and when the rain stops, I launch a shrill cry at the heavens.’

I saw what would become my no. 1 film of the year at Edinburgh International Film Festival, which actually turned out to be host to other of the year’s highlights. Stray Dogs is incomparable however – a heart breaking tale of a man earning a living as a human signpost advertising luxury accommodation, whilst living with his children at a dilapidated semi-sheltered building. Technically exemplary and acutely observed, Tsai’s film left me speechless, but not for the last time this year…

Journey to the West

  1. Journey to the West | Tsai Ming Liang

… as Journey to the West also screened at EIFF. Comprised of fourteen shorts held still as Lee Kang-sheng moves with a barely perceptible slowness throughout Marseille, dressed in red monk robes, becoming the focus of attention – or more frequently not – to passers-by. Performer and director having collaborated on the same gestural performance capture five times previously, Journey to the West includes a contribution from French actor Denis Lavant, who enacts his own slow walk too.

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  1. Interrupted Revolution: Iranian Cinema, 1962 to 1978, EIFF

At EIFF I also had the pleasure of seeing four films in their Iranian retrospective, including in the programme, ‘Truths Beyond Truth: Three Masterpieces’; Forugh Farrokhzad’s The House is Black (1962), Kamran Shirdel’s The Night it Rained (1967) and Amir Naderi’s Waiting (1974) and Ebrahim Golestan’s The Brick and the Mirror (1965). Ninety-two year old (!) Golestan was present at the screening to discuss the film’s production, and their energetic approach to filming in the streets of Tehran. An afternoon of rarely screened Iranian classic cinema was an opportunity too special to miss.

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  1. Guardians of the Galaxy | James Gunn

It being one of the most hyped and anticipated films of 2014, and being a fan of some superhero films (X-Men, Avengers Assemble, Captain America: The Winter Soldier) and the talents of Parks and Recreation’s Chris Pratt, I couldn’t help but get caught up in the excitement around Guardians. Of course it was silly, and of course it was predictable and derivative, but it was damn fun too.

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  1. Locke | Steven Knight

Since seeing Knight’s tremendous sound film, the phrases ‘I am driving’ and ‘I have made a decision’ have stayed with me, as expressed by Tom Hardy’s Richard Burton-esque Welsh intonation. A gripping, sad and witty thriller, and one of this year’s best.

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  1. Alluvion | Sasha Litvintseva

At Aesthetica Short Film Festival, I traversed the cobbled streets of York, between historic and contemporary venues, taking in what would become eighty-three short films, in genres as varied as experimental and fashion. A real highlight was Sasha Litvintseva’s Alluvion, a piece of ethnographic/poetic geographical interpretation that expresses the tension of the family holiday and touristic/working environments. Litvintseva’s aural landscape is as complex yet deceptively simple as her visual compositions.

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  1. Sátántangó | Béla Tarr | 1994

Screening at Filmhouse from a 35mm print sourced by those intrepid Scalarama folks, the chance to finally see reportedly one of cinema’s great masterpieces was truly unmissable. At seven hours and twelves minutes, Sátántangó is one of the longer examples of what might be deemed ‘endurance cinema’ and in its depiction of a run-down village, the inhabitants of which are attempting to survive during unrelenting autumn rain, it’s not a cheerful film either. However, the sheer tenacity and confidence of the framing, the length of the shots and bravery of the performances, make it one of the most memorable cinema experiences I’ve ever had.

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  1. Citizenfour | Laura Poitras

The third in a trilogy of films about post 9/11 America, the first two of which My Country, My Country (2006) and The Oath (2010) were about the Iraq War and Guantanamo respectively, Citizenfour is remarkable in many ways. Following an invitation from an anonymous source through a secure connection, to meet in order to share information, Poitras travelled to Hong Kong with Glen Greenwald in 2013 where they found themselves in a hotel room listening to revelations about the NSA’s surveillance programme from Edward Snowden himself. What’s remarkable about the film beyond what turned out to be a high stakes intelligence leak, are the moments Poitras captures that show just how ordinary Snowden is. Despite a justified reluctance to reveal too much about himself lest his story become one of personality obscuring the facts, what can’t be obscured are the urgent, unplanned moments in that hotel room, as covert travel plans are made. Snowden seen attending to a stray hair nervously before leaving the building, or thinking and rethinking his message to the media via the hotel conceirge show him as an ordinary person, who, despite having taken great risks to share what he knows, doesn’t know exactly what he’s doing at all times. Rather, he has his priorities straight – a steadfast commitment to challenging the accepted dismantling of privacy regulations in the name of national security appears deeply, chillingly logical.

Beyond these most memorable cinematic experiences, my personal favourites from 2014 also include:

Exhibition | Joanna Hogg
The Grand Budapest Hotel | Wes Anderson
A Touch of Sin Jia Zhangke
Ida | Pawel Pawlikowski
Leviathan | Andrey Zvyagintsev
Concerning Violence | Gören Olsson
Winter Sleep Nuri Bilge Ceylan
Boyhood | Richard Linklater
Blue Ruin | Jeremy Saulnier
Under the Skin | Jonathan Glazer
We Are the Best!  Lukas Moodysson

Cinematic delights: My year in film 2012

I prefer not to order films according to a prescribed ‘best’ list and find that, looking back at the year’s viewing – it’s the most memorable that are important. I couldn’t imagine putting them in order as they’ve all drifted in and out of my mind at one time or another, and have equally filled my thoughts with arresting images and sounds. To that end, here are some films that have affected me and I hope they did you, too. film2.widea

At Glasgow Film Festival in February I had the pleasure of seeing Patrick Wang’s In the Family, an epic melodrama about a one half of a couple, Joey (Wang) struggling to affirm his place in stepson, Chip’s life when his biological father suddenly dies. Wang’s languid pace and attention to detail gradually allows an intimacy with the characters, supported by wonderfully natural performances and dialogue. It all adds up to an un-showy, Capra-esq last act that rewards the viewer tenfold. twoyearsatsea

Two Years at Sea was a gorgeous, skillful portrait of Jake, the Aberdeenshire hermit that managed to play with the expectations one might have of a solitary soul. Ben Rivers black and white film spends plenty of time on Jake’s daily routine, but his camera’s presence is the clue to just how ‘real’ or ‘true’ this depiction is, and even manages a tree-house related magic trick too. That this 16mm delight was developed in a sink only adds to it charm. 6a00d8341c630a53ef0154363a61ea970c-600wi

Martha Marcy May Marlene directed by Sean Durkin is responsible for some of the most arresting images to permeate my thoughts – not least of all the excellent John Hawkes singing sweetly, enchanting his young followers.

This, and Amy Seimetz’ Sun Don’t Shine – a couple-on the run thriller that used harsh daylight to evoke claustrophobia akin to a daylight noir – were perhaps the US independent films that impressed most (and that’s in the sun dont shineyear that brought us Beasts of the Southern Wild – supposedly the saviour of the American indie).

Barbara was simply an excellent narrative film, a hugely rewarding drama that managed to surprise and beguile me. It almost goes without saying that Amour and The Master were stand-out auteur works so I won’t say anymore, other than if you’re put off by their heaps of praise, don’t be. For me, the big, epic of the year was Once Upon a Time in Anatolia from Climates director Nuri Bilge Ceylaonce-upon-a-stilln. Ostensibly a police procedural – the search for a body in a landscape only penetrated by car headlights – this was morality and myth on screen that I frequently misremember as a 1940’s Renoir ballad of humanity. I sincerely hope it gets more outings on the big screen. Kosmos by Reha Erdem also deserves a mention for being another example of fine Turkish cinema. Here_Then1-533x300

I was delighted to be able to see Maria Saakyan’s new film, I’m Going to Change My Name at London Film Festival. As a follow up to her feature debut, The Lighthouse (2006), this tale of a young girl’s identity crisis represented online space more fluently and sensitively than the crass Catfish and suggested that if Saakyan continues to develop with such originality, we are in for some very exciting films indeed. Another excellent depiction of youth and longing was Mao Mao’s Here, Then which screened at Edinburgh International Film Festival and won the Award for Best International Feature Film. Using long takes and crisp cinematography, masterfully handled by DoP Liu Ai Guo, Mao Mao’s film manages to weave connections between his seemingly unrelated protagonists and create a ponderous space in which to consider their action/inaction. *** Local Caption *** Museum Hours, , Jem Cohen, A/USA, 2012, V'12, Spielfilme

A beautiful, very special film for me this year was Jem Cohen’s Museum Hours starring the enigmatic Mary Margaret O’Hara as a visitor in Vienna who befriends a guard at the Kunsthistorisches Art Museum. Cohen’s sensitivity towards his characters and obvious ease with which his actors perform makes for a naturalistic musing on friendship, art and communication. A more ‘Hollywood’ take on the subject might see this unlikely pair romantically involved but Cohen prioritises the subtleties and awkwardness of newfound connection – much like the detail in Breugels paintings, so delicately discussed in the film. The result is a highly engaging, honest and relatable depiction of contemporary relationships. Tabu

2012 will always be the year I discovered Miguel Gomes and I couldn’t possible write of the most memorable without mention of his masterpiece, Tabu. I don’t think I can remember a recent film that has brought me so much joy to watch, or to think about afterward. To have made such a funny, heartbreaking and fiercely intelligent film means that I will never be shy of heaping praise on Mr Gomes, and eagerly anticipating what he will do next.

Honourable mentions must go to the following, which were just as thoughtful, funny, enjoyable or intelligent as those mentioned above, but who’s drawn out appraisal I will save you from here.

Shame. Steve McQueen.

Mitsuko Delivers, Yûya Ishii.

The Muppets, James Bobin.

Avengers Assemble, Joss Whedon.

Marina Abramovic: The Artist Is Present, Matthew Akers, Jeff Dupre.

The Myth of the American Sleepover, David Robert Mitchell.

Berberian Sound Studio, Peter Strickland.

Since publication Sun Don’t Shine has been picked up for distribution by Factory 25 – not sure if it’ll come to the UK but look out for it, whether its in cinemas, DVD or online – its worth it!