World Poll 2015 – Part 3 the editors January 2016 World Poll Issue 77 Entries in part 3: Avi Hanner Alexandra Heller-Nicholas Michael Helms Alain Hertay Wai Ho Peter Hourigan Cerise Howard Brian Hu Felix Hubble Christoph Huber Darren Hughes Zachary Ingle Darik Janik Tara Judah Dominik Kamalzadeh Daniel Kasman Christopher Kearney Ehsan Khoshbakht Simon Killen Nelson Kim Rainer Knepperges Bogna M. Konior Jay Kuehner Adam Kuntavanish Samuel La France Eugenia Lai James Lattimer Marc Lauria Elaine Lennon Dennis Lim Paola Lorenzi AVI HANNER FILM SNOB BASED IN MELBOURNE. The Lobster (Yorgos Lanthimos, 2015) Tangerine (Sean Baker, 2015) Im Keller (In The Basement, Ulrich Seidl, 2014) The Wolfpack (Crystal Moselle, 2015) Umimachi Diary (Our Little Sister, Hirokazu Kore-eda, 2015) Raiders! (Jeremy Coon and Tim Skousen, 2015) Heaven Knows What (Josh & Benny Safdie, 2014) Sam Klemke’s Time Machine (Matthew Bate, 2015) Ich seh, ich seh (Goodnight Mommy, Severin Fiala, Veronika Franz, 2014) Amy (Asif Kapadia, 2015) Love (Gaspar Noé, 2015) Ex Machina (Alex Garland, 2015) Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, 2015) ALEXANDRA HELLER-NICHOLAS FILM CRITIC, WRITER AND CO-EDITOR AT SENSES OF CINEMA. The Duke of Burgundy (Peter Strickland, 2014) Plemya (The Tribe, Myroslav Slaboshpytskiy, 2014) Partisan (Ariel Kleiman, 2015) Trydno byt bogom (Hard to Be a God, Aleksei German, 2013) Mad Max: Fury Road (George Miller, 2015) Scherzo Diabolico (Adrián García Bogliano, 2015) Spring (Justin Benson, Aaron Moohead, 2014) Lost River (Ryan Gosling, 2014) Hellions (Bruce McDonald, 2015) Felt (Jason Banker, 2014) Trydno byt bogom (Hard to Be a God, Aleksei German, 2013) MICHAEL HELMS WRITER FOR FOREIGN GENRE PRESS, FOR WHICH HE HAS WRITTEN ABOUT HORROR FILMS MADE IN AUSTRALIA FOR THE PAST 25 YEARS. She Who Must Burn (Larry Kent, 2015) A severe criticism of Christian fundamentalism wrapped up in a horror film. A first for 82 year-old Larry Kent, a Canadian from South Africa. Pray and picket that it’s not the last. Manson Family Vacation (J. Davis, 2015) A black horror comedy of the best kind that is as clever and hilarious as it can be absolutely devastating to a tiny section of any audience willing to take the trip. Turbo Kid (François Simard, Anouk Whissell & Yoann-Karl Whissell, 2015) A post-apocalypse quarry-pit action and splatter film out of Montreal (!) that rides around on BMX bikes and even sounds like it’s 30 years too late but is in fact as thematically modern as Ex Machina and twice as much fun as anything you’ve seen this year. Freakin’ fantastique! Deathgasm (Jason Lei Howden, 2015) New Zealand appears to be in the low budget golden age of invention and splatter that was promised by Peter Jackson’s first three films but is only now really exploding. Jason Lei Howden hits you with the death chord and punches you repeatedly in the funny bone in this sublimely ridiculous yarn of teen angst and heavy metal. Bluebeard (Edgar G. Ulmer, 1944) Screened during Fantasia at the launch of the book Recovering 40s Horror Cinema (highly recommended), this serial killer film set in Paris but filmed in a poverty row Californian studio has a busy soundtrack like a completely modern film. It features John Carradine, in what editor of aforementioned tome Mario DeGigglio-Bellemare rightfully describes as his best role ever. Bite (Chad Archibald, 2015) Black Fawn Films is an extremely prolific Canadian production company that just tossed out this minor slime-drenched horror classic in between half a dozen others. Elma Begovic is the incredible melting woman. Gone Lesbo Gone: The Untold Tale Of An Unseen Film! (Jarret Gahan, 2015) Lesbo-A-Go-Go, the film that this film documents, should appear as an extra on the disc release of this first fine feature documentary from filmmaker and complete trash enthusiast Jarret Gahan. Jingi naki tataki (Battles Without Honor And Humanity, Kinji Fukasaku, 1973) Set in Hiroshima immediately post-WWII and screened in a restored 2K version, this is the head-kicking Yakuza epic that wears its influence on every Japanese crime gang film that’s been made since. Absolutely seminal and engrossing. The Dark Below (Douglas Schulze, 2015) Compact and inventive serial killer film set on a frozen lake. Cue “Underneath The Ice” by The Nazz and prepare to dive. Minuscule: La Vallee Des Fourmis Perdues! (Miniscule: Valley of the Lost Ants, Hélène Giraud & Thomas Szabo, 2013) Yes, there is a feature length version of that animated series about insects that used to appear just before the 7:00pm News on the ABC and annoy everyone within earshot of its buzzing soundtrack. Shown in 3D. This is the only life of a bug life you ever need to see. Nina Forever (Chris & Ben Blaine, 2015) Superb, bloody, British meditation on grief, and not the only film from two brothers in this list. Observance (Joseph Sims-Dennett, 2015) Haunting no-budget mystery thriller made in Australia about the investigations of a private eye. Great debut feature is definitely worth observing on the largest screen possible. Remix, Remake, Ripoff: About Copy Culture And Turkish Pop Cinema (Cem Kaya, 2014) At last the mysteries of the Turkish film industry and their cavalier attitudes to copyright conventions are revealed in this eye-opening documentary. Riaru onigokko (Tag, Sion Sono, 2015) This year has been an extremely prolific one for Japanese poet and filmmaker Sion Sono and Tag is perhaps his most crazed film yet. We Are Still Here (Ted Geoghegan, 2015) Haunted house flick with a mature cast and a similarly mature approach to making a horror film, which will ensure that this film and the career of its director will endure. Scare Campaign (Colin & Cameron Cairnes, 2015) The 100 Bloody Acres team return with a much more serious and critical take on the world. Reality TV is the target and the Cairnes brothers hit bulls-eyes at will. Cat Sick Blues (Dave Jackson, 2015) Are you sick of cute cat videos? That simple question might’ve been the stimulus for this no-budget wonder out of Melbourne. An animal is hurt but humanity definitely comes off second best. Vixen Velvet’s Zombie Massacre (Stefan Popescu, 2015) The co-director of SUFF returns with his fellow director Kathryn Berger – who is the producer here – to make their second film on foreign shores in Dawson City (look it up). The porn actress of the title feels one of the many pulls of motherhood and does double filmmaking time to secretly make another film while keeping it together at her day job. Savagely funny. Sizzler ’77 (Timothy Spanos, 2015) Day-glo no-budget homage to Australian TV cop shows of the titular era (Homicide & Division 4) played out in the laneways of Melbourne. The Second Coming Volume 1 (Richard Wolstencroft, 2015) Made over five years and filmed in as many continents, Wolstencroft’s handheld epic bows down to his literate hero, Irish poet Yeats, as various characters push towards the coming apocalypse. The cast features an incredible array of underground luminaries. Freaky and completely unique. Theory of Obscurity: A Film About The Residents (Don Hardy Jr., 2015) Recently, many bands have come out of the woodworks to claim that they are THE band to have invented MTV video-clips. There’s only one band known as The Residents though, and this is the first all-singing, all-dancing documentary to reveal as much as possible about the dancing eyeballs. You’ll come out of this film convinced of many things. We Are Twisted Fucking Sister! (Andrew Horn, 2014) Extraordinary documentary played out against the backdrop of authentic footage from mid-70s pub gigs and full-scale stages across the world. Band politics, development of stage personas and all sorts of hits and misses make this documentary unmissable no matter how you regard their hard rock. The Guest (Adam Wingard, 2014) Identity thriller set in backblock teen environment with great ‘80s soundtrack. Wyrmwood: Road of the Dead (Kiah Roache-Turner, 2014) Original low-budget Australian version of the zombie film made as a weekend-warrior effort over several years. More cohesive than many films made over a consecutive five-week schedule. Completely frantic and funny. Kingsman: The Secret Service (Matthew Vaughn, 2015) In the year of another Bond film, this is the spy film you need if you seek something that is filled with action, humour and real intelligence. Ex Machina (Alex Garland, 2015) Could this happen? Is this happening? Definitely one of the most happening films of 2015. ALAIN HERTAY TEACHES CINEMA STUDIES AT THE HAUTE ÉCOLE DE LA PROVINCE DE LIÉGE, BELGIUM. CONTRIBUTOR TO LA FURIA UMANA, CULTUROPOING AND FLASHBACK MAGAZINE. Mad Men season 7 (Matthew Weiner, 2015) Inside Out (Pete Docter and Ronnie Del Carmen, 2015) While We’re Young (Noah Baumbach, 2014) Trois souvenirs de ma jeunesse (My Golden Days, Arnaud Desplechin, 2015) Gishiki (The Ceremony, Nagisa Oshima, 1971)* Shonen (Boy, Nagisa Oshima, 1969)* Birdman or (The Unexpected Virtue of Ignorance) (Alejandro González Iñárritu, 2014) The Voices (Marjane Satrapi, 2014) Ni le ciel ni la terre (The Wakhan Front, Clément Cogitore, 2015) She’s Funny That Way (Peter Bogdanovich, 2015) *Retrospective screening at Les Grignoux (Belgium) WAI HO FILM CRITIC AND PROGRAMMER, CHINA. Il giovane favoloso (Leopardi, Mario Martone, 2014) Le paradis (Paradise, Alain Cavalier, 2014) Zui, Sheng Meng Si (Thanatos, Drunk, Chang Tso-chi, 2015) Babai (Visar Morina, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) Rodinný film (Family Film, Olmo Omerzu, 2015) Sunset Song (Terence Davies, 2015) La academia de las musas (L’accademia delle muse / Academy of the Muses, José Luis Guerín, 2015) As Mil e uma Noites (Arabian Nights, Miguel Gomes, 2015) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then, Hong Sang-soo, 2015) The other 10 feature films that I liked: El movimiento (Benjamín Naishtat, 2015) Blind Sun (Joyce A. Nashawati, 2015) Paridan az ertefa kam (A Minor Leap Down, Hamed Rajabi, 2015) La obra del siglo (The Project of the Century, Carlos M. Quintela, 2015) Misafir (The Visitor, Mehmet Eryılmaz, 2015) O fim de uma era (The End of an Age, Bruno Safadi and Ricardo Pretti, 2014) Pil leum si dae sa rang (Love and…, Zhang Lü, 2015) Hope (Boris Lojkin, 2014) Dixia Xiang (Underground Fragrance, Pengfei, 2015) Le dos rouge (Portrait of the Artist, Antoine Barraud, 2014) PETER HOURIGAN MELBOURNE TEACHER (RETIRED), FILM LOVER AND OCCASIONAL WRITER. It must have been a good year. I had no trouble in building a solid list of viewing that I feel will stand the challenge of repeated viewings and benefit from them. There are several other films that I could have included, but perhaps because they were first seen in the hothouse atmosphere of Film Festival time, I really want to have a calmer viewing before making a final statement. But it is salutary to note that only three of these films have had a commercial cinema release in Melbourne. Wonderful films are out there – but are they becoming ghetto items for those of us perhaps spending too much of our life on our cinephilia? Titles are listed in the order in which I saw them. As long-form dramas pack more of a punch, two wonderful examples started my year. Going My Home (Hirokazu Koreeda, 2012) The extra time from having ten episodes is wonderfully used, as Koreeda introduces us to a range of interesting people and explores in depth some rich and rewarding ideas and themes. Olive Kitteridge (Lisa Cholodenko, 2014) Here, four episodes is just right to develop and explore this fascinating character of Olive at a difficult time of her life. Frances McDormand’s performance is nothing short of great. Leviafan (Leviathan, Andrey Zvyagintsev, 2014) An intense drama of people, politics and corruption played out against a stunningly filmed bleak landscape in northern Russia that is also a metaphor for the ideas being explored. El Club (The Club, Pablo Larraín 2015) The beautiful light of southern Chile is stunning, but the story of a retired group of disgraced Catholic priests is chilling, because it is so much more than just a remote story from a remote part of the world. Taxi (Jafar Panahi 2015) Again, Panahi seems to discover even more ways to use film, blending fiction, home movie, documentary and more into a form that we probably need a new name for. Insiang (Lino Brocka, 1976) A beautiful new restoration seen in Cinema Ritrovato, Bologna, reveals the intense way Brocka used colour to reinforce this story of lives trapped in the slums of Manilla. Visita ou Memórias e Confissões (Visit or Memories and Confessions, Manoel de Oliveira, 1982/2015) This was not just like a farewell from a friend who’s kept coming into my life for many years, but a thought provoking, profound piece of cinema beautifully and personally made. Rapsodia Satanic (Satanic Rhapsody, Nino Oxilia, 1915) The occasion as much as the film, in its one hundredth year. The wonderful score for this diva melodrama is claimed as the world’s first specially written film score, by Pietro Mascagni. I was at a special presentation of a newly restored copy of the film with the score performed live as part of this year’s Cinema Ritrovato Bologna. The colour brought back the tinting and colour stenciling seen by its first audiences. Une histoire de fou (Don’t Tell Me the Boy Was Mad, Robert Guédiguian, 2015) Guédiguian has always blended politics and the personal. Here, the politics is the too-little acknowledged Armenian genocide, resonating powerfully and with scary contemporary relevance. His empathy is as warm as ever. Mia madre (My Mother, Nanni Moretti, 2015) Moretti’s films usually have a strong autobiographical feel – that’s certainly the case here. If that’s so, he is not trying to publish a self-serving image. Forever (Margarita Manda, 2015) A simple story perhaps, but beautifully told. Exquisite black and white mystified by subtle, almost imperceptible hints of colour. The Lobster (Yorgos Lanthimos, 2015) Lanthimos is making his own genuinely surreal world. Hugely entertaining and thought-provoking. Phoenix (Christian Petzold, 2014) Near perfect, purely cinematic, two wonderful performances, resonant with film culture and deeply understanding of human nature and the need for love, the final moments make one of the best endings I’ve seen. Most certainly, “Speak low.”…and my overall favourite… La Sapienza (Eugene Green, 2015) Green’s love of the Baroque is woven richly through this film of ideas – architecture, society, tourism, relationships (marital, sibling, generational) – and feelings. A joy to watch, ponder and listen to. Phoenix (Christian Petzold, 2014) CERISE HOWARD FILM CRITIC & ARTISTIC DIRECTOR OF THE CZECH AND SLOVAK FILM FESTIVAL OF AUSTRALIA AND A COMMITTEE MEMBER OF BOTH THE MELBOURNE CINÉMATHÈQUE AND TILDE: MELBOURNE’S TRANS & GENDER DIVERSE FILM FESTIVAL. 10 best new films seen somewhere this year to have found their way into general release in Melbourne in 2015, or with a 2016 release imminent The Duke of Burgundy (Peter Strickland, 2014) Peter Strickland can continue to make valentines to favourite minor cinemas of yesteryear all he wants. And should the glorious, supremely sensual Duke of Burgundy turn intrigued folk hungry for more onto Valerie a týden divů (Valerie and Her Week of Wonders, Jaromil Jireš, 1970), Juraj Herz’s Morgiana (1972) and the film works of Alain Robbe-Grillet, Walerian Borowczyk and Radley Metzger, then so much the better! Inside Out (Pete Docter and Ronaldo Del Carmen, 2015) Another brilliant Pixar film to have children marveling while adults bafflingly sob alongside them and likely, what’s more, to prove a wonderful tool for child psychologists the world over for years to come. Mad Max: Fury Road (George Miller, 2015) The Dressmaker (Jocelyn Moorhouse, 2015) A halcyon year, 2015, for the re-emergence of the gallows-humourous Australian Gothic! Phoenix (Christian Petzold, 2014) As superb a holocaust-film-noir-plastic-surgery-disaster recombobulation of Vertigo (Alfred Hitchcock, 1958) as ever there’ll be. The Lobster (Yorgos Lanthimos, 2015) En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, Roy Andersson, 2014) A grimly hilarious deadpan double bill on the criminal futility of existence that’ll take quite some beating. Carol (Todd Haynes, 2015) Leviafan (Leviathan, Andrey Zvyagintsev, 2014) 54: The Director’s Cut (Mark Christopher, 1998/2015) Best new films seen at festivals in 2015 The Forbidden Room (Guy Maddin and Evan Johnson, 2015) Given an unnecessary but altogether welcome boost by Udo Kier’s befuddled presence at its screening in Karlovy Vary, the exhausting, over-stimulating and piecemeally hilarious Forbidden Room is top-shelf Maddin raised to the power of both Bill Morrison and Raúl Ruiz. Eisenstein in Guanajuato (Peter Greenaway, 2015) Elmer Bäck’s brilliant, quicksilver Eisenstein made an indelible impression on me, and Greenaway has lost none of his trademark stylistic brio. A joy far in excess of expectation. Song of the Sea (Tomm Moore, 2014) The most beautiful animated feature film of the year, bar none. Réalité (Reality, Quentin Dupieux, 2014) Le tout nouveau testament (Brand New Testament, Jaco Van Dormael, 2015) Mustang (Deniz Gamze Ergüven, 2015) Belye nochi pochtalona Alekseya Tryapitsyna (The Postman’s White Nights, Andrei Konchalovsky, 2014) Greatest film-going senses of occasion Notably, the following are all silent films which were screened with some exceptional element of live accompaniment. Foremost: catching Dziga Vertov’s Chelovek s kinoapparatom (Man with a Movie Camera, 1929) with a live score, composed and performed by the Michael Nyman Band, on the Odessa steps during the 6th Odessa International Film Festival, and not least because Nyman and co. rapturously chased it down with a surprise encore scoring of the Odessa steps sequence of Bronenosets Potyomkin (Battleship Potemkin, Sergei Eisenstein, 1925). Runner-up: Thierry Frémaux, at that same festival, providing live commentary with often exquisite comic timing to 99 (count ’em!) beautifully restored films by the Lumière brothers. 2nd runner-up: Die weiße Hölle vom Piz Palü (The White Hell of Pitz Palu, Arnold Fanck, G.W. Pabst, 1929). A stunning 35mm print with a live piano score from the unflagging Eunice Martins in the intimate surrounds of Berlin’s Arsenal cinema. Bliss. 3rd runner-up: Carnival of Souls (Herk Harvey, 1962), presented with live narration, original music and foley courtesy of New Zealand’s Live Live Cinema at the Melbourne Recital Centre. So much fun. Greatest retrospectives Courtesy of the Melbourne Cinémathèque: And the People Still Ask: The Calligraphic Cinema of Miklós Jancsó; Existential Histories: The Films of Jerzy Kawalerowicz; Modern Love: Passion, Longing and the Films of Michelangelo Antonioni and Bill Morrison: Archaeologies. Staré pověsti české (Old Czech Legends, Jiří Trnka, 1953) at the world premiere of its digital restoration at the Finále Plzeň in Trnka’s hometown. Odessa in fiamme (Odessa in Flames, Carmine Gallone, 1942) – a proto-neorealist marvel of extraordinary urgency. Love Actually: A Century of British Romance at the BBC First British Film Festival in Melbourne, especially for including a beautiful digital restoration of Women in Love (Ken Russell, 1969) and Stanley Donen’s Two for the Road (1967), amidst a laudably queer selection overall. Bowie on Film at the Australian Centre for the Moving Image. On DVD Jigoku de naze warui (Why Don’t You Play in Hell?, Sion Sono, 2013) The Defiant Ones (Stanley Kramer, 1958) Perličky na dně (Pearls of the Deep, Jiří Menzel, Jan Němec, Evald Schorm, Věra Chytilová & Jaromil Jireš, 1965) Smrt si říká Engelchen (Death is Called Engelchen, Ján Kadár & Elmar Klos, 1963) To finish, a little blowing of one’s own programming trumpet… I was extremely proud to oversee the screening of each of the following at the 3rd Czech and Slovak Film Festival of Australia in Melbourne this year. In most instances, I’d seen these films for the first time in 2015 myself. Stavitel chrámu (The Cathedral Builder, Karel Degl & Antonín Novotný, 1919) A fabulous, exceedingly rare silent Czech horror film steeped in Prague lore, from but one year on from Czechoslovakia’s foundation, given live accompaniment on the Melbourne Town Hall’s Grand Organ by brilliant Czech organist Pavel Kohout with live narration from Pete Reid and foley from enterprising young sound artists Tonja Mlinar Min, Corey Murdoch and Dave Temme. Baron Prášil (The Outrageous Baron Munchausen, Karel Zeman, 1961) It was a great joy to bring several Karel Zeman films to Melbourne this year, but viewing Munchausen on the big screen highlighted its standout brilliance. Až přijde kocour (When the Cat Comes, Vojtěch Jasný, 1963) Amongst the most inventive, magical – and downright subversive – family-friendly films made under a communist regime, it’s extraordinary that the beautiful When the Cat Comes isn’t much more widely known and shown. Obrazy starého sveta (Pictures of the Old World, Dušan Hanák, 1972) Tajemství hradu v Karpatech (The Mysterious Castle in the Carpathians, Oldřich Lipský, 1981) Magický hlas rebelky (The Magic Voice of a Rebel, Olga Sommerová, 2014) BRIAN HU ARTISTIC DIRECTOR OF THE SAN DIEGO ASIAN FILM FESTIVAL Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) Inside Out (Pete Doctor and Ronnie del Carmen, 2015) Gao bie (A Simple Goodbye, Degena Yun, 2015) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then, Hong Sang-soo, 2015) Lu bian ye can (Kaili Blues, Bi Gan, 2015) Tharlo (Pema Tseden, 2015) Byuti insaideu (The Beauty Inside, Baek Jong-Yeol, 2015) Magic Mike XXL (Gregory Jacobs, 2015) Shan he gu ren (Mountains May Depart, Jia Zhang-ke, 2015) Taxi (Jafar Panahi, 2015) Carol (Todd Haynes, 2015) Kimi wa iiko (Being Good, Mipo O, 2015) Bai ri gao bie (Zinnia Flower, Tom Shu-yu Lin, 2015) El Movimiento (Benjamín Naishtat, 2015) In Jackson Heights (Frederick Wiseman, 2015) Rabu&Pisu (Love & Peace, Sion Sono, 2015) The Grief of Others (Patrick Wang, 2015) Heart of a Dog (Laurie Anderson, 2015) Spy (Paul Feig, 2015) FELIX HUBBLE SUB-EDITOR AT 4:3. Top 10 Australian Theatrical Releases Foxcatcher (Bennett Miller, 2014) The Diary of a Teenage Girl (Marielle Heller, 2015) Inside Out (Pete Docter and Ronnie Del Carmen, 2015) It Follows (David Robert Mitchell, 2014) Unfriended (Leo Gabriadze, 2014) The SpongeBob Movie: Sponge Out Of Water (Paul Tibbitt & Mike Mitchell, 2015) Citizenfour (Laura Poitras, 2014) Crimson Peak (Guillermo del Toro, 2015) Inherent Vice (Paul Thomas Anderson, 2014) Tangerine (Sean S. Baker, 2015) Top 10 Festival Films (without any other Australian release) The Strange Color of Your Body’s Tears (Bruno Forzani & Hélène Cattet, 2014) The Face of Ukraine: Casting Oksana Baiul (Kitty Green, 2014) Thank You For Playing (Malika Zouhali-Worrall & David Osit, 2015) Dude Bro Party Massacre III (Tomm Jacobsen & Michael Rousselet & Jon Salmon, 2015) Approaching the Elephant (Amanda Wilder, 2014) Welcome to Leith (Michael Beach Nichols & Christopher K. Walker, 2015) They Look Like People (Perry Blackshear, 2015) The Invitation (Karyn Kusama, 2015) Desert Migration (Daniel Cardone, 2015) Episode of the Sea (Siebren de Haan & Lonnie van Brummelen, 2014) 5 flicks I really enjoyed aspects of that aren’t strictly “list” material with brief explanations (in alphabetical order) Big Eyes (Tim Burton, 2014) – the insanely tight pacing. By The Sea (Angelina Jolie-Pitt, 2015) – the weirdness Jolie-Pitt injects into the “relationship in peril” trope. Creep (Patrick Brice, 2014) – the fact that Brice and Duplass managed to effectively improvise an entire film around their fundamentally dumb conceit. Paranormal Activity: The Ghost Dimension (Gregory Plotkin, 2015) – the creative use of the 3D gimmick that moves beyond the filmmaking process, spilling over into the film’s plot. Pixels (Chris Columbus, 2015) – the praise of the working class and focus on reinforcing self-esteem within a portion of society that often sidelines discussions surrounding mental health. CHRISTOPH HUBER CURATOR AT THE AUSTRIAN FILMMUSEUM. 2015 in the mirror 20 towering thoughts San Taam Ka To (An Inspector Calls, Raymond Wong Bak-Ming, Herman Yau, 2015) Torneranno i prati (Greenery Will Bloom Again, Ermanno Olmi, 2014) Saat po long 2 (SPL 2: A Time for Consequences, Cheang Soi, 2015) The Thoughts That Once We Had (Thom Andersen, 2015) Nie yin niang (The Assassin, Hou Hsiao-Hsien, 2015) Wake (Subic) (John Gianvito, 2015) Mad Max: Fury Road (George Miller, 2015) Lampedusa (Peter Schreiner, 2015) Mr. Holmes (Bill Condon, 2015) Zhì qu weihu shan (The Taking of Tiger Mountain, Tsui Hark, 2014) Chor gei (Sara, Herman Yau, 2015) Wild Card (Simon West, 2015) Destinacij Serbistan (Logbook_Serbistan, Želimir Žilnik, 2015) Bahubali: The Beginning (S.S. Rajamouli, 2015) Mga Anak ng Unos, Unang Aklat (Storm Children, Book One, Lav Diaz, 2015) The Man with the Iron Fists 2 (Roel Reiné, 2015) Was heißt hier Ende? Der Filmkritiker Michael Althen (Dominik Graf, 2015) Die Frau mit einem Schuh (Michael Glawogger, 2014) Nobi (Fires On the Plain, Tsukamoto Shinya, 2014) The Lobster (Yorgos Lanthimos, 2015) 5 scintillating shorts Final Girl [Episode from German Angst] (Jörg Buttgereit, 2015) The Exquisite Corpus (Peter Tscherkassky, 2015) L’Aquarium et la Nation (Jean-Marie Straub, 2015) Juke – Passages from the films of Spencer Williams (Thom Andersen, 2015) Ash vs Evil Dead 1.1 El Jefe (Sam Raimi, 2015) The treasure trove 7 welcome wells that keep on giving A Miniature: The Story of ‘The Jonker Diamond’ (Jacques Tourneur, 1936) & The Ship That Died (Jacques Tourneur, 1938) & The Man in the Barn (Jacques Tourneur, 1937) & What Do You Think? Tupapaoo (Jacques Tourneur, 1938) & The Incredible Stranger (Jacques Tourneur, 1942) & The Magic Alphabet (Jacques Tourneur, 1942) & Circle of Danger (Jacques Tourneur, 1951) Great Day in the Morning (Jacques Tourneur, 1956) Mussolinia di Sardegna (Raffaello Matarazzo, 1933) & Littoria (Raffaello Matarazzo, 1933) & Treno popolare (Raffaello Matarazzo, 1933) Never Fear (Ida Lupino, 1949) & Outrage (Ida Lupino, 1950) & Screen Directors Playhouse 1.16 No. 5 Checked Out (Ida Lupino, 1956) & Thriller 1.25 Trio for Terror (Ida Lupino, 1961) & Thriller 2.2 Guillotine (Ida Lupino, 1961) & The Twilight Zone 5.25 The Masks (Ida Lupino, 1964) & The Trouble with Angels (Ida Lupino, 1966) Percy et l’Espion (?, 1947?) & Des Accidents à Bord: Pourquoi? (Alfred Bier, 1971) & Le Défilé du 14 Juillet 1977 (Raoul Coutard, 1977) & Mélodie Conseil (Françis Pernet, 1978) & Publisanté (Bruno Gaumetou, 1986) Johnny Staccato 1.7 Evil (John Cassavetes, 1959) & Johnny Staccato 1.9 Fly Baby, Fly (Robert B. Sinclair, 1959) & Johnny Staccato 1.16 Collector’s Item (John Brahm, 1959) & Johnny Staccato 1.19 Night of Jeopardy (John Cassavetes, 1960) & Johnny Staccato 1.22 Solomon (John Cassavetes, 1960) & Johnny Staccato 1.23 An Act of Terror (John Brahm, 1960) & Johnny Staccato 1.26 A Nice Little Town (Paul Henreid, 1960) Hortobágy (Life on the Hortobagy, George Hoellering, 1936) & Message from Canterbury (George Hoellering, 1944) & Tyre Economy (George Hoellering, 1944) Ceux de chez nous (Those of Our Land, Sacha Guitry, 1915) & Le mot de Cambronne (Cambronne’s Word, Sacha Guitry, 1937) & De Jeanne d’Arc à Philippe Pétain (From Jeanne d’Arc to Philippe Pétain, Sacha Guitry, 1944) & Ceux de chez nous (Those of Our Land, Sacha Guitry, Frédéric Rossif, 1915/52) 22 durable doubles Une journée bien remplie ou Neuf meurtres insolites dans une même journée par un seul homme dont ce n’est pas le métier (A Full Day’s Work, Jean-Louis Trintignant, 1973) & Le maître-nageur (The Lifeguard, Jean-Louis Trintignant, 1979) Bricha El Hashemesh (Escape to the Sun, Menahem Golan, 1972) & Den første kreds / The First Circle (Aleksander Ford, 1973) The Next Voice You Hear… (William A. Wellman, 1950) & My Son John (Leo McCarey, 1952) Transport z ráje (Transport from Paradise, Zbyněk Brynych, 1963) & Ein Tag. Bericht aus einem deutschen Konzentrationslager 1939 (One Day: A Report from a German Concentration Camp 1939, Egon Monk, 1965) Jancsó sukulaisten luona (Jancsó Among Relatives, Jancsó Miklós, 1984) & Navigare necesse est (And Filming Too) [Episode from Magyarország 2011] (Jancsó Miklós, 2011) Eva la grande suceuse (José Bénazéraf, 1983) & Hetaste liggen (Call Girl, Andrew Whyte[=Andrei Feher], 1983) Apaches (John MacKenzie, 1977) & Say No to Strangers (John Mackenzie, 1981) O Pintor e a Cidade (The Artist and the City, Manoel de Oliveira, 1956) & A Caça (The Hunt, Manoel de Oliveira, 1964) Messe noire (?, 1928) & Serial Killer (?, 1978) To the Public Danger (Terence Fisher, 1948) & Last Holiday (Henry Cass, 1950) [Liberation of Dachau] [May 2-7, 1945] (George C. Stevens, 1945) + V-E+1 [May 9, 1945 Samuel Fuller WWII Footage] (Samuel Fuller, 1945) Crime Does Not Pay No. 34: Forbidden Passage (Fred Zinneman, 1941) & Panique (Panic, Julien Duvivier, 1946) Der Arzt von St. Pauli (Bedroom Stewardesses, Rolf Olsen, 1968) & Die Engel von St. Pauli (Angels of the Street, Jürgen Roland, 1969) Arsène Lupin (Michel Jean[=Michel Caputo], 1977) & Le dossier 51 (Dossier 51, Michel Deville, 1978) Les maîtres du temps (Time Masters, René Laloux, 1982) & Comment Wang-Fo fut sauvé (How Wang-Fo Was Saved, René Laloux, 1987) The Terror of Tiny Town (Sam Newfield, 1938) & Gang bang de nains (Somewhere Over the Rainbow 1, Tom Andreas, 1996) Narcotics: Pit of Despair (Mel Marshall, 1967) & Case Study Barbiturates (Lockheed Aircraft Corporation, 1969) Ad-Dajāj (The Chickens, Omar Amiralay, 1977) & ‘An Thawra (About a Revolution, Omar Amiralay, 1978) Ostatni Etap (The Last Stage, Wanda Jakubowska, 1948) & Byl mesjac maj (It Was In May, Marlen Chuciev, 1970) Dernier atout (Jacques Becker, 1941) & Entre onze heures et minuit (Between Eleven and Midnight, Henri Decoin, 1949) The Breaking Point (Michael Curtiz, 1950) & Islands in the Stream (Franklin J. Schaffner, 1977) La course du lièvre à travers les champs (And Hope to Die, René Clément, 1972) & Un homme est mort (The Outside Man, Jacques Deray, 1972) 44 stupendous singles Ósmy dzien tygodnia / Der achte Wochentag (The Eighth Day of the Week, Aleksander Ford, 1958) Kreivi (The Count, Peter Von Bagh, 1971) Grossmejster (Sergej Mikaėljan, 1973) The Island (Michael Ritchie, 1980) Kujira (Whale, Ofuji Noburo, 1952) Châtiment [French version of The Despoiler], Reginald Barker, 1915/7) Kinodokumenty o zverstvach nemecko-fašistskich zachvatčikov (Atrocities by the German Fascist Aggressors, Vladimir Bol’šincov, 1945/6) Fortress (Arch Nicholson, 1985) Le notti dei Teddy Boys (Leopoldo Savona, 1959) Penn & Teller Get Killed (Arthur Penn, 1989) Vozvraščenie Vasilija Bortnikova (The Return of Vasili Bortnikov, Vsevolod Pudovkin, 1953) Les Animaux Pendant la Guerre (DP: Robert Baudouin, Charles Blanc, 1913) Ambush at Tomahawk Gap (Fred F. Sears, 1953) Konjiki Yasha (The Golden Demon, Shima Koji, 1954) Falbalas (Jacques Becker, 1945) Stürme der Leidenschaft (Storms of Passion, Robert Siodmak, 1932) Zvanyj užin (Dinner Party, Fridrich Ėrmler, 1953) Al Capone (Richard Wilson, 1959) Le témoin (The Witness, Jean-Pierre Mocky, 1978) Chad Hanna (Henry King, 1940) Gli uomini, che mascalzoni… (What Scoundrels Men Are!, Mario Camerini, 1932) Tobacco Industry Promotional Film (?, ca. 1950) The Day of the Dolphin (Mike Nichols, 1973) The Vampire’s Ghost (Lesley Selander, 1945) Bora Bora (Ugo Liberatore, 1968) Robinson und seine wilden Sklavinnen (Robinson and His Tempestuous Slaves, Frank Hollman [=Jess Franco], 1972) Pete Kelly’s Blues (Jack Webb, 1955) Baukunst und Film. Etwas über die Geschichte des Gebrauchs von Bildern (Helmut Färber, 1976) The Return of Captain Invincible (Philippe Mora, 1983) More studenoe (The Cold, Cold Sea, Jurij Egorov, 1984) Conduct Unbecoming (Michael Anderson, 1975) In the Beginning (Ola Balogun, 1972) Le petit bonhomme vert (The Little Green Man, Ronald Lethem, 2013) San Mao liu lang ji (The Winter of Three Hairs, Gong Yan, Ming Zhao, 1949) Wisdom Teeth (Don Hertzfeldt, 2010) The Man from Hong Kong (Brian Trenchard-Smith, 1975) Un mondo nuovo (A New World, Vittorio De Sica, 1966) En kluven värld (A Divided World, Arne Sucksdorff, 1948) La Chasse aux Sous-Marins (?, 1916) Das Nachtlokal zum Silbermond (5 Sinners, Wolfgang Glück, 1959) Ah vous faites aussi du cinéma…? (Marc Flement, 1976) Sampo (Aleksandr Ptuško, 1958) Downstairs (Monta Bell, 1932) Good-bye, My Lady (William A. Wellman, 1956) DARREN HUGHES FREELANCE CRITIC AND CO-FOUNDER/CO-PROGRAMMER OF THE PUBLIC CINEMA IN KNOXVILLE, TENNESSEE. Favourite New Films Released in America Cavalo Dinheiro (Horse Money, Pedro Costa, 2014) Phoenix (Christian Petzold, 2014) The Mend (John Magary, 2014) Timbuktu (Abderrahmane Sissako, 2014) Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) P’tit Quinquin (Li’l Quiniquin, Bruno Dumont, 2014) Amour Fou (Mad Love, Jessica Hausner, 2014) Die geliebten Schwestern (Beloved Sisters, Dominik Graf, 2014) Tu dors Nicole (Stéphane Lafleur, 2014) Hua li shang ban zu (Office, Johnnie To, 2015) Favourite New Films Yet to be Released in America No Home Movie (Chantal Akerman, 2015) L’Ombre des femmes (In the Shadow of Women, Philippe Garrel, 2015) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then, Hong Sang-soo, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apitchatpong Weerasethakul, 2015) The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (Ben Rivers, 2015) Santa Teresa y Otras Historias (Santa Teresa and Other Stories, Nelson Carlo de los Santos Arias, 2015) Mars Garden (Lewis Klahr, 2015) La academia de las musas (L’accademia delle muse / Academy of the Muses, José Luis Guerín, 2015) Faux départ (False Start, Yto Barrada, 2015) Campo Grande (Sandra Kogut, 2015) ZACHARY INGLE RECENTLY RECEIVED HIS PHD IN FILM AND MEDIA STUDIES AT THE UNIVERSITY OF KANSAS. Inside Out (Pete Docter and Ronnie Del Carmen, 2015) Mad Max: Fury Road (George Miller, 2015) Crimson Peak (Guillermo del Toro, 2015) Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, 2015) Chi-Raq (Spike Lee, 2015) Shaun the Sheep Movie (Mark Burton & Richard Starzak, 2015) Where to Invade Next (Michael Moore, 2015) Ich seh, ich seh (Goodnight Mommy, Severin Fiala and Veronika Franz, 2014) Room (Lenny Abrahamson, 2015) 99 Homes (Rahman Bahrani, 2014) The Martian (Ridley Scott, 2015) Mad Max: Fury Road (George Miller, 2015) DARIK JANIK FILMMAKER, MELBOURNE, AUSTRALIA. Entertainment (Rick Alverson, 2015) Meurtrière (Philippe Grandrieux, 2015) El Club (The Club, Pablo Larraín, 2015) Mad Max: Fury Road (George Miller, 2015) Knight of Cups (Terrence Malick, 2015) Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) As Mil e Uma Noites (Arabian Nights, Miguel Gomes, 2015) Chevalier (Athina Rachel Tsangari, 2015) 11 Minut (Jerzy Skolimowski, 2015) American Ultra (Nima Nourizadeh, 2015) El botón de nácar (The Pearl Button, Patricio Guzmán, 2015) Blackhat (Michael Mann, 2015) Un etaj mai jos (One Floor Below, Radu Muntean, 2015) Hana to Arisu satsujin jiken (The Case of Hana & Alice, Shunji Iwai, 2015) Aloha (Cameron Crowe, 2015) Comoara (The Treasure, Corneliu Porumbiou, 2015) Malgré la nuit (Philippe Grandrieux, 2015) We Are Your Friends (Max Joseph, 2015) Freie Zeiten (After Work, Janina Herhoffer, 2015) Aferim! (Radu Jude, 2015) Inside Out (Pete Docter and Ronnie Del Carmen, 2015) Bitter Lake (Adam Curtis, 2015) Counting (Jem Cohen, 2015) Balikbayan #1 Memories of Overdevelopment Redux III (Kidlat Tahimik, 2015) Queen of Earth (Alex Ross Perry, 2015) Queen of the Desert (Werner Herzog, 2015) Taxi (Jafar Panahi, 2015) Short Films Freud und Friends (Gabriel Abrantes, 2015) La Isla está Encantada con Ustedes (Alexander Carver & Daniel Schmidt, 2015) The Exquisite Corpus (Peter Tscherkassky, 2015) Into the Great White Open (Michaela Grill, 2015) The (Dieter Kovacic & Billy Roisz, 2015) I didn’t get the chance to see the new films by José Luis Guerín (La academia de las musas), Andrzej Żuławski (Cosmos), Todd Haynes (Carol), Aleksandr Mindadze (Milyy Khans, dorogoy Pyotr) or Hong Sang-Soo (Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da) but they fare well considering my enthusiasm for their previous films. Favourite retrospective discoveries were Septyni nematode zmones (Seven Invisible Men, 2005, Šarūnas Bartas) and Les doigts dans la tête (Touched in the Head, Jacques Doillon, 1974), both at New Horizons Wroclaw, and Paul Sharits’ 3D Movie (1975) at Toronto IFF. TARA JUDAH CRITIC, PROGRAMMER AND BROADCASTER, AUSTRALIA AND ENGLAND. UK Theatrical Release Carol (Todd Haynes, 2015) Sunset Song (Terence Davies, 2015) The President (Mohsen Makhmalbaf, 2014) The Lobster (Yorgos Lanthimos, 2015) The Tribe (Miroslav Slaboshpitsky, 2015) The Duke of Burgundy (Peter Strickland, 2014) The Falling (Carol Morley, 2014) Catch Me Daddy (Daniel Wolfe, 2014) Taxi (Jafar Panahi 2015) Bande de filles (Girlhood, Céline Sciamma, 2014) International Film Festival Premieres / Special Screenings Videofilia (y otros síndromes virales) (Videophila (and other Viral Syndromes), Juan Daniel Molero, 2015) Evolution (Lucile Hadzihalilovic, 2015) Dheepan (Jacques Audiard, 2015) Thou Wast Mild and Lovely (Josephine Decker, 2014), ICO touring program at Watershed, Bristol, UK. Five Year Diary – Selections(Anne Charlotte Robertson, 1980s-2000s), LUX presentation at BEEF, Bristol, UK. Docteur Jekyll et les femmes (The Strange Case of Dr Jekyll and Miss Osbourne, Walerian Borowczyk, 1981), restored and remastered, presented by Adrian Martin and Cristina Alvarez Lopez in the Critics’ Choice program at IFFR, Netherlands. El Club (The Club, Pablo Larraín 2015) Our Little Sister (Hirokazu Koreeda, 2015) Branco sai, preto fica(White Out, Black In, Adirley Queirós, 2015), presented by Roger Alan Koza in the Critics’ Choice program at IFFR, Netherlands. Casablanca (Michael Curtiz, 1942), screened inside a turret at Walton Castle, Clevedon, UK. Sunset Song (Terence Davies, 2015) DOMINIK KAMALZADEH FILM CRITIC AND JOURNALIST, VIENNA. Long Comoara (The Treasure, Corneliu Porumboiu, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) L’Ombre des femmes (In the Shadow of Women, Philippe Garrel, 2015) As Mil e Uma Noites (Arabian Nights, Miguel Gomes, 2015) Über die Jahre (Over the Years, Nikolaus Geyrhalter, 2015) The Lobster (Yorgos Lanthimos, 2015) Valley of Love (Guillaume Nicloux, 2015) Bella e perduta (Lost and Beautiful, Pietro Marcello, 2015) Boi Neon (Neon Bull, Gabriel Mascaro, 2015) Chevalier (Athina Rachel Tsangari, 2015) Solo Visita ou Memórias e Confissões (Visit or Memories and Confessions, Manoel de Oliveira, 1982/2015) Short/medium Dear John (Hans Scheugl, 2015) Actua 1 (Philippe Garrel, 1968) The Exquisite Corpus (Peter Tscherkassky, 2015) NoNoseKnows (Mika Rottenberg, 2015) Orchard Street (Ken Jacobs, 1955/2014) A Distant Episode (Ben Rivers, 2015) Noite Sem Distância (Night Without Distance, Lois Patiño, 2015) NOW (Chantal Akerman, 2015) Blokada (Blockade, Sergei Loznitsa, 2005) Take What You Can Carry (Matthew Porterfield, 2015) DANIEL KASMAN NEW YORK. DIRECTOR OF CONTENT, MUBI. Old Liliom (Frank Borzage, 1934) Edward Owens at Light Industry Glorious Technicolor at the Berlinale and Museum of Modern Art Sayon no kane (Sayon’s Bell, Hiroshi Shimizu, 1943) Nitrate Picture Show at the George Eastman House Paul Sharits at Greene Naftali, Anthology Film Archives, TIFF Wavelengths Actua 1 (Philippe Garrel, 1968) Marlin Khutsiev at the Locarno Film Festival Soft Fiction (Chick Strand, 1979) Chantal Akerman at Ambika P3 Seijun Suzuki at the Film Society of Lincoln Center Douglas Sirk in New York (Anthology Film Archives, Film Society of Lincoln Center) New La academia de las musas (L’accademia delle muse / Academy of the Muses, José Luis Guerín, 2015) Balikbayan #1 Memories of Overdevelopment Redux III (Kidlat Tahimik, 2015) Blackhat (Michael Mann, 2015) La calle de la amargura (Bleak Street, Arturo Ripstein, 2015) Comoara (The Treasure, Corneliu Porumboiu, 2015) Cosmos (Andrzej Żuławski, 20s15) Engram of Returning (Daïchi Saïto, 2015) Field Niggas (Khalik Allah, 2014) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then, Hong Sang-soo, 2015) Happî awâ (Happy Hour, Ryûsuke Hamaguchi, 2015) Hua li shang ban zu (Office, Johnnie To, 2015) In Jackson Heights (Frederick Wiseman, 2015) Kishibe no Tabi (Journey to the Shore, Kiyoshi Kurosawa, 2015) Mad Max: Fury Road (George Miller, 2015) Navigator (Björn Kämmerer, 2015) Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) NOW (Chantal Akerman, 2015) Palms (Mary Helena Clark, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) The Reminder (Behrouz Rae, 2015) Rose (Shiloh Cinquemani, 2013) Saat po long 2 (SPL 2 A Time for Consequences, Soi Cheang, 2015) Shi ren chu chai le (Poet on a Business Trip, Ju Anqi, 2015) Sobytie (The Event, Sergei Loznitsa, 2015) Something Horizontal (Blake Williams, 2015) Thithi (Raam Reddy, 2015) Vindmøller (Margaret Rorison, 2014) Visita ou Memórias e Confissões (Visit or Memories and Confessions, Manoel de Oliveira, 1982/2015) Zhì qu weihu shan (The Taking of Tiger Mountain, Tsui Hark, 2014) Blackhat (Michael Mann, 2015) CHRISTOPHER KEARNEY INDEPENDENT SCREENWRITER WHO ALSO TEACHES TV PRODUCTION AND ENGLISH AT GEORGE M. STEINBRENNER HIGH SCHOOL IN LUTZ, FLORIDA. Top Ten Films of 2015 Clouds of Sils Maria (Olivier Assayas, 2014) Spotlight (Tom McCarthy, 2015) Bridge of Spies (Steven Spielberg, 2015) Shaun the Sheep Movie (Mark Burton, Richard Starzak, 2015) Straight Outta Compton (F. Gary Gray, 2015) Far from the Madding Crowd (Thomas Vinterberg, 2015) Sicario (Denis Villenueve, 2015) Steve Jobs (Danny Boyle, 2015) Phoenix (Christian Petzold, 2014) Mad Max: Fury Road (George Miller, 2015) Honorable Mentions 99 Homes (Ramin Bahrani, 2014) Diary of a Teenage Girl (Marielle Heller, 2015), End of the Tour (James Ponsoldt, 2015) Ex Machina (Alex Garland, 2015), The Gift (Joel Edgerton, 2015) Güeros (Alonso Ruizpalacios, 2014) Ich seh, ich seh (Goodnight Mommy, Severin Fiala, Veronika Franz, 2014) Inside Out (Pete Docter and Ronnie Del Carmen, 2015) It Follows (David Robert Mitchell, 2014) Love & Mercy (Bill Pohlad, 2014) What We Do in the Shadows (Jemaine Clement, Taika Waititi, 2014) EHSAN KHOSHBAKHT FILM CRITIC, CURATOR OF JAZZ FILMS AND IRANIAN CINEMA FOR IL CINEMA RITROVATO. Trumbo (Jay Roach, 2015) Francofonia (Alexander Sokurov, 2015) Saul fia (Son of Saul, László Nemes, 2015) Under sandet (Land of Mine, Martin Zandvliet, 2015) El botón de nácar (The Pearl Button, Patricio Guzmán, 2015) Chevalier (Athina Rachel Tsangari, 2015) Sosialismi (Socialism, Peter von Bagh, 2014) Taxi (Jafar Panahi, 2015) Jag stannar tiden (I Stop Time, Gunilla Bresky, 2014) Fúsi (Virgin Mountain, Dagur Kári, 2015) Best home video discoveries Chicago Calling (John Reinhardt, 1951) Transport z ráje (Transport from Paradise, Zbyněk Brynych, 1963) Si j’avais quatre dromadaires (If I Had Four Dromedaries, Chris Marker, 1966) Favourite restorations La fin du jour (Julien Duvivier, 1939) The Night It Rained (Kamran Shirdel, 1967) The best film season/retrospectives of the year Martin Scorsese Presents Masterpieces of Polish Cinema, Edinburgh, Scotland, UK La bella gioventù: Renato Castellani, Bologna, Italy SIMON KILLEN MANAGING DIRECTOR, HI GLOSS ENTERTAINMENT, MELBOURNE. Tangerine (Sean Baker, 2015) Every now and then, I want a film to leave me slack-jawed with audacity and fearlessness. This film premiered at Sundance as a cause celebre as it was a film about transgender people, and was shot on a pair of smart-phones in one neighbourhood. This is all true, but it’s so much more – it’s a smartly written and directed narrative that’s acted out with irritability and passion in equal doses. If the nouvelle vague landed in Los Angeles in 2014, it might look just like this. Thrilling cinema. Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) The martial arts film that really isn’t at all. The inversion of expectations and traditions of a genre comes up aces here – but you really need to know what you’re sitting down for here. Quietly, gracefully, a complicated narrative unfurls involving 9th century China, and destiny for a young trained assassin. Whispers of silk announce lightning fast movement a time or two, but those movements are rare. Mad Max: Fury Road (George Miller, 2015) Massive Hollywood noise generator made with lots of local talent and a narrative core that nearly emasculates Max himself. Not what I had expected at all, but not a problem. The designs are 100% in keeping with the spirit of the original, the tips of the hat to Circus Oz with suspended guitarists and bendy platforms enabling insane road chase sequences are great, the realisation that after 2 hours of fun without relent you’d simply taken the car out of the garage, driven a few miles, and come back to where you’d started. Thoroughly Modern Max. Inside Out (Pete Docter and Ronnie Del Carmen, 2015) After all these years, a Pixar film that quite a few little kids don’t get. I watched it, with a group of family kids, and we all laughed our heads off, and talked about it the rest of the day – at least the older ones did. There are places this film goes that no Pixar film has gone before – deep into the psyche. It’s no less funny, or enjoyable than any other – but there’s this nagging sense of the real being just around the corner. The characterisations of the range of emotions are all brilliant, Amy Poehler’s “Joy” especially. The whole film takes place more or less in her head! Zvizdan (The High Sun, Dalibor Matanic, 2015) How can hate drive something so passionate and beautiful? Carol (Todd Haynes, 2015) Does this film succeed completely? Arguably not. But does it come close? It surely does. Todd Haynes and his designers just relish a task as tough as bringing the light and motion of mid-‘50s big and small town America to the screen. Amy (Asif Kapadia, 2015) Kapadia’s previously shown himself to be a master at recreating a person from existing materials – Senna is a brilliant documentary, and Amy follows hand in glove in what becomes like a forensic reconstruction that precedes tragedy. The brilliance of Amy is Kapadia’s ability to hold up the various experiences that Winehouse went through in a nearly non-judgmental fashion, but also to pull the viewer into the frame as a contributor, in even the tiniest way, to the darker side of celebrity. The feeling after enjoying the wonder of her talent is the excoriating sense of sadness at the paths she chose late in life. Tanna (Martin Butler & Bentley Dean, 2015) Complete immersion for the viewer. Only possible after complete immersion by the directors who spent six months living with a tribe near the volcano in Vanuatu. Their experience enables them to tell a fairly simple tale of love through local mythologies and taboos in a quite unique and un-patronising tone. A cast of entirely local people are clearly very much at home with the filmmaking process, and most had never even seen a film before. The cinematography was awarded at the Venice Film Festival as well it might – I saw little as beautiful this year. Refreshing filmmaking. The Look of Silence (Joshua Oppenheimer, 2015) Oppenheimer visited the smiling faces of murderers first in The Act Of Killing, and somehow has the guts to visit Indonesia again, and go through a similar process of exposition of naked evil. And it’s done through the agency of an eye doctor visiting aging visitors. The form of the film is incredible, and the style is graceful, observant, and lacks for judgement in favour of an attempted understanding. Ultimately, that’s simply not possible, but the portraits drawn by Oppenheimer and the guileless star of the film we only know as “anonymous” is breathtaking. The Ground We Won (Christopher Pryor, 2015) An art film about rugby union played by farmers in the middle of the North Island of New Zealand is as unlikely a prospect for a Top Ten favourites of any year, but this film resonates in the most wonderful fashion. I’ve seen it three times over the year, and it’s never less than compelling. Shot in black and white, the film is entirely observational, no re-takes, it simply observes with an exquisite eye, a season of local football, and the characters that bond together through it. As naked, honest, and unforgettable as a documentary can be. See it any way you can. In the wonderful world of repertory…. Da hong deng long gao gao gua (Raise the Red Lantern, Zhang Yimou, 1991) Quand tu liras cette lettre (When You Read This Letter, Jean-Pierre Melville, 1953) Walkabout (Nicolas Roeg, 1971) Onna ga kaidan o noboru toki (When a Woman Ascends the Stairs, Mikio Naruse, 1960) Rio Bravo (Howard Hawks, 1959) Digital versus 35mm Just when I think I’m converted, I’m not. I have however decided definitely that there is no definitive answer on the relative values of digital versus 35mm projection. Cases in point: The Godfather 4K restoration at Astor Cinema this year was a revelation – in the audio. I could hear every word muttered by Marlon Brando, so take a bow technology! But the image? Very meh indeed, in the dark reds and blacks, which is to say, most of the heart of the film, there was a vagueness. And I heard word that the Academy 35mm print that screened at ACMI was painterly perfection in the very same places. Second case, and it’s the Academy print and ACMI in play again: Raise the Red Lantern by Zhang Yimou. The print that screened was absolutely luminous in colour and audio – so much so that my memory was physically overloading as it re-connected with the elements of the film on the screen. You simply won’t get this at home, or in any digital form. So it seems that there is not a “one-size fits all” answer to formats – and that we should never, ever turn our backs wholly on 35mm. Who will save old school journalism? Three features in the back half of the year – Spotlight, The Program and Truth all document the process, with varying degrees of success – of rugged, uncompromising, old fashioned foot-slogging journalism. Tangerine (Sean Baker, 2015) NELSON KIM FILMMAKER, CRITIC AND TEACHER BASED IN NEW YORK CITY. HIS FEATURE FILM SOMEONE ELSE WILL BE RELEASED IN 2016. Top ten, in alphabetical order by English title Clouds of Sils Maria (Olivier Assayas, 2014) The Hateful Eight (Quentin Tarantino, 2015) Heaven Knows What (Josh & Benny Safdie, 2014) Cavalo Dinheiro (Horse Money, Pedro Costa, 2014) In Transit (Albert Maysles, Lynn True, Nelson Walker, Ben Wu, David Usui, 2015) The Mend (John Magary, 2015) Phoenix (Christian Petzold, 2014) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then, Hong Sang-soo, 2015) Steve Jobs (Danny Boyle, 2015) Timbuktu (Abderrahmane Sissako, 2014) Special mention: The 4k restoration of Satyajit Ray’s The Apu Trilogy by the Criterion Collection in collaboration with the Academy Film Archive at the Academy of Motion Picture Arts and Sciences. RAINER KNEPPERGES FILMMAKER, COLOGNE. My 67 favourite films seen in 2015 for the first time, in cinemas in Aachen, Barcelona, Bologna, Cologne, Düsseldorf, Hamburg, Mannheim, Munich, or simply at home. In chronological order: my momentary mini-history of film. Le Diamant noir (Alfred Machin, 1913) Forbidden Fruit (Cecil B. DeMille, 1921) L’Île enchantée (Henri Roussel, 1927) The King of Kings (Cecil B. DeMille, 1927) Espionnage ou la guerre sans armes (Jeаn Choux, 1928) Passion Flower (William DeMille, 1930) Wer nimmt die Liebe ernst… (Who Takes Love Seriously?, Erich Engel, 1931) On the Loose (Hal Roach, 1931) Alum and Eve (George Marshall, 1932) Everything is Thunder (Milton Rosmer, 1936) The Man Who Changed His Mind (Robert Stevenson, 1936) Girl’s Dormitory (Irving Cummings, 1936) Mysterious Mr. Moto (Norman Foster, 1937) Souls at Sea (Henry Hathaway, 1937) Frau nach Maß (Woman Made to Measure, Helmut Käutner, 1940) Tales of Manhattan (Julien Duvivier, 1942) Damals (Back Then, Rolf Hansen, 1943) A Canterbury Tale (Powell & Pressburger, 1944) Am Abend nach der Oper (Arthur Maria Rabenalt, 1944) The Bells of St. Mary (Leo McCarey, 1945) Dreimal Komödie (Viktor Tourjansky, 1945) Calling Northside 777 (Henry Hathaway, 1948) Britannia Mews (Jean Negulesco, 1949) Woman on the Run (Norman Foster, 1950) No Highway in the Sky (Henry Koster, 1951) Little Big Horn (Charles Marquis Warren, 1951) The Late Edwina Black (Maurice Elvey, 1951) Pick Up (Hugo Haas, 1951) My Six Convicts (Hugo Fregonese, 1952) Die Spur führt nach Berlin (International Counterfeiters, Franz Cap, 1952) Deadly Nightshade (Jоhn Gilling, 1953) Die Mücke (Walter Reisch, 1954) Ich suche Dich (O.W. Fischer, 1955) Die Geierwally (The Vulture Wally, Franz Cap, 1956) The Three Faces of Eve (Nunally Johnson, 1957) Seven Thunders (Hugo Fregonese, 1957) Sayonara (Joshua Logan, 1957) The One That Got Away (Roy Ward Baker, 1957) Sea Fury (Cy Endfield, 1958) The Return of Dracula (Paul Landres, 1958) De dødes tjern (Lake of the Dead, Kåre Bergstrøm, 1958) Jazz on a Summer’s Day (Bert Stern, Aram Avakian, 1959 ) Marie-Octobre (Secret Meeting, Julien Duvivier, 1959) La Ragazza in Vetrina (Luciano Emmer, 1960) 13 Ghosts (William Castle, 1960) Beat School (British Pathé Film, 1961) Claudelle Inglish (Gordon Douglas, 1961) Elgar – Portrait of a Composer (Ken Russell, 1962) Ich kauf mir lieber einen Tirolerhut (Hans Billian, 1965) Spider Baby (Jack Hill, 1967) Im Busch von Mexiko (Jürgen Goslar, 1967) Vier Stunden von Elbe 1 (Eberhard Fechner, 1968) Banditi a Milano (Carlo Lizzani, 1968) Pit Stop (Jack Hill, 1969) Barquero (Gordon Douglas, 1970) Liebe so schön wie Liebe (Klaus Lemke, 1970) Dave Allen in Search of the Great English Eccentric (Robin Brown, 1974) Mikey and Nicky (Elaine May, 1975) Autojagd (Robert Führer, 1978) Silkwood (Mike Nichols, 1985) Ladyhawke (Richard Donner, 1985) Nuts (Martin Ritt, 1987) United 93 (Paul Greengrass, 2006) Saturnus (Bruno Sukrow, 2011) Mein Tag mit Tarna (My Day with Tarna, Chris Caliman, 2012) Fünf Stereodamen (Five Stereo Ladies, Maria Ittel, 2013) Crystal Fairy & The Magical Cactus (Sebastián Silva, 2013) My 2015 Top 15 Ant Man (Peyton Reed, 2015) Bridge of Spies (Steven Spielberg, 2015) Erotic Blue 3 (Herr Weber, 2015) La Famille Bélier (The Bélier Family, Eric Lartigau, 2014) Get Hard (Etan Cohen, 2015) Inside Out (Pete Docter and Ronnie Del Carmen, 2015) The Interview (Evan Goldberg, Seth Rogen 2015) Joy (David O. Russell, 2015) “Elevator” episodes 4–9, season 5 of Louie (Louis C.K., 2014) N Gschichtn (N Arratives, Eva Becker, 2014) Remake Remix Rip-Off (Cem Caya, 2014) Die unsichtbare Spur (The Invisible Trace, Bruno Sukrow, 2015) Spy (Paul Feig, 2015) Water Music (Collective One Take, 2014) Wie es läuft (Go With The Flow, Lukas Laier, 2014) BOGNA M. KONIOR WRITER, CURATER, PHD STUDENT IN CINEMA AND MEDIA STUDIES. Best: Best in conceptual cinema Menuju rembulan (Another Trip to the Moon, Ismail Basbeth, 2015) Nguoi truyen giong (The Inseminator, 2014) Balikbayan #1 Memories of Overdevelopment Redux III (Kidlat Tahimik, 2015) Yumen (Xiang Huang & J.P. Sniadecki, 2013) Best in stylised naturalism The Smell of Us (Larry Clark, 2014) Saul fia (Son of Saul, László Nemes, 2015) Best drama and acting Cheol-won-gi-haeng (End of Winter, Dae-hwan Kim, 2014) Mustang (Deniz Gamze Ergüven, 2015) Best in kink Love (Gaspar Noé, 2015) The Duke of Burgundy (Peter Strickland, 2014) Best monster movie Wer (William Brent Bell, 2013) Best in (existential) comedy He Never Died (Jason Krawczyk, 2015) En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, Roy Andersson, 2015) Magic Mike XXL (Gregory Jacobs, 2015) Best in set design Crumbs (Miguel Llansó, 2015) Worst Ex Machina (Alex Garland, 2015) Love (Gaspar Noé, 2015) JAY KUEHNER WRITER, PROGRAMMER AND INSTRUCTOR BASED IN THE PACIFIC NORTHWEST (US) WHO HAS RECENTLY CONTRIBUTED TO CINEMA SCOPE, FILM COMMENT AND FANDOR. Noite Sem Distância (Night Without Distance, Lois Patiño, 2015) Minotaur (Nicolás Pereda, 2015) Boi Neon (Neon Bull, Gabriel Mascaro, 2015) Dead Slow Ahead (Mauro Herce, 2015) Sobytie (The Event, Sergei Loznitsa, 2015) La academia de las musas (L’accademia delle muse / Academy of the Muses, José Luis Guerín, 2015) The Other Side (Roberto Minervini, 2015) Happy Hour (Ryusuke Hamaguchi, 2015) The Thoughts That Once We Had (Thom Anderson, 2015) Ah humanity! (Ernst Karel, Véréna Paravel & Lucien Castaing-Taylor, 2015) Bella e perduta (Lost and Beautiful, Pietro Marcello, 2015) Fi rassi rond-point (A Roundabout In My Head, Hassen Ferhani, 2015) Jigeumeun matgo geuttaeneun teullida (Right Now, Wrong Then, Hong Sang-soo, 2015) El Movimiento (Benjamin Naishtat, Argentina, 2015) Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) Carol (Todd Haynes, 2015) As Mil e uma Noites (Arabian Nights, Miguel Gomes, 2015) The Look of Silence (Joshua Oppenheimer, 2015) Trois souvenirs de ma jeunesse (My Golden Days, Arnaud Desplechin, 2015) L’Ombre des femmes (In the Shadow of Women, Phillipe Garrel, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) La impresión de una guerra (Impression of a War, Camilo Restrepo, 2015) Counting (Jem Cohen, 2015) João Bénard da Costa – Outros amarão as coisas que eu amei (João Bénard da Costa – Others will Love the Things I Have Loved, Manuel Mozos, 2014) No Home Movie (Chantal Akerman, 2015) Santa Teresa y otras historias (Santa Teresa and Other Stories, Nelson De Los Santos Arias, 2015) Comoara (The Treasure, Corneliu Porumboiu, 2015) ADAM KUNTAVANISH US CRITIC AND EDITOR FOR THE ONLINE PUBLICATION NEXT PROJECTION. 2015 World Premiere Favourites Mad Max: Fury Road (George Miller, 2015) From an influential but seemingly outdated franchise comes this full-throated roar of action cinema, whipping together a lightly feminist perspective, steampunk aesthetics and practical wizardry, all orchestrated with giddy abandon by director George Miller. Mistress America (Noah Baumbach, 2015) The Baumbach-Greta Gerwig follow-up to Frances Ha trades that film’s elegant, French New Wave-infused aesthetic for a more literary, fizzy, screwball sensibility, thanks to a large comedic ensemble with the ambitious, ditzy Gerwig and wannabe storyteller Lola Kirke at its centre. Heart of a Dog (Laurie Anderson, 2015) Anderson’s shimmering, discursive meditation on loss and memory flits between ruminations on her beloved rat terrier Lolabelle, Buddhist philosophy, and the contemporary surveillance state, anchored by her wit and willingness to follow her emotions. The Forbidden Room (Guy Maddin and Evan Johnson, 2015) A nested doll of narratives, aesthetics, and recurring actors, Guy Maddin’s oneiric juggernaut proves again that his work is a genre unto itself; the extra-special ingredient on display is co-director Evan Johnson’s visual pyrotechnics of scratches, dissolves, effects, and overlapping images. Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) Taiwan’s master filmmaker and poet of historical memory, Hou Hsiao-hsien, unveils his richly textured take on wuxia by focusing less on the requisite action choreography, sometimes even obscuring what fighting takes place, than on an intoxicating mood and atmosphere. Bitter Lake (Adam Curtis, 2015) The newest epic polemic from the mind of Adam Curtis arrives exclusively online and with sounds and images culled from such diverse sources as Drive, Solaris, Kanye West and David Bowie, to weave a forceful narrative concerning the 20th-century history of world powers and their focus on Afghanistan. Magic Mike XXL (Gregory Jacobs, 2015) While its predecessor hid a streak of economic melancholia behind the light shows and dance routines, XXL projects a buoyant, hopeful vision of pleasure and camaraderie between the sexes, a truly revolutionary act for a mainstream American film of 2015. Tangerine (Sean Baker, 2015) Tangerine transcends the technical achievement of shooting an entire feature film on an iPhone with raunchy verve and grace notes of sensitivity, courtesy of a game nonprofessional cast led by transgender actresses Kitana Kiki Rodriguez and Mya Taylor. Crimson Peak (Guillermo del Toro, 2015) Spectacularly packed with Gothic texture and vivid, enveloping colours, Guillermo del Toro’s ghost story-cum-melancholic romance exudes a complicated air of mystery, dread and femininity; indulgent in the extreme, but few contemporary filmmakers are more deserving of such indulgence than del Toro. Experimenter (Michael Almereyda, 2015) Anchored by a subtle and muted Peter Sarsgaard as the psychologist Stanley Milgram, Experimenter chronicles one of the most heralded and controversial controlled tests of the 20th century, one that hinted at mankind’s penchant for authoritarianism, in an intriguingly arch and Brechtian mode. A Few 2015 US Premiere Favourites The following made their non-festival premieres within the US in 2015 (and I didn’t include them in last year’s poll): Clouds of Sils Maria (Olivier Assayas, 2014) Darbareye Elly (About Elly, Asghar Farhadi, 2009) Gett, le procès de Viviane Amsalem (Gett: The Trial of Viviane Amsalem, Ronit & Shlomi Elkabetz, 2014) P’tit Quinquin (L’il Quinquin, Bruno Dumont, 2014) What We Do in the Shadows (Jermaine Clement and Taika Waititi, 2014) Mistress America (Noah Baumbach, 2015) SAMUEL LA FRANCE CURATES FILM PROGRAMS FOR TIFF CINEMATHEQUE AND PLEASURE DOME IN TORONTO, AND WRITES FOR CINEMA SCOPE. Comoara (The Treasure, Corneliu Porumboiu, 2015) Harlan County, U.S.A. (Barbara Kopple, 1976) Occidente (Ana Vaz, 2015) Inherent Vice (Paul Thomas Anderson, 2014) Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) Wolkenschatten (Anja Dornieden and Juan David González Monroy, 2015) Chevalier (Athina Rachel Tsangari, 2015) Star Wars: The Force Awakens (J.J. Abrams, 2015) Best of Enemies (Morgan Neville and Robert Gordon, 2015) Eden (Mia Hansen-Løve, 2014) EUGENIA LAI CINEPHILE BASED IN NEW YORK. New Releases (Alphabetical order by director) Matar a un hombre (To Kill a Man, Alejandro Fernandez Almendras, 2014) En duva satt på en gren och funderade på tillvaron (A Pigeon Sat on a Branch Reflecting on Existence, Roy Anderson, 2014) Kreuzweg (Stations of the Cross, Dietrich Bruggeman, 2014) La marche à suivre (Guidelines, Jean-Francois Caissy, 2014) La creazione di significato (Creation of meaning, Simone Rapisarda Casanova, 2014) Kış uykusu (Winter Sleep, Nuri Bilge Ceylan, 2014) Tomorrow is Always Too Long (Phil Collins, 2014) Que ta joie demeure (Joy of Man’s Desiring, Denis Côté, 2014) P’tit Quinquin (Li’l Quinquin, Bruno Dumont, 2014) La Sapienza (Eugene Green, 2014) Carol (Todd Haynes, 2015) Cainele japonez (The Japanese Dog, Tudor Christian Jurgiu, 2014) The Lobster (Yorgos Lathimos, 2015) Ventos de agosto (August Wind, Gabriel Mascaro, 2014) Macondo (Sudabeh Mortezai, 2014) Un etaj mai jos (One Floor Below, Radu Muntean, 2015) Los Ausentes (The Absent, Nicolas Pereda, 2014) Rabo de peixe (Fishtail, Joaquim Pinto, 2015) Chevalier (Athina Rachel Tsangari, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) Repertoire (Alphabetical order by director) Du levande (You, the Living, Roy Andersson, 2007) En kärlekshistoria (A Swedish Love Story, Roy Andersson, 1970) Sånger från andra våningen (Songs from the Second Floor, Roy Andersson, 2000) Les ordres (Michel Brault, 1974) Jagdszenen aus Niederbayern (Hunting Scenes from Bavaria, Peter Fleischman, 1969) La faille (Weak Spot, Peter Fleischman, 1975) Proverka na Dorogakh (Trial on the Road, Aleksei German, 1971) Moy drug Ivan Lapshin (My Friend Ivan Lapshin, Aleksei German, 1984) La Verifica Incerta (Alberto Grifi & Gianfranco Baruchello, 1965) Die linkshändige frau (The Left-Handed Woman, Peter Handke, 1978) Poison (Todd Haynes, 1990) Feng gui lai de ren (Boys from Fengkuei, Hou Hsiao-hsien, 1983) Jak zyc (How to Live, Marcel Lozinski, 1981) The savage eye (Ben Maddow/Sidney Meyers/Joseph Strick, 1960) Kundskabens træ (Tree of Knowledge, Nils Malmros, 1981) Drenge (Boys, Nils Malmros, 1977) Visita ou Memórias e Confissões (Visit or Memories and Confessions, Manoel de Oliveira, 1982/2015) De ofrivilliga (Involuntary, Ruben Östlund, 2008) Minotaur (Nicolás Pereda, 2015) La parmigiana (The Girl from Parma, Antonio Pietrangeli, 1963) Chroniques turcs (Turkish Shorts, Maurice Pialat, 1963) La gueule ouverte (Mouth Agape, Maurice Pialat, 1978) Passe ton bac d’abord (Graduate First, Maurice Pialat, 1978) La maison des bois (Maurice Pialat, 1971) Silvia Prieto (Martin Rejtman, 1999) Entrenamiento Elemental para Actores (Elementary Training for Actors, Martin Rejtman, 2009) Rapado (Martin Rejtman, 1992) Trás-os-Montes (Antonio Reis & Margarida Cordeiro, 1976) Os Verdes Anos (The Green Years, Paulo Rochas, 1963) Sagro Gra (Gianfranco Rosi, 2013) Carriage trade (Warren Sonbert, 1968) Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (Not Reconciled, Straub-Huillet, 1965) Idioterne (The Idiots, Lars von Trier, 1998) Im Lauf der Zeit (Kings of the Road, Wim Wenders, 1976) Die Angst des Tormanns beim Elfmeter (Goalie’s Anxiety at the Penalty Kick, Wim Wenders, 1971) Summer in the City (Wim Wenders, 1970) Ich war neunzehn (I Was 19, Konrad Wolf, 1968) Ljudi (U Prolazu) (People (In Passing), Lordan Zafranović, 1967) Poslihe Podne (Puska) (Afternoon (The Gun), Lordan Zafranović, 1968) Crni film (Black Film, Želimir Žilnik, 1971) JAMES LATTIMER PROGRAMMER, CRITIC, FILMMAKER. Archipels, granites dénudés (Archipelagos, Naked Granites, Daphné Hérétakis, 2014) As Mil e Uma Noites: Volume 2, O Desolado (Arabian Nights: Volume 2, The Desolate One, Miguel Gomes, 2015) La braise, les cendres (The Ember The Ashes, Nicolas Azalbert, 2015) Comoara (The Treasure, Corneliu Porumboiu, 2015) Counting (Jem Cohen, 2015) Depositions (Luke Fowler, 2014) In Jackson Heights (Frederick Wiseman, 2015) Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Right Now, Wrong Then, Hong Sang-soo, 2015) Limbo (Anna Sofie Hartmann, 2014) Lu bian ye can (Kaili Blues, Bi Gan, 2015) Mad Max: Fury Road (George Miller, 2015) Minotauro (Minotaur, Nicolás Pereda, 2015) Nie yin niang (The Assassin, Hou Hsiao-Hsien, 2015) O Futebol (On Football, Sergio Oksman, 2015) Queen of Earth (Alex Ross Perry, 2015) Rabo de Peixe (Fish Tail, Joaquim Pinto & Nuno Leonel, 2003/2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) El rastreador de estatuas (The Monument Hunter, Jerónimo Rodríguez, 2015) Sueñan los androides (Androids Dream, Ion de Sosa, 2015) Über die Jahre (Over the Years, Nikolaus Geyrhalter, 2015) MARC LAURIA FREELANCE CINEPHILE AND SCREENWRITER. The Science of Sleep Dept Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) Big Brother is Watching Dept Citizenfour (Laura Poitras, 2014) Taxi (Jafar Panahi, 2015) The Return of the Oppressed Dept The Look of Silence (Joshua Oppenheimer, 2015) The Missing Picture (Rithy Panh, 2014) Timbuktu (Abderrahmane Sissako, 2014) Marx’s Das Kapital in Material Form Dept Snowpiercer (Bong Joon-ho, 2013) Mga Anak ng Unos, Unang Aklat (Storm Children, Book One, Lav Diaz, 2015) Jiao you (Stray Dogs, Tsai Ming-liang, 2013) Deux jours, une nuit (Two Days, One Night, Jean-Pierre & Luc Dardenne, 2014) The Search for Jewish Identity Dept Ida (Pawel Pawlikowski, 2013) Phoenix (Christian Petzold, 2014) Carol (Todd Haynes, 2015) ELAINE LENNON FILM CRITIC AND NOVELIST. Carol (Todd Haynes, 2015) Gone girl Star Wars: The Force Awakens (J.J. Abrams, 2015) Go girl It Follows (David Robert Mitchell, 2015) Carpenter art Love & Mercy (Bill Pohlad, 2015) Sonic art Sicario (Denis Villeneuve, 2015) Borderline art Spotlight (Tom McCarthy, 2015) Byline art Bridge of Spies (Steven Spielberg, 2015) Blurred lines Spy (Paul Feig, 2015) Bond girl American Sniper (Clint Eastwood, 2014) Gun control Kill The Messenger (Michael Cuesta, 2014) Too true DENNIS LIM DIRECTOR OF PROGRAMMING, FILM SOCIETY OF LINCON CENTER. As Mil e uma Noites (Arabian Nights, Miguel Gomes, 2015) Rak ti Khon Kaen (Cemetery of Splendour, Apichatpong Weerasethakul, 2015) Nie yin niang (The Assassin, Hou Hsiao-hsien, 2015) Visita ou Memórias e Confissões (Visit or Memories and Confessions, Manoel de Oliveira, 1982/2015) Bella e perduta (Lost and Beautiful, Pietro Marcello, 2015) Shan hegu ren (Mountains May Depart, Jia Zhangke, 2015) Lu bian ye can (Kaili Blues, Bi Gan, 2015) L’Ombre des femmes (In the Shadow of Women, Philippe Garrel, 2015) Boi Neon (Neon Bull, Gabriel Mascaro, 2015) Entertainment (Rick Alverson, 2015) Shan hegu ren (Mountains May Depart, Jia Zhangke, 2015) PAOLA LORENZI UNIVERSITY PROFESSOR, FILM PRODUCER, CREATIVE PROJECT DEVELOPER. Carol (Todd Haynes, 2015) The Danish Girl (Tom Hooper, 2015) Le Tout Nouveau Testament (The Brand New Testament, Jaco Van Dormael, 2015) The Look of Silence (Joshua Oppenheimer, 2015) Spotlight (Tom McCarthy, 2015)
