World Poll 2017 – Part 4

ENTRIES IN PART 4:

DANIEL KASMAN

DIRECTOR OF CONTENT, MUBI. NEW YORK.

New
3/4 (Ilian Metev, 2017)
Abaton (Nathaniel Dorsky, 2017)
Am Abend aller Tage (Dominik Graf, 2017)
L’amant d’un jour (Lover for a Day, Philippe Garrel, 2017)
Araby (Arabia, Affonso Uchoa, João Dumans, 2017)
Arriere-saison (Jean-Claude Rousseau, 2017)
below-above (André Lehmann, 2017)
Un beau soleil intérieur (Let the Sunshine In, Claire Denis, 2017)
La caméra de Claire (Claire’s Camera, Hong Sang-soo, 2017)
Coda (Nathaniel Dorsky, 2017)
Edaha No Koto (Sweating the Small Stuff, Ryutaro Ninomiya, 2017)
Elohim (Nathaniel Dorsky, 2017)
First Reformed (Paul Schrader, 2017)
A Fábrica de Nada (The Nothing Factory, Pedro Pinho, 2017)
Farpões, baldios (Barbs, Wastelands, Marta Mateus, 2017)
Les Gardiennes (The Guardians, Xavier Beauvois, 2017)
Geu-hu (The Day After, Hong Sang-soo, 2017)
I Am Not a Witch (Rungano Nyoni, 2017)
Jeannette, l’enfance de Jeanne d’Arc (Jeannette: The Childhood of Joan of Arc, Bruno Dumont, 2017)
Laissez bronzer les cadavres (Let the Corpses Tan, Hélène Cattet, Bruno Forzani, 2017)
El Mar La Mar (Joshua Bonnetta, J.P. Sniadecki, 2017)
Mass for Shut-Ins (Winston DeGiobbi, 2017)
La Nuit où j’ai nagé (The Night I Swam, Damien Manivel, Igarashi Kohei, 2017)
Nazidanie (Boris Yukhananov, Aleksandr Shein, 2017)
Ode (Nathaniel Dorsky, 2017)
Onward Lossless Follows (Michael Robinson, 2017)
PROTOTYPE (Blake Williams, 2017)
The Rider (Chloé Zhao, 2017)
Rose Gold (Sara Cwynar, 2017)
Ryuichi Sakamoto: Coda (Stephen Nomura Schible, 2017)
Sanpo suru shinryakusha (Before We Vanish, Kiyoshi Kurosawa, 2017)
Scaffold (Kazik Radwanski, 2017)
Si loin, si proche (Jean-Claude Rousseau, 2017)
Sokun Al Sulhufat (Turtles Are Always Home, Rawane Nassif, 2017)
Strangely Ordinary This Devotion (Dani Leventhal, Sheila Wilson, 2017)
Steetscapes (Heinz Emigholz, 2017)
La Telenovela Errante (The Wandering Soap Opera, Raúl Ruiz, 2017)
Tesnota (Closeness, Kantemir Balagov, 2017)
Twin Peaks: The Return (David Lynch, 2017)
Ulysses in the Subway (Marc Downie, Paul Kaiser, Flo Jacobs, Ken Jacobs, 2017)
Western (Valeska Grisebach, 2017)
Yeti  (Wojciech Bakowski, 2017)
Zama (Lucrecia Martel, 2017)
Zhui bu (Manhunt, John Woo, 2017)

New in Cinemas
Bamui haebyun-eoseo honja (On the Beach at Night Alone, Hong Sang-soo, 2017)
Brawl in Cell Block 99 (S. Craig Zahler, 2017)
The Challenge (Yuri Ancarani, 2016)
Ex Libris: The New York Public Library (Frederick Wiseman, 2017)
Get Out (Jordan Peele, 2017)
Journey to the West: The Demons Strike Back (Tsui Hark, 2017)
Kono sekai no katasumi ni (In This Corner of the World, Sunao Katabuchi, 2016)
The Lost City of Z (James Gray, 2016)
La mort de Louis XIV (The Death of Louis XIV, Albert Serra, 2016)
Ming yue ji shi you (Our Time Will  Come, Ann Hui, 2017)
Nocturama (Bertrand Bonello, 2016)
Personal Shopper (Olivier Assayas, 2016)
Princess Cyd (Stephen Cone, 2017)
A Quiet Passion (Terence Davies, 2016)
Rat Film (Theo Anthony, 2016)
Resident Evil: The Final Chapter (Paul W.S. Anderson, 2017)
Song to Song (Terrence Malick, 2017)
Split (M. Night Shyamalan, 2017)
Ta’ang (Wang Bing, 2016)
Tempestad (Tatiana Hueso, 2016)

Old in Cinemas
Jacques Tourneur at the Locarno Festival, particularly Stars in My Crown (1950) and Easy Living (1949), Appointment in Honduras (1953)
Peter Nestler at the Film Society of Lincoln Center
Poema o more (Poem of the Sea, Yuliya Solnetseva, 1958)
Sergeant Rutledge (John Ford, 1960)
Povest plamennykh let (The Story of the Flaming Years, Yuliya Solntseva, 1961)
Zacharovannaya Desna (The Enchanted Desna, Yuliya Solnetseva, 1964)
Dufus (a.k.a. Art) (Mike Henderson, 1970)
Pixillation (Anne Charlotte Robertson, 1976)
Dillinger è Morto (Dillinger Is Dead, Marco Ferreri, 1969)
San Clemente (Raymond Depardon, 1980)
The Store (Frederick Wiseman, 1983)
Cézanne. Dialogue avec Joachim Gasquet (Cézanne, Conversation with Joachim Gasquet, Jean-Marie Straub, Danièle Huillet, 1989)
Odinokiy golos cheloveka (The Lonely Voice of Man, Aleksandr Sokurov, 1990/2017)
Von heute auf morgen (From Today Until Tomorrow,  Jean-Marie Straub, Danièle Huillet, 1996)
Une visite au Louvre (A Visit to the Louvre, Jean-Marie Straub, Danièle Huillet, 2004)

CHRISTOPHER KEARNEY

INDEPENDENT SCREENWRITER, TEACHES TV PRODUCTION AND ENGLISH AT GEORGE M. STEINBRENNER HIGH SCHOOL IN LUTZ, FLORIDA.

Top Ten Films of 2017
1. Dunkirk (Christopher Nolan, 2017)
2. The Florida Project (Sean Baker, 2017)
3. Lady Bird (Greta Gerwig, 2017)
4. Kimi no na wa. (Your Name,  Makoto Shinkai, 2016)
5. Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017)
6. Lady Macbeth (William Oldroyd, 2016)
7. Wind River (Taylor Sheridan, 2017)
8. Blade Runner 2049 (Denis Villeneuve, 2017)
9. Good Time (Benny Safdie, Josh Safdie, 2017)
10. Novitiate (Margaret Betts, 2017)

Honourable Mentions
The Beguiled (Sofia Coppola, 2017)
The Big Sick (Michael Showalter, 2017)
Colossal (Nacho Vigalondo, 2016)
A Ghost Story (David Lowery, 2017)
The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)
The LEGO Batman Movie (Chris McKay, 2017)
Logan (James Mangold, 2017)
mother!(Darren Aronofsky, 2017)
Personal Shopper (Olivier Assayas, 2016)
Stronger (David Gordon Green, 2017)
War for the Planet of the Apes (Matt Reeves, 2017)

RICARDO KÖHLER

CINEPHILE, RIO DE JANEIRO, BRAZIL

The best 10 films I saw in 2017 are:

I Am Not Your Negro (Raoul Peck, 2016)
Get Out (Jordan Peele, 2017)
Logan (director: James Mangold, 2017)
Personal Shopper (Olivier Assayas, 2016)
T2 Trainspotting (Danny Boyle, 2017)
Life (Daniel Espinosa, 2017)
Alien: Covenant (Ridley Scott, 2017)
Wonder Woman (Patty Jenkins, 2017)
mother! (Darren Aronofsky, 2017)
Blade Runner 2049 (Denis Villeneuve, 2017)

EHSAN KHOSHBAKHT

CRITIC/CURATOR, IL CINEMA RITROVATO

Soleil O (Med Hondo, 1970). Il Cinema Ritrovato, Bologna. *new restoration
Wajib (Annemarie Jacir, 2017)
Toofan dar shahre ma (Storm in Our City, Samuel Khachikian, 1958). Il Cinema Ritrovato, Bologna. *new restoration
Ordnung (Order, Sohrab Shaid Saless, 1980). Close-Up, London.
A Journey Through French Cinema (Bertrand Tavernier, 2017)
Schwarzer Kies (Black Gravel, Helmut Käutner, 1961). Berlinale 2017. *new restoration
Lucía (Humberto Solás, 1968). Close-Up, London. *new restoration
Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)
Ropáci (Oil Gobblers, Jan Sverák, 1988). Berlinale 2017.
24 Frames (Abbas Kiarostami, 2017)
L’insoumis (The Unvanquished, Alain Cavalier, 1964). Il Cinema Ritrovato, Bologna. *new restoration
Makala (Emmanuel Gras, 2017)
Pisma myortvogo cheloveka (Dead Man’s Letters, Konstantin Lopushanskiy, 1986). Berlinale 2017.
The Meyerowitz Stories (New and Selected) (Noah Baumbach, 2017)
The Shape of Water (Guillermo del Toro, 2017)

The Shape of Water (Guillermo del Toro, 2017)

RAINER KNEPPERGES

FILMMAKER, COLOGNE

My 20 favourite discoveries in 2017. On movie screens in Berlin, Bologna, Chicago, Cologne, Düsseldorf, Frankfurt, Gelsenkirchen, Nürnberg, Wiesbaden.
Until They Get Me (Frank Borzage, 1917)
Outside The Law (Tod Browning, 1930)
…Und das ist die Hauptsache!? (Joe May, 1931)
Les amours de minuit (Lovers of Midnight, Marc Allegret, Augusto Genina, 1931)
Mädchen in Uniform (Léontine Sagan, 1931)
L’Assassinat du père Noël (Who Killed Santa Claus?, Christian-Jaque, 1941)
Maddalena (Augusto Genina, 1954)
Los Tallos Amargos (Fernando Ayala, 1957)
El trueno entre las hojas (Thunder Among the Leaves, Armando Bo, 1958)
The Wonderful Country (Robert Parrish, 1959)
Smyk (Zbynek Brynych, 1960)
Pelota de cuero (Armando Bo, 1963)
Sie heirateten in Gretna Green (Fritz Illing, 1964)
Baby the Rain Must Fall (Robert Mulligan, 1964)
La Mujer del zapatero (Armando Bo, 1965)
To syrtaki tis amartias (Giorgos Papakostas, 1966)
Käptn Rauhbein aus St.Pauli (Nurses for Sale, Rolf Olsen, 1967)
Versuchung im Sommerwind (Temptation in the Summer Wind, Rolf Thiele, 1972)
Fiebre (Fever, Armando Bo, 1972)
Gina Wildkatze (Gina von Freiburg, 1974)

My 2017 Top 14
The Big Sick (Michael Showalter, 2017)
Coco (Lee Unkrich, 2017)
The Comedian (Taylor Hackford, 2017)
Dalida (Lisa Azuelos, 2017)
Elvis & Nixon (Liza Johnson 2016)
Hidden Figures (Theodore Melfi, 2016)
Making Judith! (Klaus Lemke, 2017)
Mannheim (Thomas Oberlies, 2016)
Mary (Bruno Sukrow, 2017)
Mr. Church (Bruce Beresford, 2016)
Olanlar Oldu (Hakan Algül, 2017)
Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017)
Umschwung in der Hauptstadt (Lukas Laier, Moritz Vetter, 2017)
Wonder Woman (Patty Jenkins, 2017)

ADAM KUNTAVANISH

FILM BUFF OF THE MIDWEST USA.

2017 World Premiere Favorites
1. Good Time (Josh Safdie and Benny Safdie, 2017)

The Safdie brothers bring their gritty, hallucinatory realism to bear in this propulsive picaresque, following a streetwise hustler (live-wire Robert Pattinson) as he outruns and out-thinks the world at large, seemingly for the benefit of his brother but really as its own reward.

2. Lady Bird (Greta Gerwig, 2017)

With a remarkable blend of sympathy and screwball finesse, writer/director Gerwig and lead actress Saoirse Ronan craft an indelibly daffy heroine (the eponymous, self-named “Lady Bird”) who transcends any hint of clichéd, coming-of-age drama and mines some real emotional territory with a gruff Laurie Metcalf as her mother.

3. Visages, villages (Faces Places, Agnès Varda and JR, 2017)

A deceptively breezy joint art project by Varda (one of the great film artists alive) and the coyly mysterious JR, Faces Places joyfully elevates the ordinary working folk across France, re-purposing the otherwise blank walls and architecture along the landscape into celebratory canvases.

4. Get Out (Jordan Peele, 2017)

Balancing social relevancy, conceptual horror, and both sly and laugh-out-loud comedy, the surprise box office hit from comedian Jordan Peele brilliantly portrays race relations through the heightening lens of genre.

5. Chemi Bednieri Ojakhi (My Happy Family, Nana Ekvtimishvili and Simon Gross, 2017)
A Georgian wife and mother decides to pursue a life of her own, sending ripples throughout her extended family and local community in this closely observed drama that leaves no easy answers.

6. The Work (Jairus McLeary, 2017)

This uncomfortably intimate vérité documentary stares unflinchingly at a four-day group-therapy session within Folsom Prison, where prisoners and outsiders alike draw forth their long-repressed emotions and challenge their deepest masculine assumptions and mores.

7. Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)

Both timely and perfectly in line with the Finnish writer/director’s body of work, The Other Side of Hope concerns a Syrian refugee’s attempts to seek asylum for himself and then his sister, crossing paths with people fundamentally decent as well as bureaucratic and socially reactionary.

8. The Meyerowitz Stories (New and Selected) (Noah Baumbach, 2017)

Baumbach’s latest bittersweet comedy of familial strife pits a trio of angst-ridden siblings against a dying, middling artist patriarch. While each actor is suitably funny and interesting in his or her own right, the film also possesses a sharp comic timing of its own that frequently cuts in the middle of the self-absorbed characters’ line-readings.

9. Columbus (Kogonada, 2017)

Prolific video essayist Kogonada brings his trademark sensitivity to space, geometry, and architecture to his contemplative feature film debut, which also features poignant, sensitive, conversational performances from the two leads (John Cho and Haley Lou Richardson).

10. Okja (Bong Joon-ho, 2017)

The E.T. to his earlier, socially and politically aware Jaws riff The Host, director Bong Joon-ho’s fleet and over-the-top Okja sets its satirical sights on factory farming and corporate propaganda, while bringing to life a CGI wonder in the titular genetically-engineered super-pig.

A Few 2017 US Premiere Favourites
The following made their non-festival premieres within the US in 2017 (and I didn’t include them in last year’s poll):
Contemporary Color (Bill Ross IV and Turner Ross, 2016)
The Lost City of Z (James Gray, 2016)
Personal Shopper (Olivier Assayas, 2016)
A Quiet Passion (Terence Davies, 2016)
Umi yori mo mada fukaku (After the Storm, Hirokazu Kore-eda, 2016)

EUGENIA LAI

CINEPHILE BASED IN NEW YORK AND PARIS

New Releases/Titles (Alphabetical order by director’s last names)

1. El Sitio de los Sitios (Site of Sites, Natalia Cabral, Oriol Estrada, 2016)
2. Caniba, (Lucien Castaing-Taylor and Verena Paravel, 2017)
3. Brüder der Nacht (Brothers of the Night, Patric Chiha, 2016)
4. Diamond Island, (Davy Chou, 2016)
5. I tempi felici verranno presto (Happy Times Will Come Soon, Alessandro Comodin, 2016)
6. Territorio (Territory, Alexandra Cuesta, 2016)
7. Paraguay Remembered (Dominique Dubosc, 2015)
8. Streetscapes (Dialogue), (Heinz Emigholz, 2017)
9. El limonero real (Gustavo Fontán, 2016)
10. Electro-Pythagorus: A Portrait of Martin Bartlett (Luke Fowler, 2016)
11. Mister Universo(Rainer Frimmel, Tizzi Corvi, 2016)
12. Western (Valeska Grisebach, 2017)
13. Tempestad (Tatiana Huezo, 2017)
14. Teströl és lélekröl (On Body and Soul, Enyedi Ildiki, 2017)
15. Daisis miziduloba (The Dazzling Light of Sunset, Salomé Jashi, 2016)
16. The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)
17. Zama (Lucrecia Martel, 2017)
18. Albüm (Album, Mehmet Can Mertoglu, 2016)
19. Câini(Dogs, Bogdan Mirică, 2016)
20. The Square (Ruben Östlund, 2017)
21. Maquinaria Panamericana(Panamerican Machinery, Joaquin del Paso, 2016)
22. Pacifico(Fernanda Romandia, 2016)
23. Dao Khanong(By the Time it Gets Dark, Anocha Suwichakornpong, 2016)
24. In Time to Come (Tan Pin Pin, 2017)
25. Atentamente (Sincerely, Camila Rodriguez Triana. 2016)
26. Arábia (Araby, Affonso Uchoa/João Dumans, 2017)
27. Ku Qian (Bitter Money, Wang Bing, 2016)
28. El Auge del Humano(The Human Surge, Eduardo Williams, 2016)
29. El Futura Perfecto (The Future Perfect, Nele Wohlatz, 2016)
30. You yi nian (Another Year, Shengze Zhu,2016)

Repertoire/Retrospectives – Seen in cinemas (Alphabetical order by director)

1. Ryakushô renzoku shasatsuma (K.A. Serial Killer, Masao Adachi, 1969)
2. El otro día (The Other Day, Ignacio Agüero, 2013)
3. Handsworth Songs (John Akomfrah, 1986)
4. Los Muertos (Lisandro Alonso, 2004)
5. 3 Women (Robert Altman, 1977)
6. Garrincha – Alegria do Povo(Garrincha, Hero of Jungle, Joaquim Pedro de Andrade, 1963)
7. Macunaíma (Joaquim Pedro de Andrade, 1969)
8. Blast of Silence (Alan Baron, 1961)
9. Also known as Jihadi (Eric Baudelaire, 2017)
10. Ich schaff’s einfach nimmer (I Just Can’t Go On,  John Cook, 1972)
11. Scum (Alan Clarke, 1972)
12. Rita, Sue and Bob Too(Alan Clarke, 1987)
13. La donna della domenica (The Sunday Woman, Luigi Comencini, 1975)
14. Bestiare (Bestiary, Denis Côté, 2012)
15. Últimas Conversas(Last Conversations, Eduardo Coutinho, 2015)
16. Cabra Marcado Para Morrer (20 Years Later, Eduardo Coutinho, 1984)
17. Maigret tend un piège (Maigret sets a Trap Jean Delannoy, 1958)
18. La Lettre jamais écrite(The Letter That Was Never Written, Dominique Dubosc, 1991)
19. Hamaca paraguaya (Paraguayan Hammock, Paz Encina,2006)
20. Sehnsucht(Longing, Valeska Grisebach, 2006)
21. Cooperative (Raphael Grisey, 2008)
22. Das doppelte Gesicht: Peter Lorre (The Double Face of Peter Lorre, Harun Farocki, 1984)
23. Die Schulung(Indoctrination, Harun Farocki, 1987)
24. Die Bewerbung (The Interview Harun Farocki, 1997)
25. Der lachende Mann – Bekenntnisse eines Mörders (The Laughing Man, Walter Heynowski and Gerhard Scheumann, 1966)
26. Ni luo he nu er (Daughter of the Nile Hou Hsiao Hsien, 1987)
27. Muhammad Ali The Greatest,(William Klein, 1974)
28. Hukkunud Alpinisti’ hotell (Dead Mountaineer’s Hotel Grigori Kromanov, 1979)
29. Naerata ometi (Well, Come on, Smile Leida Laius and Arvo Iho, 1985)
30. El Cielo la tierra y la lluvia (The Sky, the Earth, and the Rain, José Luis Torres Leiva, 2008)
31. Independencia (Independence, Raya Martin, 2009)
32. Manila (Raya Martin, 2009)
33. How to Disappear Completely, (Raya Martin, 2013)
34. Sinapupunan (Thy Womb, Brillante Mendonza, 2012)
35. Yo, (Matias Meyer, 2015)
36. Die Ausgesperrten (The Excluded, Franz Novotny, 1982)
37. Play It as It Lays, (Frank Perry,1972)
38. The Swimmer, (Frank Perry, 1968)
39. Diary of a Mad Housewife, (Frank Perry, 1970)
40. Last Summer, (Frank Perry, 1969)
41. Śledztwo (Investigation, Marek Piestrak, 1974)
42. We are the Lambeth Boys, (Karel Reisz, 1959)
43. Look Back in Anger, (Tony Richardson, 1959)
44. The Entertainer, (Tony Richardson, 1960)
45. Los Decentes (A Decent Woman, Lukas Valenta Rinner, 2016)
46. Women in Love, Ken Russell, 1969
47. Invasión (Invasion,Hugo Santiago, 1969)
48. A Kind of Loving, (John Schlesinger, 1962)
49. Juana a los 12 (About 12, Martin Shanly, 2014)
50. The Shout, (Jerzy Skolimowski, 1978)
51. Nationalité: Immigré (Nationality: Immigrant, Sidney Sokhona, 1976)
52. Safrana ou le droit à la parole (Safrana or the right to speak, Sidney Sokhona, 1978)
53. Dni zatmeniya (Days of Eclipse, Aleksandr Sokurov 1988)
54. Papirosen, (Gaston Solnicki, 2011)
55. Den-en ni shisu (Pastoral Hide and Seek, Shuji Terayama, 1974)
56. Sao Karaoke (Karaoke Girl, Visra Vichit-Vadakan, 2013)
57. Przekładaniec (Layer Cake, Andrzej Wajda, 1968)
58. Privilege, (Peter Watkins, 1967)
59. Punishment Park, (Peter Watkins, 1971)
60. Titicut follies,(Frederick Wiseman, 1967)
61. Welfare, (Frederick Wiseman, 1975)
62. Ris-Orangis, (Nil Yalter, 1979)
63. Szpital przemienienia (Hospital of Transfiguration, Edward Zebrowski 1979)

MARC LAURIA

FREELANCE CINEPHILE

ELAINE LENNON

FILM HISTORIAN, AUTHOR OF CHINATOWNE AND PATHWAYS OF DESIRE: EMOTIONAL
ARCHITECTURE IN THE FILMS OF NANCY MEYERS

1. Twin Peaks: The Return, Episode 8 (Mark Frost, David Lynch, 2017)
   Mind-blowing.
2. Jackie (Pablo Lorrain, 2016) Andy Warhol is alive and well!
3. LA LA Land (Damien Chazelle, 2016) Fable of the deconstruction
4. Paddington 2 (Paul King, 2017) Sweeter than honey
5. Star Wars:  The Last Jedi (Rian Johnson, 2017) Regeneration
6. Blade Runner 2049 (Denis Villeneuve, 2017) Replication
7. Get Out (Jordan Peele, 2017) Reanimation
8. It (Andy Muschietti, 2017) Return of the Id
9. Wind River (Taylor Sheridan, 2017) Mountain madness
10. Wonder Woman (Patti Jenkins, 2017) Go Gal!

Honourable TV mention
Blue Planet II (BBC) Awesome

Blade Runner 2049 (Denis Villeneuve, 2017)

RAÚL LIÉBANA LIÉBANA

FILM CRITIC AT EL ESPECTADOR IMAGINARIO, CAMERAMAN MAGAZINE, NOTEBOOK MUBI, VIDEODROMO

Why make a list only with ten films? It´s fascinating to remember all the films watched during a year and order them. It´s exciting to think of the cinema. The issue is not about making the list, it´s about remembering in a very intense way, the moments lived at the cinema, during a whole year.

A year of contrasts; two antagonistic ways of understanding cinema and life. Wang Bing and Carlos Agulló: their works have watched the death closely. Wang Bing, possesses the rigorous and respectful gaze; Carlos Agulló, the gaze on death that fills with life.

I can´t include the film Europa by Miguel Ángel Pérez Blanco for reasons of professional ethics, but if I could include it in this list, the film would be in a very high place. Europa is one of the most convincing debuts of 2017; it is a film shot from an absolute vocation as a filmmaker, from the need to shoot, from the same uncontrollable desire that leads us to watch so many films.

The films are the following:
1. A fábrica de nada (The Nothing factory, Pedro Pinho, 2017) // Kapitalistis (Pablo Muñoz Gómez, 2017)
2. Afternoon Clouds (Payal Kapadia, 2017)
3. Mrs. Fang (Wang Bing, 2017) vs Los demás días (All the Other Days, Carlos Agulló, 2017)
3b. El señor liberto y los pequeños placeres (Mister Liberto and the Little Pleasures, Ana Serret, 2017) // Rewind forward (Justin Stoneham, 2017)
4. Zama (Lucrecia Martel, 2017)
5. Milla (Valèrie Massadian, 2017)
6. Série noire: Grandeur et décadence d’un petit commerce de cinéma (The Rise and Fall of a Small Film Company, Jean Luc Godard, 1986-2017)
7. La telenovela errante (The Wandering Soap Opera, Raoul Ruiz -AKA Raúl Ruiz-, Valeria Sarmiento, 1992/2017)
8. As Boas Maneiras (Good Manners, Marco Dutra, Juliana Rojas, 2017)
9. Bamui Haebyunaeseo Honja (On the Beach at Night Alone, Hong Sang-soo, 2017) // Keul-le-eo-ui Ka-me-la (Claire´s Camera, Hong Sang-soo, 2017)
10. Křižáček (Little Crusader, Václav Kadrnka, 2017)
11. Colo (Teresa Villaverde, 2017)
12. 9 doigts (9 Fingers, F.J. Ossang, 2017)
13. Cocote (Nelson Carlo de los Santos Arias, 2017)
14. Estiu 1993 (Summer 1993, Carla Simón, 2017) // Étrange dit l´angel (Strange Says the Angel, Shalimar Preuss, 2017)
15.  3 / 4 (Three Quarters, Ilian Metev, 2017)
16. Aliens (Luis López Carrasco, 2017)
17. Tesnota (Closeness, Kantemir Balagov, 2017)
18. Niñato (Adrián Orr, 2017)
19. Farpões, baldios (Barbs, Wastelands, Marta Mateus, 2017)
20. Qing Ting Zhi Yan (Dragonfly Eyes, Xu Bing, 2017)
21. El autor (The Motive, Manuel Martín Cuenca, 2017)
22. En el Séptimo Día (On the Seventh Day, Jim McKay, 2017)
23. Ramiro (Manuel Mozos, 2017)
24. El Mar nos Mira de Lejos (The Sea Stares at us from Afar, Manuel Muñoz Rivas, 2017)
25. Columbus (Kogonada, 2017)
26. Ternura y la tercera persona (Tenderness and the Third Person, Pablo Llorca, 2017)
27. Western (Valeska Grisebach, 2017)
28. Pela Janela (A Window to Rosália, Caroline Leone, 2017)
29. Silica (Pia Borg, 2017)
30. Sexy Durga (Sanal Kumar Sasidharan, 2017)
31. Rubber Coated Steel (Lawrence Abu Hamdan, 2017)
32. Las Cosas  (The Things, Carlos Rivero, 2017)
33. Rey (Niles Atallah, 2017)
34. Shmama (Miki Polonski, 2017)
35. Les Intranquilles (Magdalena Froger, 2017)
36. Madame Hyde (Mrs. Hyde, Serge Bozon, 2017)
37. Negah (Gaze, Farnoosh Samadi, 2017)
38. A Song from the Future (Tommaso Donati, 2017)
39. António e Catarina (Cristina Hanes, 2017)
40. Ver a una mujer (To See a Woman, Mónica Rovira, 2017)
41. Nelyubov (Loveless, Andrey Zvyagintsev, 2017)
42. Esquece Monelos (Ángeles Huerta, 2017)
43. Expo Lío 92´ (María Cañas, 2017)
44. Plus Ultra (Helena Girón, Samuel M. Delgado, 2017)
45. Os Fillos da Vide (The Children of the Vine, Ana Domínguez, 2017)
46. Otra Madre (Another Mother, Mariano Luque, 2017)
47. Good Luck (Ben Russell, 2017)
48. Atrás hay relámpagos (Lightning Falls Behind, Julio Hernández Cordón, 2017)
49. Los desheredados (The Disinherited, Laura Ferrés, 2017)
50. Los Versos del Olvido (Oblivion Verses, Alireza Khatami, 2017)
51. Radio Mary (Gary Walkow, 2017)
52. Júlia Ist (Elena Martín, 2017)
53. Did You Wonder Who Fired the Gun? (Travis Wilkerson, 2017)
54. How to Reach God Through Proper Exercising (Gabriel Herrera Torres, 2016) – Premiered on 5 may 2017 at Oberhausen International Short Film Festival

Films premiered on 2016 watched on 2017
1. Porto (Gabe Klinger, 2016)
2. La reconquista (The Reconquest, Jonás Trueba, 2016)
3. Fai bei sogni (Sweet Dreams, Marco Bellocchio, 2016)
4. Dangsinjasingwa dangsinui geot (Yourself and Yours, Hong Sang-soo, 2016)
5. Le parc (The Park, Damien Manivel, 2016)
6. Mes nuits feront echo (Still Night, Still Night, Sophie Goyette, 2016)
7. Colossal (Nacho Vigalondo, 2016)
8. Yo me lo creo (Terrorismo de autor, 2016)
9. Aquarius (Kleber Mendoça Filho, 2016)
10. Placa Madre (Motherboard, Bruno Varela, 2016)
11. Arreta (Raquel Marques and María Zafra, 2016)

Retrospectives/Other films
The retrospective about Mani Haghighi – Filmadrid
Tres tristes tigres (Three sad tigers, 1968, Raúl Ruiz)- Locarno Film Festival

KIMBERLY LINDBERGS

MEMBER OF THE ALLIANCE OF WOMEN FILM JOURNALISTS, WRITER FOR FILMSTRUCK, TURNER CLASSIC MOVIES AND PUBLISHER’S WEEKLY.

TARA LOMAX

PHD CANDIDATE IN SCREEN STUDIES AT THE UNIVERSITY OF MELBOURNE; GUEST LECTURER AND SESSIONAL TUTOR IN CINEMA STUDIES; AND ACMI X RESIDENT.

Apparently 2017 was the year that cinema died…again. This is largely attributed to Hollywood hitting peak franchise fever…again. I have a lot of appreciation for the complexities of franchise cinema, and so I hope this fever rages on. I think the franchise movies released in 2017 presented exciting possibilities for this still-developing mode of blockbuster cinema. So here I have focused on ten movies that I consider important for shaping this development in 2017 (listed in order of release, not ranked).

1. Logan (James Mangold, 2017)
Mangold’s take on the Wolverine character from the X-Men franchise kicked-off the year of taking franchise movies in new directions. Hugh Jackman’s performance gives a complex perspective to this aged character, but what I love most about Logan is its western genre undertones, punctuated by an homage to Shane (George Stevens, 1953). Many critics have said that Logan is good ‘for a superhero movie’, but I think it shows that the superhero genre can be profound in its own right.

2. Kong: Skull Island (Jordan Vogt-Roberts, 2017)
This iteration of the cinema icon gives new life to Skull Island, by way of a hat-tip to Apocalypse Now (Francis Ford Coppola, 1979), and continues to realize Kong’s defining role in the history of innovative animation. There is a lot I love about this movie, including how this adaptation of Kong draws from all three past iterations (1933, 1976, and 2005). The post-credit ‘stinger’ scene, however, reveals that this isn’t just another adaptation of Kong, but a set-up for a monster universe also inhabited by Godzilla with a bigger world yet to explore.

3. Wonder Woman (Patty Jenkins, 2017)
I was in awe of the aesthetic used to portray Diana Prince in-action throughout this movie. I loved Jenkins’s bold use of slow-motion and close-ups (in tandem with a rocking music motif) to cinematically draw attention to this superhero’s long-overdue arrival on the cinema screen. The critical, popular, and, especially, financial success of Wonder Woman seems to have also had a major influence on the DC franchise universe, as Zack Snyder’s Justice League (2017) (see entry 9) explicitly negotiates and discusses Diana’s leadership role.

4. The Mummy (Alex Kurtzman, 2017)
This movie was intended to kick-start the Dark Universe franchise by drawing from Universal Studio’s catalogue of classical Hollywood monster movies as source material. Despite the failure of this strategy, this premise is still so exciting to me and I find the ambition of this strategy intriguing. It’s a bold claim, but I think the critical and box-office failure of The Mummy makes it one of the most important franchise movies released this year.

5. Alien: Covenant (Ridley Scott, 2017)
Scott has taken the Alien franchise in new and contentious directions. However, I think his experimentation with transmedia storytelling has been a bold inclusion into the narrational fabric of this franchise. I watched this movie twice in the cinema. The first time I was very aware of how my experience of this movie was shaped by the two prologue shorts (misunderstood by many to be trailers during publicity)—titled Last Supper and The Crossing—and I was fascinated with the richer experience it gave me of key scenes and revelations. My second viewing was in a screening hosted by Luma Pictures, one of the Melbourne VFX studios who worked on Alien: Covenant as well as Spiderman: Homecoming (see entry 6). It’s always a profound experience to be in a cinema space with local artists who have worked on an international blockbuster movie and to share applause with them as their names rolled during the credits.

6. Spider-Man: Homecoming (Jon Watts, 2017)
This made all the right creative moves for me: it embraced a John Hughesian ‘teen movie’ expression of the superhero genre and it beautifully celebrated Spider-Man’s homecoming into the Avengers universe. This wasn’t only notable for Marvel audiences, but the collaboration between Marvel and Sony made this an important franchise movie.

7. War for the Planet of the Apes (Matt Reeves, 2017)
Reeves concludes the trilogy started by Rise of the Planet of the Apes (Rupert Wyatt, 2011) and offers a compelling take on how the ability to speak defines our humanity. I experienced a phenomenal (if hyperbolic) moment in the cinema watching this movie: I felt honoured to be alive on the same planet where cinema is made. I think it’s significant to still be affected by the illusion of cinema like this in 2017.

8. Thor: Ragnarok (Taika Waititi, 2017)
Waititi expertly commands the difficult task of negotiating his own eccentric auteur style within the Marvel Studios franchise formula. I don’t get a lot of opportunity to watch many Australian movies in the cinema lately (I’ll have to blame that on the franchise fever), so I was delighted to not only appreciate the Australian and New Zealand contributions to this movie, both in front of the camera and behind-the-scenes, but to also enjoy its familiar tone and humour (anyone who missed the reference to The Castle (1997) voiced in a Kiwi accent missed out big-time).

9. Justice League (Zack Snyder, 2017)
This is worth listing because of how overtly it tries to understand and negotiate the direction of the DC universe, which, despite the success of Wonder Woman, remains in Marvel’s shadow. I enjoyed Justice League because of how genuinely it acknowledged and tried to address this struggle in its character dynamics (see entry 3).

10. Star Wars: Episode VIII — The Last Jedi (Rian Johnson, 2017)
My response to this latest Star Wars instalment has been nothing short of confronting. The Last Jedi’s subversive discard of the past makes it a divisive movie amongst audiences. Personally, after viewing The Last Jedi multiple times, this negation has forced me to question my connection with what I think defines Star Wars and has indeed strengthened my relationship with the Force (however it works anymore).

JOSH B MABE

LIBRARIAN, FILMMAKER, AND PROGRAMMER IN CHICAGO.

A top 13
1. Sixty Six (Lewis Klahr, 2002-15, digital)
2. Mountain Castle Mountain Flower Plastic (Annapurna Kumar, 2017, digital)
3. Bad mama, who cares (Brigid McCaffrey, 2016, 35mm)
4. Our Own Private Universe (Ben Balcolm, 2016, digital)
5. Healing In My House (Jacolby Satterwhite, 2016, digital)
6. Shape of a Surface (Nazlı Dinçel, 2017, 16mm)
7. Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017, digital)
8. The Body Heals (Annelise Ogaard, 2016, digital)
9. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
(Joseph Cedar, 2017, digital)
10. Get Out (Jordan Peele, 2017, digital)
11. Tehran-Geles (Arash Nassiri, 2014, digital)
12. Stones For Thunder (Kera MacKenzie & Andrew Mausert-Mooney, 2018, digital)
13. Missing In-Between the Physical Proper (Olivia Ciummo, 2017, digital)

Get Out (Jordan Peele, 2017)

BOB MANNING

CINEPHILE AND MEMBER OF ADELAIDE CINEMATEQUE

My ten best movies of 2017

1. Wind River (Taylor Sheridan,2017)
2. Blade Runner 2049 (Denis Villeneuve,2017)
3. La Danseuse (The Dancer,,Stephanie Di Giusto,2016)
4. Les Innocentes (The Innocents, Anne Fontaine,2016)
5. Bombshell:The Hedy Lamarr Story (Alexandra Dean,2017)
6. Loving Vincent (Dorata Kobiela,Hugh Welchman,2017)
7. I am Heath Ledger (Adrian Buitenhuis,Derik Murray,2017)
8. Lady Macbeth (William Oldroyd,2016)
9. Mary Shelley (Haifaa Al-Mansour,2017)
10. Sweet Country (Warwick Thornton,2017)

MIGUEL MARIAS

FORMER DIRECTOR OF THE SPANISH FILM ARCHIVE (1986-88). AUTHOR OF BOOKS ON MANUEL MUR OTI AND LEO MCCAREY

A. Great movies seen for the first time in 2017 (made since 2012)
L’Amant d’un jour (Lover for a Day, Philippe Garrel, 2016/7)
Le Lion est mort ce soir (The Lion Sleeps Tonight, Suwa Nobuhirō, 2017)
La Prunelle de mes yeux (The Apple of My Eye, Axelle Ropert, 2016)
Chez nous (This is Our Land, Lucas Belvaux, 2017)
Un beau soleil intérieur (Let the Sun Shine In, Claire Denis, 2017)
Fai bei sogni (Sweet Dreams, Marco Bellocchio, 2016)
La Flor:Primera parte (Mariano Llinás, 2016)
Get Out (Jordan Peele, 2017)
The Lost City of Z (James Gray, 2016)
Les Beaux Jours d’Aranjuez (The Beautiful Days of Aranjuez, Wim Wenders, 2016)
Visages Villages (Faces, Places, Agnès Varda & JR, 2017)
Powidoki (Afterimage, Andrzej Wajda, 2016)
Christine (Antonio Campos, 2016)

B. Great movies seen for the first time in 2017 (made before 2012)
Omokage (A Visage to Remember/A Face to Remember/Image, Goshō Heinosukē, 1948)
Give Us This Day aka Christ in Concrete (Edward Dmytryk, 1949)
The Road Back (James Whale, 1937)
Thunderhoof (Phil Karlson, 1948)
Hesus, Rebolusyonaryo (Lav Diaz, 2001/2)
Two Smart People (Jules Dassin, 1946)
Juke Girl (Curtis Bernhardt, 1942)
The Prince of Tides (Barbra Streisand, 1991)
Embraceable You (Felix Jacoves, 1948)
Historia de una noche (Story of a Night, Luis Saslavsky, 1941)
The Mirror has Two Faces (Barbra Streisand, 1996)
Une femme en blanc se révolte/Le Nouveau Journal d’une femme en blanc (Claude Autant-Lara, 1965/6)
A Private’s Affair (Raoul Walsh, 1959)
Schwarzer Kies (Black Concrete, Helmut Käutner, 1961)
Bildnis einer Unbekannten (Portrait of an Unknown Woman,Helmut Käutner, 1954)
Epilog-Das Geheimnis der Orplid (Helmut Käutner, 1950)
Le Loup de la Côte Ouest (The Wolf of the West Coast, Hugo Santiago, 2002)
Outside the Law (Tod Browning, 1930)
The Baroness and the Butler (Walter Lang, 1938)
Mon Jules Verne (Patricio Guzmán, 2005)
Gloria (Claude Autant-Lara, 1977)
He Stands in a Desert Counting the Seconds in His Life (Jonas Mekas, 1969-84/5)
Un acte d’amour (Act of Love, Anatole Litvak, 1953)
Murder by Proxy aka Blackout, (Terence Fisher, 1953/4)
The Mysterious Lady (Fred Niblo, 1928)
Of Human Hearts (Clarence Brown, 1938)

C. Very good movies seen for the first time in 2017 (made since 2012)
Bamui haebyun-eoseo honja (On the Beach at Night Alone, Hong Sang-soo, 2016/7)
Geu-hu (The Day After, Hong Sang-soo, 2017)
Camp X-Ray (Peter Sattler, 2014)
Palmeras en la nieve (Palm Trees in the Snow, Fernando González Molina, 2015)
Belle Dormant (Ado Arrietta, 2016)
El Guardián Invisible (The Invisible Guardian, Fernando González Molina, 2016/7)
Napalm (Claude Lanzmann, 2017)
Jours de France (Jérôme Reybaud, 2016)
Toivon tuolla puolen (The Other Side of Hope, Aki Kaurismäki, 2017)
Tirez la langue, Mademoiselle (Miss and the Doctors, Axelle Ropert, 2013)
Crisis In Six Scenes (Woody Allen, 2016)
HyperNormalisation (Adam Curtis, 2016)
Wonderstruck (Todd Haynes, 2017)
Surbiles (Giovanni Columbu, 2017)
Wind River (Taylor Sheridan, 2016/7)
Hush (Mike Flanagan, 2014//6)
The Purge: Anarchy (James DeMonaco, 2014)
Muerte en León (Justin Webster, 2016)
Tarde para la ira (The Fury of a Patient Man, Raúl Arévalo, 2016)
A United Kingdom (Amma Asante, 2016)
Return to Sender (Fouad Mikati, 2015)
The Purge (James DeMonaco, 2013)
Fou d’Amour (Philippe Ramos, 2015)
La Fille Inconnue (The Unknown Girl, Jean-François & Luc Dardenne, 2016)
Voyage à travers le Cinéma Français (A Journey Through French Cinema, Bertrand Tavernier, 2016)
Disconnect (Henry Alex Rubin, 2012/3)
Que Dios nos Perdone (May God Save Us, Rodrigo Sorogoyen, 2016)
Denial (Mick Jackson, 2016)
El Elegido (The Chosen, Antonio Chavarrías, 2016)
Cien Años de Perdón (To Steal From a Thief, Daniel Calparsoro, 2016)
Madame Hyde (Serge Bozon, 2017)
Chacun sa Vie et Son Conviction (Everyone’s Life, Claude Lelouch, 2017)

D. Very good movies seen for the first time in 2017 (made before 2012)
Il Tenente Giorgio (Raffaello Matarazzo, 1952)
Honeymoon in Bali aka My Love For Yours aka Husbands or Lovers (Edward H. Griffith, 1939)
The Second Woman (James V. Kern, 1950)
Never Say Goodbye (James V. Kern, 1946)
Il Mondo le Condanna (The World Condemns Them, Gianni Franciolini, 1953)
Homicide (Felix Jacoves, 1948/9)
Sancta Maria aka La muchacha de Moscú (Edgar Neville, Pier Luigi Faraldo, 1941/2)
The Pretender (W. Lee Wilder, 1947)
The Man Without a Body (W.Lee Wilder, 1957)
La Simetría del Amor (The Symmetry of Love, Aitor Gaizka, 2010)
Tell No Tales (Leslie Fenton, 1939)
A Little Romance (George Roy Hill, 1979)
La isla de Robinson Crusoe (Robinson Crusoe Island, Patricio Guzmán, 1999)
Cinq millions comptant (André Berthomieu, 1957)
Derecho viejo (Mariano Llinás, 1998)
El Peñón de las Ánimas (The Rock of Souls, Miguel Zacarías, 1942/3)
The Land Unknown (Virgil W. Vogel, 1957)
Witch’s Cradle (Maya Deren, 1943)
Appassionatamente (Giacomo Gentilomo, 1954)
4 shorts:Óscar Saa, el técnico de las estrellas/Astrónomos de mi barrio/José Maza, el viajero del cielo/María Teresa y la enana marron (Patricio Guzmán, 2010)
A Letter for Evie (Jules Dassin, 1945/6)
Dangerous Moonlight aka Suicide Squadron, (Brian Desmond Hurst, 1941)
Café Cantante (Antonio Momplet, 1951)
Le Mort en Fuite (André Berthomieu, 1936)
Quartet #1(Jonas Mekas, 1974-85//92)
False Faces aka The False Faces (Irvin V. Willat, 1918/9)
Más Fuerte que el Amor (Tulio Demicheli, 1955)
The Virginian (Tom Forman, 1923)
Roaring Rails (Tom Forman, 1924)
Shadows (Tom Forman, 1922)
Highway Dragnet (Nathan Juran, 1953/4)
La Nuit des traqués (Bernard-Roland, 1959)
Young Ideas (Jules Dassin, 1943)
The Affairs of Martha (Jules Dassin, 1942)
The Perfect Specimen (Michael Curtiz, 1937)
Men Are Not Gods (Walter Reisch, 1936)
Una Golfa (Tulio Demicheli, 1958)
Bordertown (Gregory Nava, 2006)
Las Islas Marías (Emilio ‘Indio’ Fernández, 1950/1)
The Vicious Circle (The Woman in Brown;W.Lee Wilder, 1948)
Apache Territory (Ray Nazarro, 1958)
Le Crâneur (Dimitri Kirsanoff, 1955)
Picpus (Richard Pottier, 1942/3)
Inflation (Cyril R. Endfield, 1942)
Bright Angel (Michael Fields, 1990)
The Lost Squadron (George Archainbaud, 1932)
Tomahawk Trail (Lesley Selander, 1956/7)
Third Man on the Mountain aka Banner in the Sky (Ken Annakin, 1959)
The Man in the Net (Michael Curtiz, 1959)
The Atomic City (Jerry Hopper, 1952)
Golden Salamander (Ronald Neame, 1949/50)
Rymdinvasion I Lappland (Terror in the Midnight Sun aka Horror in the Midnight Sun aka Invasion of the Animal People, Virgil W. Vogel, 1958/9)
The Snorkel (Guy Green, 1958)

E. Great movies growing again
Red Line 7000 (Howard Hawks, 1965)
Les Bonnes Femmes (Claude Chabrol, 1960)
Mogambo (John Ford, 1953)
Circle of Danger (Jacques Tourneur, 1950/1)
Night and the City (Jules Dassin, 1950)
The Sicilian (Michael Cimino, 1987)
Ginger e Fred (Federico Fellini, 1985)
The Last Wagon (Delmer Daves, 1956)
E la nave va (And the Ship Sails On, Federico Fellini, 1983)
Ivanhoe (Richard Thorpe, 1951/2)
Il Bidone (Federico Fellini, 1955)
La Dolce Vita (Federico Fellini, 1959/60)
Distinto Amanecer (Another Dawn, Julio Bracho, 1943)
La Herida Luminosa (José Luis Garci, 1997)
El Crack (José Luis Garci, 1981)
El Crack Dos (José Luis Garci, 1983)
The Cruel Sea (Charles Frend, 1952)
Two O’Clock Courage (Anthony Mann, 1945)
Yellowstone Kelly (Gordon Douglas, 1959)
Rio Lobo (Howard Hawks, 1970)

F. Very good movies growing again
Women in the Wind (John V. Farrow, 1939)
Knights of the Round Table (Richard Thorpe, 1953)
Brewster’s Millions (Allan Dwan, 1944/5)
Entre Abril y Julio (Between Abril and Julio, Aitor Gaizka, 2002)
Luna de lobos (Julio Sánchez Valdés, 1986/7)
Los Pasos Perdidos (The Lost Steps, Manane Rodríguez, 2001)
Mi General (Jaime de Armiñán, 1987)
La diosa arrodillada (Roberto Gavaldón, 1947)
Reunion in France aka Mademoiselle France (Jules Dassin, 1942)
Fate Is The Hunter (Ralph Nelson, 1964)
The Greengage Summer aka Loss of Innocence (Lewis Gilbert, 1960/1)
My Favorite Wife (Garson Kanin, produced,written,supervised by Leo McCarey, 1940)
Whistle down the Wind (Bryan Forbes, 1961)
Nazi Agent (Jules Dassin, 1942)

Un beau soleil intérieur (Let the Sun Shine In, Claire Denis, 2017)

HIND MEZAINA

ARTIST, WRITER AND CINEPHILE FROM DUBAI. FOUNDER OF THE CULTURIST BLOG, CO-FOUNDER OF TEA WITH CULTURE PODCAST.

General reflection: This has been a David Lynch year for me. Twin Peaks: The Return has been the best thing I’ve seen all year. The “18-hour movie” has occupied my mind all summer. It is one of the most challenging pieces of work I’ve seen, it is moving, funny, confusing and makes you think about history, memories and mortality. Nothing for me could replace it as my number one favourite thing I watched this year.

This has also been a year of discovering old films at film festivals and/or special retrospectives in cities I visit during my travels. My second list below includes my top 20 film discoveries of the year.

My top 30

1. Twin Peaks: The Return (David Lynch, 2017)
2. Zama ( Lucrecia Martel, 2017)
3. Silence (Martin Scorsese, 2016)
4. Columbus (Kogonada, 2017)
5. Lucky (John Carroll Lynch, 2017)
6. Jia Nian Hua (Angels Wear White, Vivian Qu, 2017)
7. Princess Cyd (Stephen Cone, 2017)
8. Get Out (Jordan Peele, 2017)
9. You Were Never Really Here (Lynn Ramsay, 2017)
10. Brawl in Cell Block 99 (S. Craig Zahler, 2017)
11. A Ghost Story (David Lowery, 2017)
12. Marjorie Prime (Michael Almereyda, 2017)
13. Ex Libris: New York Public Library (Frederick Wiseman, 2017)
14. John Wick 2 (Chad Stahelski, 2017)
15. Dunkirk (Christopher Nolan, 2017)
16. Call Me By Your Name (Luca Guadagnino, 2017)
17. 120 Battements Par Minute (120 Beats per Minute, Robin Campillo, 2017)
18. The Disaster Artist (James Franco, 2017)
19. Inimi Cicatrizate (Scarred Hearts, Radu Jude, 2016)
20. Un beau soleil intérieur (Let the Sunshine In, Claire Denis, 2017)
21. Bamui haebyun-eoseo hanja (On the Beach at Night Alone, Hang Sang-soo, 2017)
22. 3/4 (Ilian Metev, 2017)
23. Wajib (Annemarie Jacir, 2017)
24. Araby (Arabia, Affonso Uchoa, João Dumans, 2017)
25. Sekala Niskala (The Seen and Unseen, Kamila Andini, 2017)
26. Wonder  (Stephen Chbosky, 2017)
27. Coco (Lee Unkrich, 2017)
28. Human Flow (Ai Weiwei, 2017)
29. Dangal (Nitesh Tiwari, 2016)
30. Secret Superstar (Advait Chandan, 2017)

My top 20 film discoveries in order of release date

1. All that Heaven Allows (Douglas Sirk, 1955, 35mm, Il Cinema Ritrovato, Bologna)
2. Written on the Wind (Douglas Sirk, 1956, 35mm, Il Cinema Ritrovato, Bologna)
3. Home from the Hill (Vincente Minnelli, 1960, 35mm, Il Cinema Ritrovato, Bologna)
4. Lawrence of Arabia (David Lean, 1962, 70mm, BFI, London)
5. An Autumn Afternoon (Yasujiro Ozu, 1962, DCP, BFI, London)
6. The Graduate (Mike Nichols, 1967, DCP, Il Cinema Ritrovato, Bologna)
7. THX 1138 (George Lucas, 1971, 35mm, Berlinale, Berlin)
8. Welt am Draht (World on a Wire, Rainer Werner Fassbinder, 1973, 35mm, Berlinale, Berlin)
9. The Friends of Eddie Coyle (Peter Yates, 1973, 35mm, Il Cinema Ritrovato, Bologna)
10. Barry Lyndon (Stanley Kubrick, 1975, DCP, Berlinale, Belin)
11. Wise Blood (John Huston, 1979, 35mm, Il Cinema Ritrovato, Bologna)
12. Raging Bull (Martin Scorsese, 1980 DCP, EYE, Amsterdam)
13. Ms 45 aka Angel of Vengeance (Abel Ferrara, 1981, DCP, Barbican Cinema, London)
14. Smithereens (Susan Sideman, 1982, 35mm, Barbican Cinema, London)
15. Terminator 2: Judgement Day (James Cameron, 1991, DCP, Novo Cinemas, Dubai)
16. Strange Days (Kathryn Bigelow, 1995, 35mm, Berlinale, Berlin)
17. Kundun (Martin Scorsese, 1997, 35mm, EYE, Amsterdam)
18. Lost Highway (David Lynch, 1997, 35mm, The Prince Charles Cinema, London)
19. Straight Story (David Lynch, 1999, The Prince Charles Cinema, London)
20. Beau Travail (Claire Denis, 1999, 35mm, BFI, London)

JACK MCCULLOCH

LOCATION SOUND RECORDIST BASED IN MELBOURNE

Top Films of 2017
Get Out (Jordan Peele, 2017)
2. Baby Driver (Edgar Wright, 2017)
3. Kono Sekai no Katasumi ni (In This Corner of the World, Sunao Katabuchi, 2016)
4. Blade Runner 2049 (Denis Villeneuve, 2017)
5. Dunkirk (Christopher Nolan, 2017)

Top Retrospective Screenings
1. Ikarie XB-1 (Jindřich Polák, 1963) MIFF, ACMI, 4K restoration
2. Tōkyō nagaremono (Tokyo Drifter, Seijun Sezuki, 1966) Japanese Film Festival, ACMI, 35mm print
3. Tengoku to Jigoku (High and Low, Akira Kurosawa, 1963) Essential Kurosawa, ACMI, 35mm print
4. Halloween III: Season of the Witch (Tommy Lee Wallace, 1982) 24 Hour Astor Spooktacular, Astor Theatre, Digital
5. Cowboy Bebop: Tengoku no Tobira (Cowboy Bebop: The Movie, Shinichiro Watanabe, 2001) Essential Anime, ACMI, 35mm print

KENTA MCGRATH

FILMMAKER, ADJUNCT POSTDOCTORAL RESEARCH FELLOW AT CURTIN UNIVERSITY

Favourite fifteen films including retrospectives, in alphabetical order
L’Avenir (Things to Come, Mia Hansen-Løve, 2016)
beDevil (Tracey Moffat, 1993)
La caméra de Claire (Claire’s Camera, Hong Sang-soo, 2017)
Canyon Cinema Curt McDowell Retrospective: Stinky Wieners and Dreamy Beavers
Canyon Cinema Women Filmmakers Retrospective: Always Something There to Remind Me
Le Concours (The Graduation, Claire Simon, 2016)
Dawson City: Frozen Time (Bill Morrison, 2016)
The Florida Project (Sean Baker, 2017)
Fuocoammare (Fire at Sea, Gianfranco Rosi, 2016)
La idea de un lago (The Idea of a Lake, Milagros Mumenthaler, 2016)
The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)
Moonlight (Barry Jenkins, 2016)
The Silent Eye (Amiel Courtin-Wilson, 2017)
Ten Meter Tower (Axel Danielson & Maximilien Van Aertryck, 2016)
The Work (Gethin Aldous & Jairus McLeary, 2017)

The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)

TIM MCQUEEN

VIDEOGRAPHER, EDITOR & CINEPHILE, BRISBANE

Things I Liked This Year Including Films, TV and more…

1. Aunty Donna: Best Content Ever!!1! (Max Miller, 2017, web-series)
Discovering this local Aussie troupe has been the cinematic highlight of my year. In an age where skepticism of all-male comedy groups has rightly proliferated, the only way such a group can ever earn respect is to, as Donna do, unreservedly highlight and demolish the idiocy of the male sex. Aside from these withering takedowns, their refined absurdism rivals Lynch, with unforgettable creations such as Broden Kelly’s Manbeast and Zach Ruane’s Mr. Bull etched into the subconscious. With clips like “Waving” and “Best Hilarious Cake Prank” they’re creating some of the best silent comedy of the New Century. Their latest series Best Content Ever is their most accomplished yet. A brutal assault on online content including the mind-blowingly Brechtian “Italians vs. People” and “Amazing Magic Compilation” which is what you’d get if Welles had made New Rose Hotel for Buzzfeed.

2. Twin Peaks: The Return (David Lynch, 2017, TV series)
Nothing more needs to be said here, except that the final episode is perfect and I genuinely hope no more is made.

3. Fai bei sogni (Sweet Dreams, Marco Bellocchio, 2016)
I‘m partial to bildungsroman films (bildungsfilms?), and this enchanting, haunting tale may feel to many like a retread, even of Bellocchio’s precious films, but what an enchanting and devastating path it is to walk.

4. Okja (Bong Joon-Ho, 2017, Netflix film)
Unfairly dismissed as a simplistic E.T. remake or vegan propaganda, this film is neither. It attacks all sides relentlessly and sports a classic Bong ending: unsettlingly satisfying, and never what we expect.

5. Hermia & Helena (Matias Piñeiro, 2016)
A gorgeous, free floating romcom with twists and turns that will reveal themselves over years to come.

6. The Day After (Hong Sang-Soo, 2017)
The gentle charm of Claire’s Camera and intricacy of Beach were blown away by this straightforward, witheringly self-deprecating tale of philandering. Also sporting the best Kim Minhee performance of the three and the finest cinematography (but isn’t that beside the point with Hong?)

7. Nocturama (Bertrand Bonello, 2016)
Children are people too.

8. Crazy Ex-Girlfriend (Rachel Bloom & Aline Brosh McKenna, 2017, TV series); Bojack Horseman (Raphael Bob Waksberg, 2017, Netflix series)
The delicate art of the sitcom metamorphosing into devastating drama. Renoir would be proud.

9. Get Krack!n (Kate McLennan & Kate McCartney, 2017, TV series); Shaun Micallef’s Mad As Hell (Shaun Micallef, 2017, TV series); Kiki and Kitty (Nakkah Lui & Catriona McKenzie, 2017, TV series); “Richard Spencer punched on camera” (Zoe Daniel, 2017, web video)
Turns out in the you-know-who era, Australian comedy was far better at embracing leftism, intersectionality and resistance (or at least the communist ABC was) than their American counterparts. Get Krack!n was a particular highlight: the mixture of homeliness, cynicism and surrealism we all needed to get through Peaks withdrawals.

10.   State of Origin: Game III (Channel 9, 2017, TV event)
The fitting tribute JT deserved.

Looking back over this list and it’s disgustingly patriotic. Also impossible to think there’s no room for Good Time (Ben and Joshua Safdie, 2017), Nathan for You: Finding Frances (Nathan Fielder, Michael Koman 2017), Song to Song (Terrence Malick, 2017), Paddington 2 (Paul King, 2107), Le Fils de Joseph (The Son of Joseph Eugene Green, 2016), Personal Shopper (Olivier Assayas, 2016), Unrest (Jennifer Brea, 2017), Better Call Saul (Vince Gilligan, Peter Gould, 2015-), Rosehaven (Luke McGregor, Celia Pacquola, 2016-) or Sophie Monk.

There’s already enough television in this list to incite riots, so radio is an almost impossible stretch, but I still know I’ll return to John Finnemore’s “Here’s What We Do” and “The Wroxton Box” more than any other piece of dramatic media from the past year.

Finally, worth noting the real best films of the year for me: at last immersing myself in the films of Jacques Rivette: Celine and Julie Go Boating (1974), The Story of Marie and Julien (2003), La Belle Noiseuse (1991), Out 1 (1971) and Haut Bas Fragile (1995). Also El Sur (1983), Doomed Love (1978), India: Matri Bhumi (1959), Artemide’s Knee (2008) and The Chronicle of Anna Magdalena Bach (1968).

ADRIAN MENDIZABAL

WRITER/FILM RESEARCHER. RESEARCH ON LAV DIAZ’S CINEMA. MA MEDIA STUDIES (FILM) CANDIDATE, UNIVERSITY OF THE PHILIPPINES FILM INSTITUTE

1. Twin Peaks: The Return(David Lynch, 2017)
2. Nelyubov (Loveless, Andrey Zvyagintsev, 2017)
3. Dapol Tan Payawar Na Tayug 1931(The Ashes And Ghosts Of Tayug 1931, Christopher Gozum, 2017)
4. Balangiga: Howling Darkness(Khavn dela Cruz, 2017)
5. Voyage of Time: Life’s Journey(Terrence Mallick, 2016)
6. Womb(Scott Barley, 2017)
7. Call Me By Your Name(Luca Guadagnino, 2017)
8. The Square(Ruben Östlund, 2017)
9. Philippine Cinema: A Century Hence(Jeffrey Deyto, 2017)
10. Ang Araw Bago ang Wakas(The Day Before the End, Lav Diaz, 2016)
11. Certain Women(Kelly Reichardt, 2016)
12. Get Out(Jordan Peele, 2017)
13. Blade Runner 2049(Denis Villeneuve, 2017)
14. The Chanters(James Mayo, 2017)

Anomolous Materials (digital encounters in the web, evental sites of ruptures, exclusionary digipoiesis)

1. Abbas Kiarostami listen iranian woman in Hospital(Mehmet Demircan, 2017)
2. October: Ten Days That Shook the World – Sergei M. Eisenstein(solidaritet2010, 2011)
3. The inaccessible doors of Abbas Kiarostami [In Media Res – April 24th – 28th](Marco Dalla Gassa, 2017)
4. ArchTV Abbas Kiarostami(Who.D Frames, 2017)
5. West London Grenfell Tower on fire, multiple casualties confirmed (Recorded LIVE FEED)(RT, 2017)
6. Right in from of my salad? Acom XXX Scene (Men.com, 2017)
7. BAHOG BILAT(Gran Torino, 2017)
8. Malawi Edit With Poetry by Trinh T. Minh-ha(nastasha drobnic, 2012)

Nelyubov (Loveless, Andrey Zvyagintsev, 2017)

JANE MILLS

ASSOCIATE PROFESSOR AT UNSW, TEACHES NATIONAL (AUSTRALIAN) AND TRANSNATIONAL CINEMAS. CURRENTLY WRITING A BOOK FOR I.B.TAURIS ON SOJOURNER CINEMA.

Grave (Raw, Julia Ducournau, 2017). A feminist horror film about a young, vegetarian woman who turns carnivore. It depicts perverse behaviour, bloody and grisly images of stomach-churning intensity, nudity, drug use (by humans and horses), dead dogs, cannibalism and cleverly implied sororial incest.  Showing and telling as much about sisterliness as about unsisterliness, and female body image and empowerment, it explores the borderlands between taste and disgust and steps over the line separating humans from animals and the supernatural: it takes us to places that we often like to pretend don’t exist.  And in a particularly good year for music and soundscape, Jim Williams’ super creepy music is inspired.

2. The Love Witch (Anna Biller, 2016). Another feminist horror film but this is a serial sex/murder–comedy starring Samantha Robinson as a modern witch who bewitches men to fall in love and fuck with her – at which point their end is nigh. Biller’s knowledge of feminist film theory, Russ Meyer movies and 1960s daytime television is spellbinding. I love this film, its thoroughly feminist feminist take on 1960s camp and, especially, its look. A small, indie filmmaker, Biller is unlikely to win major awards for her set and costume design. But she deserves to.

3.  Visages Villages (Faces Places, Agnes Varda & JR, 2017). The warm and wise 89 year-old Agnes Varda and JR, a photographer and muralist some 55 years her junior (perpetually wearing dark shades: who does he think he is – Godard?) takes us on a contemplative road movie around French villages to share their love, regard and respect for remarkable people whose existence and daily labour in restaurants, mines, farms and factories is generally unremarked. Vision lies at this documentary’s heart: Varda’s failing eyesight and unerring insights, JR’s passion for framing and reframing. Varda says this may be her last film: please let this not be so. You’ll have to see this lovely documentary to understand my final comment: yes, M. Godard, you are indeed a dirty rat.

4. Baby Driver (Edgar Wright, 2017) has an eclectic selection of great tracks by musicians including Blur, Run the Jewels, Sky Ferreira, Queen and Golden Earring. But Kid Koala’s original track “Was He Slow?” hooked me. Baby Driver is “A heist film unlike any other” not least because of Jonathan Amos and Paul Machliss’s brilliant editing. The sequence cut to the Jon Spencer Blues Explosion’s ‘Bellbottoms’ is a work of genius.

5. Oneohtrix Point Never’s score for Good Time (Ben & Josh Safdie, 2017) won Best Soundtrack Award at Cannes. Small wonder: it’s terrific. So is the film. As are the actors and the direction. Jennifer Jason Leigh’s cameo is a gem: for me, she never fails.

6. While La La Land (Damien Chazelle, 2016) is not one of my top films, it led me to revisit Jacques Demy’s wonderful musicals, Les Parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964) and Les Demoiselles de Rochefort (The Young Girls of Rochefort, 1967) with Michel Legrand’s equally wonderful music and the magical talent of costume designers, Marie-Claude Bouquet and Jacqueline Moreau. On reflection, La La Land’s opening song and dance sequence in a highway traffic jam with Mandy Moore’s virtuoso choreography, Linus Sandgren’s fluid cinematography and Mary Zophres’s wonderful costume design, all cut to Justin Hurwitz’s music and Benj Pasek and Justin Paul’s lyrics is one of my year’s top ten favourite screen moments – mostly because of its clever evocation of the opening sequence in Demy’s Les Demoiselles.

7. Inspired by James Baldwin’s last, uncompleted book, I Am Not Your Negro (Raoul Peck, 2016) explores the USA black experience. Superbly edited by Alexandra Strauss, the combination of composer-musician Alexei Aigui and sound design from Valerie Le Docte and David Gillain is perfection. As is Samuel L. Jackson’s narration (speaking only Baldwin’s words) – not just what he says but how he says it in terms of tone and pitch with a carefully modulated range of emotions from careful observation to controlled anger. This focused and rigorous contribution to USA race relations discourse, past and present, is not to be underestimated.

8. My favourite Australian film is The Go-Betweens: Right Here (Kriv Stenders, 2017) that portrays and dissects the lives, loves, politics, mindfulness (and at time mindlessness) of this seminal Australian pop group and its times. Notably, it gives space to the articulate female members of the band, Lindy Morrison and Amanda Brown. Stenders’ knows where, how and when to put the camera and Karryn de Cinque’s editing skills are superlative. No matter whether you know or like the music: this is a lovely, loving film. It recalls another Stenders treasure: Motherland (1994), a portrait of his Latvian grandmothers in which he brilliantly locates and mobilises his grannies on a Queensland backyard trampoline to question national and cultural borders and (dis)order.

With few words left to me, I can only briefly shortlist the remaining films of my top ten.

O Ornitólogo (The Ornithologist, João Pedro Rodrigues 2016). It’s not just because I’m a birdwatching tragic that I was mesmerised by this totally puzzling and unforgettable film.
Moonlight (Barry Jenkins, 2016). As much as the politics of this African-American coming of age movie, the structure and editing of this film impresses: go Joi McMillon, the first black woman nominated for an editing Oscar!
Lady Macbeth (William Oldroyd 2016). Director and screenwriter (Alice Birch) are clearly a huge talent, as is actress Florence Pugh.
Okja (Bong Joon-ho, 2017). It’s difficult to explain the lure of this daring Netflix politicised film about a super-pig – but lured I was.
Detroit (Kathryn Bigelow 2017). Many critics delighted in discussing this film’s flaws which exist for sure but it’s also very good filmically and politically.
Thor: Ragnarok  (Taika Waititi, 2017) Definitely in my top 10 and I don’t even like Marvel comic movies. All Waitikiti’s films have rocked and this rocks extra loud and good. It’s very funny – and then some.

After the death this year of Sylvia Lawson, we lost one of Australia’s best film critics and writers. I revisited the film The Back of Beyond (John Heyer, 1954) about which she wrote so perceptively in her Australian Screen Classic, (Currency Press & NFSA, 2013). The film is every bit as wonderful as Sylvia says. Please see the film and read what Sylvia has to say about it. We miss you, Sylvia.

OLAF MÖLLER

CINEPHILE, WRITER, TRANSLATOR AND CURATOR, COLOGNE

Olaf Möller’s Eleven Friends 2017

Team Managers (Films of the Year)
Erase and Forget (Andrea Luka Zimmerman, 2017)
Le Vénérable W. (The Venerable W., Barbet Schroeder, 2017)

First Team (Line-up in strictly alphabetical order)
Gyakusatsu kikan (Genocidal Organ, Murase Shūkō, 2017)
Hanagatami (Ōbayashi Nobuhiko, 2017)
Jiābiāngōu jìshì (Jiabiangou Elegy: Life and Death of the Rightists, Ài Xiǎomíng, 2017)
Kiku to Guillotine. Onnazumō to Anarchist (The Chrysanthemum and the Guillotine, Zeze Takahisa, 2018)
The Killing of a Sacred Deer (Yorgos Lánthimos, 2017)
Nippon-koku vs Sen’nan Ishiwata-mura (Sennan Asbestos Disaster, Hara Kazuo, 2017)
Pēraṉpu (Resurrection, Rām, 2017)
Sarah joue un loup-garou (Sarah Plays a Werewolf, Katharina Wyss, 2017)
Shakkei. Geborgte Landschaften (Shakkei. Borrowed Landscapes, Hartmut Bitomsky, 2017)
Silence (Martin Scorsese, 2016)
Untitled (Monika WIlli & Michael Glawogger, 2017)

Substitutes
2+2 = 22 (The Alphabet). Streetscapes – Chapter I / Photography and beyond – Part 24 & Bickels (Socialism). Streetscapes – Chapter II / Photography and beyond – Part 25 / Architecture as Autobiography / Samuel Bickels (1909–1975) & Streetscapes (Dialogue). Streetscapes – Chapter III / Photography and beyond – Part 26 & Dieste (Uruguay). Streetscapes – Chapter IV / Photography and beyond – Part 27 / Architecture as Autobiography / Eladio Dieste (1917–2000) (Heinz Emigholz, 2017) // Ajñāt Śilpī (The Unknown Craftsman, Amit Dattā, 2017) // Aki no riyū (Autumn, Fukuma Kenji, 2016) // Caak³ daan² zyun¹ gaa¹ (Shock Wave, Jau¹ Lai⁵ Tou⁴ (Herman Yau), 2017) // Detroit (Kathryn Bigelow, 2017) // Fake (Mori Tatsuya, 2016) // First Reformed (Paul Schrader, 2017) // History of the Underground (Sari Dalena & Keith Sicat, 2017) // Le jeune Karl Marx (The Young Karl Marx, Raoul Peck, 2017) // Nazidanie (Boris Juchananov & Aleksandr Šejn, 2017) // Pamsŏm haejŏktan Sŏul bulbada (Bamseom Pirates Seoul Inferno, Chŏng Yunsŏk, 2017) // Powidoki (Afterimage, Andrzej Wajda, 2016) // Vojna Anny (Anna’s War, Aleksej Fedorčenko, 2017)

Extended Team
★(Version MMIX-MMXVII October) (Johann Lurf, 2017) // ’77 No Commercial Value (Fulvio Baglivi, 2017) // Alley Cat (Sakaki Hideo, 2017) // Ammore e malavita (Love and Bullets, Marco & Antonio Manetti, 2017) // Aus einem Jahr der Nichtereignisse (From a Year of Non-Events, Ann Carolin Renninger & René Frölke, 2017) // Bedūne Tārīḫ, Bedūne Emża (No Date, No Signature, Vahīd Ǧalīlvand, 2017) // Denk ich an Deutschland in der Nacht… (If I Think of Germany at Night…, Romuald Karmakar, 2017) // Drift (Helena Wittmann, 2017) // Ex libris – The New York Public Library (Frederick Wiseman, 2017) // Les Garçons sauvages (The Wild Boys, Bertrand Mandico, 2017) // Genre (Klim Kozinskij, 2017) // Godzilla: Kaijū wakusei (Godzilla: Planet of the Monsters, Shizuno Kōbun & Seshita Hiroyuki, 2017) // Historiographika errata (Richard Villarosa Somes, 2017) // Isṭiyād Ašbah (Ghost Hunting, Raʾid Anḍūnī, 2017) // Laissez bronzer les cadavres (Let the Corpses Tan, Hélène Cattet & Bruno Forzani, 2017) // Monzetsu jōei. Ginmaku no kyonyū (Katō Yoshikazu, 2017) // Ming⁴ jyut⁶ gei² si⁴ jau⁵ (Our Time Will Come, Heoi² On¹ Waa⁴ (Ann Hui), 2017) // Namhan sansŏng (The Fortress, Hwang Donghyŏk, 2017) // Napalm (Claude Lanzmann, 2017) // Rip Van Winkle no hanayome (A Bride for Rip van Winkle, Iwai Shunji, 2016) // Rodin (Jacques Doillon, 2017) // Romans 8:37 (Sin Yŏnsik, 2017) // Song to Song (Terrence Malick, 2017) // Los versos de olvido (Oblivion Verses, ˁAlīreżā Ḫātamī, 2017) // Vlk z Královských Vinohrad (The Wolf from Royal Vineyard Street, Jan Němec, 2016) // Xiōng nián zhī pàn (We the Workers, Huáng Wénhǎi, 2017)
+ L’Affaire Protheroe (Olivier Pancheot, 2016) // Les guerriers de l’ombre (Frédéric Schoendoerffer, 2017) // Jean Claude Van Johnson [TV Series] (Peter Atencio, 2016/17) // Linnan juhlat (The Independence Day Ball, Tapio Piirainen, 2017) // Nörtti: DragonSlayer666: Virtuaalisoturi (Aleksi Delikouras, 2017) // Pelin viivyttäminen (Delay of Game, Mika Taanila, 2017) // Tatort: Der rote Schatten (Dominik Graf, 2017) // Yochō sanpo suru shinryakusha (TV miniseries) (Kurosawa Kiyoshi, 2017)

Olaf Möller’s Eleven Veterans 2017

Team Managers (Revelation of the Year)
Cielo sulle palude (Heaven Over the Marshes, Augusto Genina, 1949)
Destination Unknown (Tay Garnett, 1933)

First Team (Line-Up in strictly alphabetical order)
Der Altar von Pergamon (Erich Legler, 1960)
I vse-taki ja verju (And Still I Believe, Michail Romm & Marlen Huciev & Ėlem Klimov, 1974)
Jīn hóu xiáng yāo (Monkey King Conquers the Demon, Tè Wěi & Lín Wénxiào & Yán Dìngxiàn, 1980)
Kapetán Meïntános: Ī Eikóna enós Mythikoú Oplarchīgoú (Captain Meitanos: Image of a Mythical Personage, Dīmosthénīs Théos, 1987)
Kiryūin Hanako no shōgai (Onimasa, Gosha Hideo, 1982)
Kōshō sahō. Tōkyō kenbutsu (Mori Kaname, 1926)
Min Laḥm wa Ṣalb (Muḥammad ˁAfīfī, 1959)
Una pelea Cubana contra los demonios (A Cuban Fight Against Demons, Tomás Gutiérrez Aléa, 1971)
Pelota de cuero (Historia de una pasión) (Armando Bó, 1963)
When Eight Bells Toll (Étienne Périer, 1971)
Zum Begriff des „kritischen Kommunismus“ bei Antonio Labriola (1843-1904) (Günter Peter Straschek, 1970)

Substitutes
Canoa: memoria de un hecho vergonzoso (Canoa: A Shameful Memory, Felipe Cazals, 1976) // České hrady a zámky (Czech Castles and Palaces, Karel Hašler, 1914) // Člen pravitel’stva (The Great Beginning, Iosìf Chejfìc & Aleksandr Zarchi, 1940) // La Conquête de l’Angleterre MLXVI. De la tapisserie de la reine Mathilde, a Raveux (Leontina Indelli & Émile Cohl, 1937) // (Danses enfantines) (Société Pathé Frères, 1917) // Ī Diadikasía (Proceedings, Dīmosthénīs Théos, 1976) // Extirpation d’un kyste du corps thyroïde (Eugène-Louis Doyen, 1898-1906?) // [Fanden I nøtten] (Ole Cornelius, 1917) // Das Geheimnis der Schrift (Fragment) (Kertész Dezső, 1924) // Inês de Castro (José Leitão de Barros, 1944) // Istorija Vlasa – lentjaja i lobotrjasa (Grigorij Lomidze, 1959) // Karl Martin (Luis Noronha da Costa, 1974) // Lac aux dames (Marc Allegret, 1934) // Lutteurs japonais (Constant Girel, 1897) // Majd holnap (Maybe Tomorrow, Elek Judit, 1980) // al-Manabeˁ al-Arbaˁa (Aḥmad Al-Būˁanānī, 1977) // Meiseken (Hans Deppe, 1937) // Mitt hem är Copacabana (My Home Is Copacabana, Arne Sucksdorff, 1964) // Poslednata duma (The Last Word, Binka Željazkova, 1973) // El rebozo de Soledad (Soledad’s Shawl, Roberto Gavaldón, 1952) // Reportaž s asfalta (Report from the Asphalt, Vadim Abdrašitov, 1971) // Robotnice (Women Workers, Irena Kamieńska, 1981) // A Run with Exmoor Staghounds (Natural Colour Kinematograph Company, 1911) // Sauna (Holger Harrivirta, 1947) // Stranger at My Door (William Witney, 1956) // Young Desire (Lewis B. Collins, 1930)

Extended Team
100 ṓres tou Máī (100 Hours in May, Dīmosthénīs Théos & Fṓtos Lamprinós, 1963) // 633 Squadron (Walter Grauman, 1964) // Alla ricerca dell’impossibile (Mauro Mingardi, 1962) // Les Amours de minuit (Marc Allegret & Augusto Genina, 1931) // L’angelo con la pistola (Angel With a Gun, Damiano Damiani, 1993) // [Annonces pour exploitants 1917] // Assicurasi vergine (Insurance on a Virgin, Giorgio Bianchi, 1967) // Aux frontières de l’homme. Aspects de la biologie français (Nicoles Vedrès & Jean Rostand, 1952) // al-ˁAwdah ila Aġadīr (Muḥammad ˁAfīfī, 1967) // al-Ayyām, al-Ayyām (Oh the Days, Aḥmad Al-Maˁnūnī, 1978) // Azione della R. Marina nel golfo di Trieste (Ministerio della marina, 1917) // [Baladar] (1930) // Barnängen Parba – Allt går på tok (Everything Goes Wrong, 1934) // Il cappello da prete (Ferdinando Maria Poggioli, 1944) // Carrefour des passions (Crossroads of Passion, Ettore Giannini [& Henri Calef], 1948) // Censor t̂xng tāy (Censor Must Die!, Xǐng Kāỵcnawṇichy̒, 2013) // Ch’oehu-ŭi chŭngin (The Last Witness, I Tuyong, 1980) // Choupinet aux enfers (Unfinished) (Omer Boucquey, 1946) // The Cockleshell Heroes (José Ferrer, 1955) // [Le couple insatiable: essais partiels d’animation] (Jean Delaurier & Raymond de Villepreux & Georges Bouisset, 1942) // A Cultura do Cacau (1909) // Daïnah, la métisse (Jean Grémillon, 1931) // Ḏākira Arbaˁat ˁAšar (Aḥmad Al-Būˁanānī, 1971) // Delhoreh (Anxiety, Sāmūʾel Ḫačīkiyān, 1962) // Demain, la petite fille sera en retard à l’école (Michel Boschet, 1978) // Draußen in Berlin (Trutz Meinl, 1969) // Dziewczęta z „Nawojki“ (The Girls from „Nawojka“, Maria Kwiatkowska, 1963) // È nata una stella (Giorgio Moser, 1951) // Eleátīs Xénos (Dīmosthénīs Théos, 1996) // Feeding Poultry on the Prowse-Jones Farm. Pinner. (Natural Colour Kinematograph Company, 1911) // Femina ridens (The Laughing Woman, Piero Schivazappa, 1969) // La femme en homme (The Woman Dressed As a Man, Augusto Genina, 1932) // La Fortune enchantée (Pierre Charbonnier, 1936) // Den förlorade melodien (The Lost Melody, Gösta Werner, 1957) // La gelosia (Jealousy; Augusto Genina, 1915) // Gelosia (Jealousy, Ferdinando Maria Poggioli, 1942 ) // Green Street (Lexi Alexander, 2005) // Der grüne Kaiser (Paul Mundorf & Karl Schulz, 1939) // La Guerra e il sogno di Momi (Segundo de Chomón, 1917) // The Harvest (1908; Natural Colour Kinematograph Company, 1908) // (Holland in ijs) (Willy Mullens, 1917) // In the Heart of the Sea (Ron Howard, 2015) // Itto (Marie Epstein & Jean Benoit-Lévy, 1934) // Jacqueline (Wolfgang Liebeneiner, 1959) // Jericho (Henri Calef, 1946) // Jestem mężczyną (I Am a Man, Maria Zmarz-Koczanowicz, 1985) // Jo no mai (Appassionata, Nakajima Sadao, 1984) // Jyu⁴ loi⁴ san⁴ zoeng² (I-IV) (Buddha’s Palm (I-IV), Líng Yún & Jyùn Siú Tìn (Simon Yuen), 1964) // Kanalen en windmolens (Kinematograaf Pathé frères, 1917) // Kinō kieta otoko (The Man Who Disappeared Yesterday, Makino Masahiro, 1941) // [Ein k.u.k. Feldkino-Zug während des ersten Weltkrieges] (Sascha Filmindustrie, 1917) // Kyojin-den (The Giant, Itami Mansaku, 1938) // Lache, Bajazzo (Laugh Pagliacci, Leopold Hainisch [& Giuseppe Fatigati], 1943) // Malombra (Carmine Gallone, 1917) // Mater Dolorosa (Abel Gance, 1917) // Meluka gaar frem! (Oskar Fischinger, 1935) // Mesunekotachi no yoru (Night of the Felines, Tanaka Noboru, 1972) // Le moglie e le arance (Luigi Serventi, 1917) // La moglie più bella (The Most Beautiful Wife, Damiano Damiani, 1970) // Mukashi no uta (Old Sweet Song, Ishida Tamizō, 1939) // [De Petroleumbrand te Vlissingen: Een overzicht van der ruïne] (Kinematograaf Pathé frères, 1917) // Pograničnaja-storozevaja (Frontier Patrol Song, Igor’ Sorochtin, 1939) // Preodolenie (Overcoming, Jurij Klepikov, 1967) // Pussycat Film No. 490: French Games (Color Climax, 1976) // R.C.M.A. Tenniswedstrijd. 16 Oct. 1934, Klein Soengei Karong (Otto Seebaß?, 1934) // Revoljucioner (The Revolutionary; Evgenij Bauer, 1917) // The Road Back (Premiere version) (James Whale, 1937) // (Sascha …als Lebensretter) (Ladislaus Tuszyński?, Peter Eng?, Louis Seel?, 1921?) // (Scéne d’ivrogne) (Henry Joly?, 1896?) // Schildmeyer Darlaten (Schmelzdahin (= Jochen Lempert & Jürgen Reble & Jochen Müller), 1988) // Sengoku guntō-den. Zenpen: Tora ōkami & Sengoku guntō-den. Kōhen: Akatsuki no zenshin (The Rise of Bandits – Tale of Battle in the Age of Warring States, Takizawa Eisuke, 1937) // Sensō to ningen – Dai’ichibu: Unmei no jokyoku (Men and War – Part 1: Fate’s Overture, Yamamoto Satsuo, 1970) + Sensō to ningen – Dainibu: Ai to kanashimi no sanga (Men and War – Part 2: Landscapes of Love and Sadness, Yamamoto Satsuo, 1971) + Sensō to ningen –  Daisanbu: Kanketsu-hen (Men and War – Part 3: Conclusion, Yamamoto Satsuo, 1973) // Shakespeare t̂xng tāy (Shakespeare Must Die!, Xǐng Kāỵcnawṇichy̒, 2012) // Sininen varjo (Fragment) (Blue Shadow, Valentin Vaala, 1933) // Situationen (Johannes Beringer, 1967) // Sluga (The Servant, Vadim Abdrašitov, 1988) // Snehulák (Hermína Týrlová, 1966) // Sono zen’ya (The Night Before, Hagiwara Ryō, 1939) // Die Sportlady (Fragment) (Cornelius Hintner, 1922) // Stíhán a podezřelý (Zbyněk Brynych, 1979) // Taeho (The Tiger: An Old Hunter’s Tale, Pak Hunjŏng, 2015) // Tanz der Farben (Unfinished) (Hans Fischinger, 1939) // Il tentato suicidio nell’adolescenza (T.S. Giovanile) (Ermanno Olmi, 1968) // Toptyžka (Fedor Chitruk, 1967) // Ṭūfān dar Šahr-e mā (Storm in Our City, Sāmūʾel Ḫačīkiyān, 1958) // Uchūjin Tōkyō ni awaru (Warning from Space, Shima Kōji, 1956) // Valentino Moon (Gianni Castagnoli, 1974) // Die Verschwörung (Fragment) (Emil Justitz, 1919) // Vesennij potok (Vladimir Jurenev, 1940) // Wiener Bilderbogen Nr. 1 (Louis Seel, 1925?) // Wir lassen uns scheiden (We Are Getting Divorced, Ingrid Reschke, 1967) // Za sčast’em (Towards Happiness, Evgenij Bauer, 1917)