Friday, January 18, 2013

The Best New Films 2012

December 10, 2012
Best movies 2012

These were the years of radical cinema in all directions is very remarkable efforts, both in the low-budget independent film kingdoms and commercial scale film franchise and 2012 has been a wild ride, but in the "awards season" Much of the work to be marginalized around wild and fantastic invention easy film is not surprising, but the tip of the seemingly important content to the forefront of critical evaluation.

Most Hollywood movies left early, long before the door is almost officially lifted the party entitled Oscarizables to hold between now and February, pumped as Rock'em Sock'em Robots wheel and tug and contractions and call studios and publishers who send them to fight . The movie year is divided into two more or less the first ten months (with a little "to the end) and stretch, and it's like a relay race where the baton passes do not compete against each another and to those who pass and are therefore out of the race early. This system works very silly because the Academy members have been found to be affected by the cries. Oscars may in fact Hollywood ideal image, is what the insiders want to be, but the reward is converted into U.S. dollars and vice versa is also an involuntary reflex of industrial practice.

Some of the items from the end of the year is great, excellent. (Some are on my list.) 2012 was a good year for Hollywood and Hollywood. Note again, the big Hollywood Nexus Gotham Independent Spirit and candidates, which means independent funding increasingly important for filmmakers whose work does not fit the format franchising. And that's a good thing the viewpoint of the film involves the two directors and actors that manufacturers share the risk to do their job, or that manufacturers supply accomplices vision of a director free rein. But the latter concept makes critics uncomfortable. There is a school rooted in an archaic and reminiscent of a classic Hollywood supposedly halcyon reached the masses and made a modest man who looks barely conscious producers to limit the peculiarities of the directors and place an easily marketable popular attractive package. These critics yearn for the contradictory relationship between the producer and director, as a producer, as a defender of democratic values ​​and the director as a kind of selfish elite unrestrained, would spend someone else's money to make a movie that we recommend light and friends.

Of course, this ratio contradictory only if the manufacturer can not be regarded as a kind benefactor, patron, whose mission is to support and encourage individual expression and, as always, it depends on the individual and the nature of perception. It is quite obvious that manufacturers improve the films made of strong mediocre, but often limit or weaken the distinctiveness and individuality work well. There is a hidden agenda in politically important aesthetic preference for the good side of the producer, as critics demagogic put in position ombudsmen, defend radical extremes tastes and popular find the line. E 'a case of left and right, without agreeing on a common basis, and that leads to bad policy, and in this case bad art.

The history of cinema is full of crazy enough overbudgeted and controlled much of them for commercial rankly a personal peculiarity, and is also full of crazy great artistic triumphs that are apparent first order for "Greed" and "Lola Montes" in "heaven's gate" and "Ishtar". If Terrence Malick's gorgeous "Tree of Life" becomes dilapidated insane, is, I think, because it was from the beginning, in a healthier relationship with their producers. He did not pretend that his film would be something other than what turned out to be, and as a result, was able to develop its production process, such as large or unusual transactions that may have been in equilibrium with the medium at hand. The phenomenon behind the best new film, at least in the U.S., the economic shift towards independent production, whether high or low budget, and it is, in my opinion, one of the reasons for the artistic importance and variety of American film.

But there is a paradox at work in the movement. It is difficult for managers to develop in the absence of support for a thriving industry for actors, technicians and suppliers, but it is difficult for local films to stop the popularity Hollywood in the absence of subsidies. But subsidies, but often helps managers to continue to work, even adoptive especially among young directors, a bureaucratic mentality that filters often work. Withstands strong artistic temperament, and that's what counts, but the aesthetics of the environment is consistent with the representation is one of the things that must be resisted, and it is worth noting that foreign films shown here are also codes more violently rebellious family and how the call naturalistic story.

Speaking of directors challenge, this is not a time for old. Trio of big Festival and New York Film Abbas Kiarostami Alain Resnais (both scheduled for U.S. release next year) and the late Raul Ruiz, everything would be near the top of the list. Instead, it will be next year. Additionally, some of the young broken hand, which by Ying Liang "When night falls," a tough but analytical, deeply compassionate drama but furious political closely based on the real case of 2008 by a Chinese man who was convicted of police murder and executed. Have also made this list even more crowded.

I suspect that it is also a partial economic cause, which includes administration of a specific function in the U.S. state of cinema nowadays: the general conformism and narrow shaped much of the documentary. Of course, there are excellent documentaries made bold, too (which is different from the list), but many of the most representative part of a series of moods, tones and methods that are even more stringent than the award-winning fiction. A synecdoche small example. "Forgetting Sarah Marshall" ruefulness use of music to influence the gloomy mood, tone, and often reminiscent of what the character of Jason Segel is a television series of excitement, compassion, indignation, virtuous feelings and motives are often too easily packed in a film where the filmmakers seem less interested in discovering to say. There may be a psychological factor also rooted in the justifications for involvement in a documentary subject for years, and the extra length of the production (and pre-production and post-production and distribution, where the directors have everything again) is also a matter of difficulty to find financing. The economic crisis in the documentary comes as a cosmetic problem, too.

Remains of independent film (in fact accelerate as) a self-renewal, as a source of creative energy, but the big problem is the division managers face theatrical distribution, while the largest engine major review publications and benefit from year-end bonuses. Writers can add whatever you want on your list, but the publications that run surveys and organizations that grant awards have strict criteria for qualifying films. (So ​​not the best picture that appears in many distributed locations has gained importance as a sudden and well deserved.), But with the economic barriers to the distribution of films and the increasing prevalence of video on demand, it seems important Editorial distribution definition change. The experience of going to the cinema and watch a movie (or, more often, a digital video camera) on a large screen in a public space and a dark room with a crowd of strangers is wonderful, but should not be the exclusive or predominant. It is tempting to think of the film as a concert hall and viewing at home listening to CDs or theater as a museum and home movies look like reproductions of paintings.

If not, more like defining marriage between a man and a woman, because that is how it has always been, or deny the right to privacy, because the word is not in the Constitution, or how to distinguish between "writers" (those who still use pencils) and "typers" (with typewriters) and also "Team" (etc.). An overly literal interpretation does not do justice to experience. And that catches new movies, probably more radical and more accurate than its predecessors, is the radical experience inside and outside.

This list, in its first state, crystallized in pairs and trios formed on any other principle than automatism: sometimes three films released in the same period, three independent films, three of Hollywood films, three films a director (yes) or groupings that appeared on the first page, and only then is a fundamental meaning, or meaninglessness almost surreal (titles one word, 
two words). I followed some other optimized.

1-2. "The holy engines" and Moonrise Kingdom "

Bound to the first, in alphabetical order. Film of shameless, reckless beauty, ecstatic that makes the pursuit of beauty and makes very subject of moral implications, considering recent issues of love and death with humor and tenderness penetrating anarchist, speed and accuracy, the grandeur and intimacy and one. infallible, but the personal sense, spontaneous but a very important part of the way that the challenge of the story (movie, artistic, personal and even political, oblique angles, which offers surprising perspectives) and then take his place in history. Both have incredible reach and extensive geographical hug. These are instant classics, and prepared for the distant future.

3rd "Maestro"

No film has brought the issue to life with a surprising and seemed to surprise the director of the conclusions drawn. It's a movie indissoluble combinations: control of others is inseparable from the method itself, madness, creativity, power, deception, self-deception of performance, to be, and the greater part of life is to fill in the blanks around the losses. Its theme is the size of failure and success in fear that it could have made money at the box office?

4-5. "OKI Movie" and this is not a movie "

Two films about filmmaking. And "years Hong Sang-soo with three upcoming films (the other two are below), it is known for its jagged emotional, aggressive strategy for its intricate issue, and extraordinarily inspired, unabashedly fixed image-making. As Jafar Panahi film was in basically your iPhone, while under house arrest in Tehran therefore calls upset a furious pace imagination, it becomes a moral statement cinematic form.

The next ten ordered arbitrarily:

"To Rome with Love": Woody Allen, master of metaphor, comes with one of its largest, and marked a turning point support Ellen Page next to Dianne Wiest in "Hannah and Her Sisters."

"Taboo": love and colonialism, or the Europeans can live well in their countries to do good?

"Color Wheel": director Alex Ross Perry, Carlen Altman stars together and play some class-of-adult brothers too heavy to start to train so hard and draw blood safer and Spencer Tracy, Katharine Hepburn. With the help of photography Sean Price Williams, holding the camera to keep the same distance precariously on the edge between comedy and drama. An independent film classic and modern methods and moods.

"The Deep Blue Sea," with respect to low just another movie Terence Davies, not as highly stylized and underwear as "Distant Voices, Still Life" or "Long days off." But it is not so: they reproduce tones and moods of high melodrama from the moment you are in London, in 1950, and has one of the largest war flashback, with a wait of Davies singing group brought a new level of historical consciousness.

"In trouble": Whit Stillman's return is not a return to form, but the discovery of a new aphoristic brilliance now expressed in poetic rhetoric quickly hyperstylized cast only a remarkably smooth and virtuous could keep spinning a gyroscope perfect justice. The limited scope and set stylized suggest great inner pain complaints openly repressed and normative.

"We have a pope": director Nanni Moretti, who co-stars, taking performance moves from the second position as Cardinal Michel Piccoli, in the sincerity of faith, begins to question her faith life. The policy fury final scene is a tribute to honor one of the great scenes in the story, at the end of "The Great Dictator".

"This Is 40": O, RICTUS: the painted smile of a man who loves his family and wildlife. And "what is called a" kind of sequel "to" Knocked Up, "but rather as a pendant of" Funny People, "Adam Sandler's character did not mind betraying Leslie Mann and Eric Bana set. Consider Cassavetes and call it" husband ".

"Red Hook Summer" so awesome skeptical "We have a pope", with a couple of child actors as talented as the "Moonrise Kingdom," a text as vivid as "damsels in distress", and a great artistic metaphor that "In Rome with love ".

"Magic Mike": The best dance movie of the year and this is the number of the strip.

"Fake It So Real ', avoids a documentary by Robert Greene at the local pro-wrestling circuit blocks of matter and form, and offers insights into his subject as an art and sport in the lives of their agonists and aspirants, and the performance itself.

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