And so the films never find their way to U.S. audiences, despite a market healthy enough to support limited releases for hundreds of foreign films each year — the vast majority of which earn just five or six figures at a box office oriented heavily toward English-language franchise pictures, rather than outside-the-box arthouse fare (consider Canadian talent Xavier Dolan’s multi-award-winning debut, “I Killed My Mother,” which took years to find a U.S. distributor despite launching his international career). The film establishes its serious tone with a restrained, naturalistic aesthetic, and immediately forces the viewer to pay attention. Ryan Gosling's strong, silent Hollywood stunt driver moonlights as a getaway driver. When your grandma dies, cult-related ordeal after ordeal doesn't tend to ensue. It is quite clear that mainstream cinema no longer applies just to Hollywood blockbusters, or the odd British comedy. The 40 best films of the decade 40. Luckily, Devdas is more than a bit special. Featuring a break-out turn from Eva Green, and a role for Michael Pitt as the young man who becomes hopelessly involved in the lives of a brother and sister. The reason for this is its groundbreaking use of digital camerawork – the entire film is one long unbroken tracking shot that floats though not only the museum itself, but through the different periods of Russian history it houses or has played a part in. Always entertaining, Night Watch took on Hollywood at its own game and easily matched it. The most controversial scene of naked girls in a lake is actually completely non-sexual – it’s the viewers own discomfort that adds a sinister overtone. It is not only one of the finest world cinema films of the last ten years, but also one of the finest genre films ever. I remember a friend breathlessly telling he had just seen something incredible, and hurriedly passed me his copy.
The octopus eating. Set in the slums of Johannesburg, which isn’t exactly the nicest place to visit, Tsotsi is a young street thug who gets more than he bargains for when he steals a car: a baby in the back, to be precise. We start at the top with a movie that did not win the Best Picture Oscar like many thought it would in 2016. Iconic, mystical and mysterious, I described it as “An important film, but one which I wasn’t sure the meaning of”. Wanted director Timur Bekmambetov’s direction verges on the outrageous at times – particularly in a scene that tracks the descent of a screw from a plane at several thousand feet all the way down to a cup of coffee. Watching the film, however, you quickly become glad the US studios left it well alone, as Tell No One is a superb mystery thriller, and a perfect adaptation. Lust/Caution is an exquisite treat that rewards the senses.
At points harrowing and serious, it is all so accessible and enthralling that you can’t quite believe what you’re seeing is real, but sadly it is. The movie’s strengths lie in its generous humanism and the documentary-like specificity Burger brings to such a relatable story.Why it’s not too late: “Real Love” is still making the rounds of festivals, bringing positive attention to its talented female director.
“Snap” (Sa-nap), 2015 – dir. The 2018 film bucked the superhero formula with its Afro-futurist setting, family saga and James Bond gadgetry. Granted, the nearly-three-hour running time doesn’t help (frankly, all of Kechiche’s movies could stand to be tighter), nor did a poisonous dismissal by the New York Times. The tongue slicing.
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