I was pretty ruthless in my construction of this list. No separation of documentary and narrative. No separation of released and unreleased. No honourable mentions. Just the 10 films of 2010 that I felt were the best the medium had to offer.
Here we go:
10. A SINGLE MAN (Tom Ford)
I came late to this one, seeing it months after it had left theatres in Melbourne. The Astor was showing it with EVERLASTING MOMENTS (which is another beautiful film worth seeking out). I’m not sure if it was the strength of the double feature, the events of my year, or the company I saw it with but this became one of the most beautiful cinema-going experiences I’ve had. Tom Ford’s debut about a depressed professor in the 60s who has lost a loved one and debating suicide was a glorious reminder of all the small joys this world has to offer.
9. INCEPTION (Christopher Nolan)
Christopher Nolan has yet to disappoint me; I get this feeling we both view film the same way. A twisty plot about dreams and reality that doubles as light commentary on cinema itself, this film excels during its many action set-pieces. The rotating hallway fight instantly became the most jaw-dropping scene of the year with many other moments vying for second and third.
8. AMER (Hélène Cattet & Bruno Forzani)
The first (but not the last!) of my “look I’m sorry you couldn’t see it” films. AMER screened at the Hello Darkness Film Festival and immediately blew me away with its stylish portrayal of sex and death and desire. A loving homage to the giallo films of Dario Argento, Sergio Martino, Maria Bava et al. Keep an eye out for it.
7. CATFISH (Henry Joost & Ariel Schulman)
The bizarre tale of an online relationship that wasn’t quite on the level, CATFISH exists as a scary and accurate representation of our time. The detectives here use the same tools that got them into such a mess in the first place. Facebook, Google Maps and Youtube act as both helpful aides and annoying filters as the boys try figure out the truth behind the girl one of them has fallen for. Eventually, filtering information through the web proves too frustrating and the filmmakers take a road-trip to confront those at the other end. It’s this final third that earns CATFISH such a high spot on my list. Emotionally devastating, I was a wreck by the time the credits rolled.
6. WINTER’S BONE (Debra Granik)
A beautifully photographed setting and gritty, believable performances make this a terrific piece of “Southern Gothic”. Ree Dolly (Jennifer Lawrence) searches for her crystal meth-making, fugitive father in order to save the land her family live on. It often feels like a horror film (and the climax looks like one, for that matter!) but these are very real people doing what they have to in order to survive in a very different world.
5. BOY (Taika Waititi)
I can’t even think of another year when a New Zealand film would make my top 10 (let alone my top 5) but Waititi’s charming coming-of-age tale does this with ease. The titular character (played by one-to-watch James Rolleston) idolises his absent father and when he reappears in his life the wild fantasies and sobering reality collide. Boy has to confront some uncomfortable truths in what would be a depressing affair if not for Waititi’s great sense of humour and terrific use of fantasy sequences.
4. LEAP YEAR (Michael Rowe)
This was my favourite film at MIFF (outside of THE MOVIE ORGY, of course) and I’m aware it’s not for everyone. Stark and confronting in its portrayal of sexuality, LEAP YEAR goes places that will see it banned without heavy cuts; which is a shame. Laura (a fearless Monica del Carmen) is on forced vacation after a source she used in an article proved less than reliable. She spends all of her time inside her flat leaving only to pick up random men for casual sex. We don’t see her on the pull though; the camera never leaves the apartment (except for a short introduction) creating a claustrophobic film with an unsettling tone. We watch Laura crossing out days on her calendar as we get closer to February 29 and learn more and more about her predicament and past.
3. THE SOCIAL NETWORK (David Fincher)
Sometimes it feels like a movie is made just for you and you alone. One of my favourite directors + one of my favourite writers + one of my favourite producers (Rudin) + my absolute favourite musician (no, not Timberlake, Trent Reznor!) have come together in a quest to entertain *me*. Oh sure, you might get something out of it too; if that’s the case I don’t mind sharing...
Hilarious, intelligent, full of terrific performances... what can be said that hasn’t already? See you at The Oscars.
2. SCOTT PILGRIM VS THE WORLD (Edgar Wright)
I saw this film more often than any other this year and it was immensely enjoyable every single time. Edgar Wright has adapted Bryan Lee O'Malley’s graphic novel into a hyperkinetic action film with a great deal of heart and plenty of quirk. This film probably charts so high because my expectations were so low going into it. I love everything Wright has done so far but I’d never read the source material, hated the first poster and even the first trailer! It all seems rather silly now (still hate that poster, mind you) as SCOTT PILGRIM has earned a place in my all time favourite films about lovesick losers in non-linear narratives (ETERNAL SUNSHINE, (500) DAYS OF SUMMER, HIGH FIDELITY, ANNIE HALL... it’s in good company!).
1. EXIT THROUGH THE GIFT SHOP (Banksy)
As great as the last nine films were, none were nearly as entertaining as this hilarious tale of street-art and celebrity. This film would have been a fairly run-of-the-mill documentary about a rather cool artform if not for one very passionate Frenchman: Thierry Guetta. Guetta’s introduction and subsequent usurpation of street-art is captured in its entirety for us to enjoy. Nobody involved (from Banksy, to Shepard Fairey to Space Invader) walks away unscathed as the artform they’ve worked on for years has it’s outsider reputation damaged in an instant.
A fascinating piece that deconstructs street-art, the documentary form, and finally cinema itself! Needs to be seen to be believed (and even then some struggle), it's my pick for the #1 film of 2010.
That’s a wrap. Bring on 2011!
Here we go:
10. A SINGLE MAN (Tom Ford)
I came late to this one, seeing it months after it had left theatres in Melbourne. The Astor was showing it with EVERLASTING MOMENTS (which is another beautiful film worth seeking out). I’m not sure if it was the strength of the double feature, the events of my year, or the company I saw it with but this became one of the most beautiful cinema-going experiences I’ve had. Tom Ford’s debut about a depressed professor in the 60s who has lost a loved one and debating suicide was a glorious reminder of all the small joys this world has to offer.
9. INCEPTION (Christopher Nolan)Christopher Nolan has yet to disappoint me; I get this feeling we both view film the same way. A twisty plot about dreams and reality that doubles as light commentary on cinema itself, this film excels during its many action set-pieces. The rotating hallway fight instantly became the most jaw-dropping scene of the year with many other moments vying for second and third.
8. AMER (Hélène Cattet & Bruno Forzani)
The first (but not the last!) of my “look I’m sorry you couldn’t see it” films. AMER screened at the Hello Darkness Film Festival and immediately blew me away with its stylish portrayal of sex and death and desire. A loving homage to the giallo films of Dario Argento, Sergio Martino, Maria Bava et al. Keep an eye out for it.
7. CATFISH (Henry Joost & Ariel Schulman)The bizarre tale of an online relationship that wasn’t quite on the level, CATFISH exists as a scary and accurate representation of our time. The detectives here use the same tools that got them into such a mess in the first place. Facebook, Google Maps and Youtube act as both helpful aides and annoying filters as the boys try figure out the truth behind the girl one of them has fallen for. Eventually, filtering information through the web proves too frustrating and the filmmakers take a road-trip to confront those at the other end. It’s this final third that earns CATFISH such a high spot on my list. Emotionally devastating, I was a wreck by the time the credits rolled.
6. WINTER’S BONE (Debra Granik)
A beautifully photographed setting and gritty, believable performances make this a terrific piece of “Southern Gothic”. Ree Dolly (Jennifer Lawrence) searches for her crystal meth-making, fugitive father in order to save the land her family live on. It often feels like a horror film (and the climax looks like one, for that matter!) but these are very real people doing what they have to in order to survive in a very different world.
5. BOY (Taika Waititi)I can’t even think of another year when a New Zealand film would make my top 10 (let alone my top 5) but Waititi’s charming coming-of-age tale does this with ease. The titular character (played by one-to-watch James Rolleston) idolises his absent father and when he reappears in his life the wild fantasies and sobering reality collide. Boy has to confront some uncomfortable truths in what would be a depressing affair if not for Waititi’s great sense of humour and terrific use of fantasy sequences.
4. LEAP YEAR (Michael Rowe)
This was my favourite film at MIFF (outside of THE MOVIE ORGY, of course) and I’m aware it’s not for everyone. Stark and confronting in its portrayal of sexuality, LEAP YEAR goes places that will see it banned without heavy cuts; which is a shame. Laura (a fearless Monica del Carmen) is on forced vacation after a source she used in an article proved less than reliable. She spends all of her time inside her flat leaving only to pick up random men for casual sex. We don’t see her on the pull though; the camera never leaves the apartment (except for a short introduction) creating a claustrophobic film with an unsettling tone. We watch Laura crossing out days on her calendar as we get closer to February 29 and learn more and more about her predicament and past.
3. THE SOCIAL NETWORK (David Fincher)Sometimes it feels like a movie is made just for you and you alone. One of my favourite directors + one of my favourite writers + one of my favourite producers (Rudin) + my absolute favourite musician (no, not Timberlake, Trent Reznor!) have come together in a quest to entertain *me*. Oh sure, you might get something out of it too; if that’s the case I don’t mind sharing...
Hilarious, intelligent, full of terrific performances... what can be said that hasn’t already? See you at The Oscars.
2. SCOTT PILGRIM VS THE WORLD (Edgar Wright)
I saw this film more often than any other this year and it was immensely enjoyable every single time. Edgar Wright has adapted Bryan Lee O'Malley’s graphic novel into a hyperkinetic action film with a great deal of heart and plenty of quirk. This film probably charts so high because my expectations were so low going into it. I love everything Wright has done so far but I’d never read the source material, hated the first poster and even the first trailer! It all seems rather silly now (still hate that poster, mind you) as SCOTT PILGRIM has earned a place in my all time favourite films about lovesick losers in non-linear narratives (ETERNAL SUNSHINE, (500) DAYS OF SUMMER, HIGH FIDELITY, ANNIE HALL... it’s in good company!).
1. EXIT THROUGH THE GIFT SHOP (Banksy)As great as the last nine films were, none were nearly as entertaining as this hilarious tale of street-art and celebrity. This film would have been a fairly run-of-the-mill documentary about a rather cool artform if not for one very passionate Frenchman: Thierry Guetta. Guetta’s introduction and subsequent usurpation of street-art is captured in its entirety for us to enjoy. Nobody involved (from Banksy, to Shepard Fairey to Space Invader) walks away unscathed as the artform they’ve worked on for years has it’s outsider reputation damaged in an instant.
A fascinating piece that deconstructs street-art, the documentary form, and finally cinema itself! Needs to be seen to be believed (and even then some struggle), it's my pick for the #1 film of 2010.
That’s a wrap. Bring on 2011!
