A different lens
And since multiple perspectives can provide a greater depth of dialogue, here are a few films from 2016 that moved Houston Chronicle popculture writer Andrew Dansby:
“One More Time With Feeling”:
Nick Cave should no longer sport hair the color of midnight. Yet at 59, the post-punk songwriter frames his intimidating scowl with the same flat, black frame he always has. “One More Time” is ostensibly about the making of Cave’s stark and moving “The Skeleton Tree” album, though the film’s real theme is largely unspoken until more than halfway through: It’s a movie about the redefinition of self following tragedy. In this case, the death of Cave’s teenage son. A scene in which Cave’s wife decides to speak about a piece of art made by their son — a moment she could have grieved alone, but instead invited Cave into a shared ritual — is simply devastating. “Swiss Army Man”:
Any film that opens with farting will be judged harshly. But this bizarre, dark comedy about a castaway and his utility corpse is unflinching in its portrayal of societal disconnect. So feel free to focus on the gas, but really, it’s about a guy who has always felt beyond the periphery, whose ideals regarding love and connection have been codified through popular culture instead of actual interaction with others. So it explains a stalker’s behavior, to an extent, without justifying it.
“Hunt for the Wilder people”:
Maybe I’m growing sentimental as I get older because an odd-couple story about an able outdoorsman and an obese hip-hop-loving juvenile-delinquent foster kid on the run in the wilds of New Zealand sounds truly terrible on paper. Director Taika Waititi somehow applies just the right amounts of charm and tragedy. The dynamic between grizzled vet Sam Neill and newcomer Julian Dennison is funny and heartbreaking.
“Weiner”:
Among the best comedies of the year, this documentary tells the story of the New York congressman who repeatedly trips over his own weiner. Filmmakers Josh Kriegman and Elyse Steinberg were given remarkable access to Anthony Weiner and emerge with a tragically funny portrait of a guy whose ambitions are only overmatched by his poor judgment (repeatedly). It’s a cautionary tale about the volatility of our digital present and the need to get out in front of bad news. “Don’t Think Twice”: A few years back, Mike Birbiglia struck a new formula for the standup comedy experience, recasting the process as a master narrative with back-pocket poignancy interspersed amid the jokes. His feature film is more traditional, yet it similarly picks away at the complicated dynamics of urban tribes. In this case, the tribe is rife with conflict, as it’s a small-scale improv comedy troupe. The group’s members have similar aspirations, yet the realization of those aspirations puts each of them on incompatible trajectories. The results are funny and heartbreaking. “Pete’s Dragon”:
David Lowery is one of the most exciting young filmmakers working today. He proved he can work a contemplative minimalist character study like “Ain’t Them Bodies Saints” and then this year showed that he can create an animated family film with a depth of emotion and imagination. In addition to a great eye, he has a strong sense for sound in films, using it cautiously to haunting effect.