Best of Year (2018 – Film)

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)
8: Loveless
7: 1945
6: The Favourite
5: Roma
4: Custody
3: Three Billboards Outside Ebbing, Missouri
2: Shoplifters
1: Foxtrot

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 Cuaron 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.



An alternative family unit eking out a living in contemporary Japan through poorly paid contract work, shoplifting and bucking the system. Yet their compassion is such they take in a young girl found outside in the cold of winter.

The Palme d’Or winner at the 2018 Cannes Film Festival, Shoplifters is a deft, emotionally delicate feature from socially conscious filmmaker Hirokazu Kore-eda (Like Father Like Son, I Wish).

A faultless cast (four adults, two children), a beautifully modulated script and unobtrusive direction allows the narrative to unfold to its devastating conclusion. Shoplifters is a charming gut-wrencher of a film – and one of the year’s best.

Rating: 88%

Best of Year (2016) – Female Performance

la_pazza_gioia_01_cpaolo-cirielli-0-2000-0-1125-cropHere we go – first of my 2016 ‘best of’ film lists, limited to the films I saw during the year.

It’s reported that 2016 was a particularly fine year for high-profile female performances. But sadly, many are in films yet to be released in Australia. So no Natalie Portman (Jackie), Ruth Negga (Loving), Annette Bening (20th Century Women), Taraji P Henson (Hidden Figures), Viola Wills (Fences), Sandra Hueller (Toni Erdmann) and any number of films never seeing the light of day Down Under.

But my top 5:

5: Emma Stone (La La Land)
4: Amy Adams (Nocturnal Animals/Arrival)
3: Charlotte Rampling (45 Years)
2: Isabelle Huppert (Elle)
1: Valeria Bruni Tedeschi (Like Crazy (La pazza gioia))

This list could have been made up from a number of performances featured in last year’s Oscars – yet Brie Larssen, winner of the 2016 Oscar for best actress for her performance in Room, failed to make my top five (I placed her sixth on the list). Of the nominations for last year’s Oscar, my vote would have been cast for the quiet, superbly nuanced performance by veteran actress Charlotte Rampling and 45 Years.

Other’s just outside the top five include Sally Field (Hello, My Name is Doris), Margot Robbie (Suicide Squad – even though I did not like the film) and  veteran Japanese actress Kirin Kiki for An (known as Sweet Bean in the States).

Three of the likely 2017 contenders are featured in my top 5 for the year. Emma Stone and La La Land slips into my list – the last film I saw in 2016 – and she (just) steals the acting accolades from Ryan Gosling. Amy Adams also makes my list – and a little unfairly in a way as there are two superb performances to take into account (and which I saw on the same day!). It’s Arrival that’s winning the attention but my personal preference (just) is for Tom Ford’s sublime Nocturnal Animals.

Isabelle Huppert pulls off the challenge of the rape victim who turns the tables on her attacker in Elle, a so-called taut mystery which I personally found loathsome and offensive as a film. But there was no denying Huppert’s performance and she may well gain her first Oscar nomination.

But its Valeria Bruni Tedeschi who gets my vote for 2017 and her fabulous bipolar performance in the Italian comedy drama Like Crazy (La pazza gioia). She completely owned that role!


an-sweet-red-bean-paste-posterA sweet confection of a film turns on its emotional head at the half way mark, providing a quietly moving finale that may be obvious but is no less powerful.

Veteran actress Kirin Kiri (Still Walking, Mom and Me and Sometimes Dad) is a quirky delight as Tokue, desperate to work at the corner dorayaki (a pancake-like snack) house to make her home made an (red bean paste) and revive the fortunes of down-at-heel chef, the cynical Sentaro. A gentle, believable friendship develops between the two.

An is a quiet, gently nuanced film where, from an ‘action’ perspective, little happens. But the dignified performances and a simple, unfolding storyline makes this modest film look to the detail of life rather than broad brushstrokes.

Rating: 69%