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Nothing for me could replace it as my number one favourite thing I watched this year.
I think it’s significant to still be affected by the illusion of cinema like this in 2017. (Taika Waititi, 2017) Waititi expertly commands the difficult task of negotiating his own eccentric auteur style within the Marvel Studios franchise formula. The “18-hour movie” has occupied my mind all summer.
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 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). 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.
I can´t include the film 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. , 1968, Raúl Ruiz)- Locarno Film Festival Apparently 2017 was the year that cinema died…again.
This is largely attributed to Hollywood hitting peak franchise fever…again.
My second list below includes my top 20 film discoveries of the year.
My top 30 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.
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.
(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. (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. (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. , 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. (Jairus Mc Leary, 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. (Noah Baumbach, 2017) Baumbach’s latest bittersweet comedy of familial strife pits a trio of angst-ridden siblings against a dying, middling artist patriarch.