A lot of revisiting and rediscoveries. For instance, so much of Pan’s Labyrinth is obviously about the creatures that I had pretty darn close forgotten the gripping historical drama that eases in and out of the macabre fantasies. Really, it’s spellbinding in its transitions and dares to question the nature of reality. I mean, what else is history but a long told tale of sorts? And A Prairie Home Companion, a coronation to bookend an idiosyncratic career in an idiosyncratic way, becomes richer as it distances in years. Its misty-eyed farewell never turns to saccharine because like most of Atman’s oeuvre, there’s nothing like its perfect imperfection. I just still feel bad for the crowds that had herded in expecting the radio show. But what a surprise my number one is! Whatever happened to Dans Paris? It came and went with very little fuzz and got shelved to dust. Or who knows! It could be the greatest rave in France to this day. No matter the case, it’s quite the vibrant movie, uncompromising in its manner of vision. It can be as cold and angry as Godard, as playful as Truffaut, and as riveting as any French New Wave film uncovered from the ashes of time. One moment its morose, the next they’re singing, but it never once loses its luster. So at number one it happily pops up.
1. Dans Paris (Christophe Honoré)
2. Pan’s Labyrinth (Guillermo del Toro)
3. A Prairie Home Companion (Robert Altman)
4. The Lives of Others (Florian Henckel von Donnersmarck)
5. Syndromes and a Century (Apichatpong Weerasethakul)
6. Inland Empire (David Lynch) and Brand Upon the Brain! (Guy Maddin)
7. Still Life (Jia Zhangke)
8. The Departed (Martin Scorsese)
9. Lady Chatterley (Pascale Ferran)
10. Colossal Youth (Pedro Costa)
The Lives of Others has become one of those cases of a dignified, intelligent work cast amongst respectfully neglected foreign films whose directors never bloomed as renowned auteurs (i.e. Sundays and Cybele, The Official Story). But its reputation is something I’m glad to continue to somewhat hear about today, even if it’s not as commonly referenced to as when compared to a PT or Wes Anderson movie. Then there’s stuff like Syndromes and a Century, Still Life, and Inland Empire, films all about their director’s visions and inseparable from their creator’s cannons. And without mentioning all of those wonderful movies that I painfully had to exclude – and trust me, there were a lot – I will proclaim that Lady Chatterley and Colossal Youth are nearly three-hour long dramas that rightfully deserve that time to ruminate.
Next post, and at this rate once a month, will be the year 1981. All I can think of is throwing a chair through a window, Mr. Bill Hurt.