The final list of the year – the top 10 films, and, to my mind, it’s something of a stunner, with non-English language films dominant. And just failing to make the top 10 were a number of much praised indie films – including Spike Lee’s BlacKkKlansman, The Florida Project and Lean on Pete. Last year’s Oscar winner for best film, The Shape of Water, just missed out on the top 10, as did my only animation for the year, Isle of Dogs.
My top 10 films of the year:
10: The Rider
9: BPM (Beats Per Minute)
6: The Favourite
3: Three Billboards Outside Ebbing, Missouri
The final film I saw at the 2018 Melbourne International Film Festival slipped into 10th spot – an intense indie film of bravura performances beautifully controlled by director Chloe Zhao.
The winner of the Grand Jury Prize at the 2017 Cannes Film Festival (essentially the runner up for the Palme d’Or), BPM is a powerful, lyrical, emotional narrative that resonates on a much wider political level than its ACT UP AIDS awareness setting.
In Loveless, director Andrey Zvyagintsev continues to comment on contemporary Russian society as a Leningrad couple look to divorce. Their 12 year-old son, caught in the vindictive and argumentative maelstrom, disappears in the stark yet rivetingly sincere feature from the director who is responsible for the equally devastating Leviathan.
In seventh spot, a film that was completely under the radar and barely received commercial distribution. But this black and white story of two Jews returning to a small Hungarian village days after the end of World War II is a picaresque narrative of startling beauty and powerful commentary.
One of the favourites in the current Oscar race, The Favourite is a ribald delight as the English court of Queen Anne is the setting for the locking of horns by three women in an attempt to win the royal favour.
Another Oscar favourite (and odds-on to win the foreign language film nod) is another black and white beauty. Roma by Alfonso Cuarón is the gorgeously shot year in the life of Cleo, a maid to a middle-class family living in Mexico City in the 1970s.
Devastating and disturbing, debut director Xavier Legrand’s claustrophobic tour de force is no easy watch, but with superb performances from a relatively small cast, Custody is heart-wrenching in its pain, fear and anger.
The runner-up for best film of the year is Shoplifters, the Palme d’Or winner at the 2018 Cannes Film Festival. It’s a deft, emotionally delicate feature from socially conscious filmmaker Hirokazu Kore-eda.
But my favourite film of 2018 is the Israeli film, Foxtrot, a sublime mix of intense drama interspersed with flashes of surreal brilliance. It’s bold, it’s imaginative, it’s powerful – an appropriate follow-up from director Samuel Maoz and his visceral debut feature film, Lebanon.