At the start of the year we usually look back over the previous 12 months and pick out our favourite films. Normally for this blog these would be restricted to those shown at the Picture House and I though this year it might have to be different. However the first few months of 2020 were really good for cinema and I’m not sure if this top 5 would be much different even if the doors had stayed open for longer.
So my Top 5 of 2020 is:
Portrait Of A Lady On Fire
Of the films I saw on the smaller screen at home the following would make it into my Top 10: Lynn + Lucy (BFIPlayer), Wolfwalkers (Apple+), Saint Frances (Netflix), Babyteeth (Netflix) and Never Rarely Sometimes Always (Sky/NowTV).
What about you? Did you still manage to see lots of great films (on screens of any size), let us know in the comments.
So, I found 2019 not a great year for new releases; lots of popular films but not that many outstanding ones. Those that stood out for me both in terms of craft and subject were:
Rosie, Eire. This was a drama about homelessness in Dublin. Very well done and the cast were impressive. It was distributed independently so I am afraid many people may have missed it.
Happy as lazzaro / Lazzaro Felice, Italy. A compelling drama, both of exploitation and the problems of migrants. One of the most imaginative stories I have seen for a long time.
A Season in France, France. A drama about an African migrant family. This was a bleak tale but finely done.
Never Look Away, Germany. An artist travels from East Germany to the West and from Socialist Realism to the avant-garde. Fascinating.
Pain and Glory, Spain. An exploration of sexual orientation and of cinema and of art; beautifully put together.
Bait, Britain. This title only qualified on 35mm. The digital version did not handle the distinctive techniques on the film well.
So Long, My son, China. One of several epic dramas from the territory presenting a canvas that was large in terms of time and space; a study of the contradictions of family relationships.
We also enjoyed several screenings of classics in their original format of 35mm. Sans Soleil / Sunless, France 1983 was part of a weekend of screenings curated by the Pavilion of the Artist Moving Image Network. This is a classic documentary, visually stunning and with a complex tapestry of themes. Among the other gems of the weekend was Colloque de chiens, France 1977; a sardonic 20 minute film on 35mm and in colour. The canine characters were a metaphor.
I’m a bit disappointed that my list is mostly English language films but a lot of the ‘foreign language films’ released this year such as A Man Called Ove, The Handmaidenand Toni Erdmann I saw at LIFF30 so haven’t included here.