Pawel Pawlikowski, the directorof
My Summer of Love, returns after personal tragedy to deliver his best film yet. This monochrome poem follows a Polish novice as, before taking vows, she makes a poignant visit to family.
Can we say “feel good”? Too late. We already have. Matthew Warchus’s study of interaction between gay
activists and striking miners in 1980s Britain already plays like the joyous musical it
is certain to become.
Jonathan Glazer sends impassive alien Scarlett Johansson
to Glas go win a film thatmade it sown rules and then broke the mall. It was declared “divisive” on release, but already seems like a modern classic.
Spike Jonze proves his hip aesthetic can thrive when un connected to hitherto inseparable collaborator Charlie Kaufmann. This is a timely, spooky tale of a man who falls for his OS. Johansson, enjoying a year of triumph, provides the smoky voice.
12 YEARS A SLAVE
Who thought that Steve Mc Queen, awkward Young British Artist, would directa winner of the best picture Oscar? His visionary study of slavery snuck an avant garde sensibility into the main stream.
WEARE THE BEST!
Lukas Moodysson returns tothe 1980s with his delightful tale of a young Swedish punk band bellowing them selves away from everyday trauma. Everything about this film suggested crossover success. Sadly, Moodysson and his brilliant cast must settle for a cult following.
Fifteen year safter his last period film, Topsy-Turvy, Mike Leigh directs a stubbornly unusual portrait of JMW Turner. Timothy Spall delivers bovine grunts as the protagonist. The film sprawls mightily. Yet it became the director’s biggest hitto date.
Richard Linklater’s touching picture –following a boy and his parents over a decade–is a logistical marvel, but it is so much morethan that. It is the portrait of an age. It is an essay on the cruelty of parenthood.
THE GRAND BUDAPEST HOTEL
If you’re still agnostic about Wes Anderson after sitting through his break neck comedy of misunderstandings from inter-war Europe then you will, most likely, never be persuaded. Staggeringly beautiful. Endlessly funny. Touching in its passion for along withered era.
NORTE, THE END OF HISTORY
Sit still. Furrow the brow. At250 minutes, Lav Diaz’ oblique Philippines take on Crime and Punishment is easily the longest release of the year. It’s relentless focus and mastery of tone justifies the mighty duration.