There are a lot of gems to be discovered in the cinema of other countries, and those of us who routinely seek out the visions of others, unfazed by subtitles, experience a wealth of soulful artistry that likely won't be recaptured in the Hollywood remake.
Now that video streaming has come into vogue, perhaps more people will be able to visit the imaginary worlds of foreign auteurs, without the need to exert tremendous effort to see them in limited screenings or at the few film festivals, like Palm Springs, that go out of the way to assemble the best of world cinema in a single location.
For those who want to share in the wonder, the contributors of Indie Film Guru have once again assembled our lists of top five favorites from the past year.
Mark's List
1. A Royal Affair (Denmark) - Something's rotten for the people of Denmark, and the progressive new queen and her husband's physician want to do something about it. Standing in their way is her mentally ill husband, the king, and a powerful coalition of privileged gentry who benefit from the way things are. If we paid more attention to history, would we keep fighting these battles? Probably. After all, we're only human.
2. Salmon Fishing in the Yemen (UK) - The magic of thinking big is at the heart of one of the most entertaining films of the year. Although its early release date may have put it out-of-mind for most awards this year, the Golden Globes recognized the film in three major categories. The past few years left a lot of us in a rut. This story resonates with a message about the importance of believing in our dreams and having the courage to realize them.
3. Holy Motors (France) - A chaotic film that is one of the most inspired works of artistic vision to hit cinema in a very long time, Holy Motors defied me to hate its convoluted storyline and almost excessive attention to cinematic inside jokes. I couldn't. Director Leos Carax has painted a mesmerizing canvas around Denis Levant that delivers an unsurpassed showcase for a very talented actor. The visual contrast and social commentary that permeates every frame heightened my enjoyment of the film.
4. The Impossible (Spain) - Made by a Spanish director, written by Spanish writers and based on a true story about a Spanish family caught up in the devastating Indian Ocean tsunami of 2004, the filmmakers chose to make this as an international film starring an international cast, with dialogue largely in English. Like the family at the center of the drama, this story will cause you to reconsider your life priorities and relationships. Cringe-inducing, realistic disaster effects and a standout performance by young actor, Tom Holland, made it worth my while.
5.Amour (Austria) - This film has garnered an unsurpassed cache of awards and nominations this year. Its depiction of an elderly couple at the end of their lives is captured in a masterful blending of art and realism, and the lead actors deliver two of the best minimalist acting performances of the year. To director Michael Haneke's credit, the story doesn't manipulate us with overtly sentimental gimmickry. It doesn't need to.
Zac's List
1. Holy Motors (France) – Hands down this was my favorite of the year. Left off many Top 10 lists and ignored by the Academy, this film will stand the test of time with
fellow cineastes for years to come. It was a letdown that Denis Lavant was ignored by all major awards. Not only is it the best performance
of the year, it could easily be one of the best performances ever put to film. It has stuck with me for over a month since
my first viewing, and I can’t wait to watch it again.
2. Amour (Austria) – There is a reason the Academy nominated this
film from helmer Michael Henke in multiple categories, including
best foreign language film and best picture. This hasn't been accomplished by
any film in over a decade. It's a depressing story, as I stated in my
review a few weeks back, but the performances by two of France’s finest actors are to be cherished, especially by Emmanuelle Riva, who also landed a best
actress nomination from the Academy.
3. Bullhead(Belgium) – Nominated for best foreign language film last
year, this film ends up on my list now because it didn’t receive a
theatrical run in the USA until this year. A dark and seedy film
that covers the underground beef hormone trade, the real story is that of
the lead, played by Matthias Schoenaerts (who has another wonderful performance
opposite Marion Cotillard in this year’s Rust and Bone). It is a twisted
character study of a man dealing with a traumatic event that happened early in
his childhood and forever changed him.
4. The Raid: Redemption (Indonesia) – A modern day twist on the Die Hard-style contained thriller, it almost feels like a video game, but it is so much more than that. As the good guys battle against
an endless barrage of bad guys, each level of the drug den becomes more complex
and the battles more challenging, leading to one of the best-choreographed
fists fights of the last couple of years. This film is already getting
the Hollywood remake treatment, where hopefully they’ll give a little more
depth to the characters, but that isn't a complaint against the film. It
still works.
5. Jiro Dreams of Sushi (USA/ Japan) – This is a beautifully shot
documentary that will whet the appetite of the viewer with the
exquisite care and perfection of its subject, Jiro Ono. He has one of the most
sought-after sushi restaurants in all of Japan, where a night of pre-selected
sushi will set the connoisseur back almost $400 USD. The film also covers the story of
his two sons, who have to live in the shadow of one of the greatest sushi
chefs to ever live, waiting for him to retire and maybe one day live up to the expectations set before them. This is a film about
perfection and stepping out of the shadows - a subject matter that goes deeper than fish.
A heartbreaking and unflinching look into the lives of an elderly couple, Michael Haneke's Amour barely breaks from the confines of a Parisian home, as Anne slowly deteriorates from an illness that cannot be contained or helped. Sure, it may not sound like the type of film to bring holiday cheer, but the love that the two leads share as their lives crumble around them is an experience to be cherished.
The opening is stark and dark, like a typical Haneke film, filled with bleak undertones. When the cops arrive at a home, the stench quickly hits them. As they work their way through the rooms and open windows, they find a door that has been sealed off with tape, hiding a death.. Once inside they find the decaying body of a woman, dead for who knows how long, dressed in her Sunday best and adorned with the care usually given by a mortician for a final burial. Before there is a chance to breathe, the film cuts to the title card with little sound or emotion through the title sequence.
When they return home, they see that someone has broken in. They both feel uncomfortable and frail. It isn't the break-in, but the illness that quickly follows. The next morning as Georges is talking, Anne stares off into the abyss, possibly lost in the conversation, but we soon realize that Anne had her first stroke, which eventually leaves half of her body paralyzed. Instead of wasting away in the hospital, Anne makes Georges promise her that he'll never take her back to the hospital. She would rather spend the remainder of her time in their home, filled with memories. From here, the film never leaves the home, which is massive in size, and becomes more claustrophobic as the story and Anne's decline unfolds.
Georges becomes the caretaker, caring for his wife of sixty-plus years. There are tender moments when he moves her from her wheelchair to the bed, his constant affection of movements to keep her as limber as possible, and even changing her diaper as she becomes more infantile. These moments are a new type of embrace that take an old couple from passion to compassion in their final days, weeks and months. You can feel the love, and also the frustration that Georges feels, when feeling completely worn down, he slaps his wife. Even then you feel compassionate in his action.
Haneke and cinematographer Darius Khondji keep the shots wide, allowing the art direction to showcase the life once lived by the two. The photos clue the viewer to the passion and abundance the couple once shared, and the memories won't be forgotten. Ultimately it is a showcase for two living legends of the French New Wave that doesn't glamorize or dwell in the mundane. There is no way to beat Anne's affliction and they've both succumbed to her fate. It is a beautiful portrait, although bleak and a chore to get through, and it is the easy frontrunner of the films recently announced for the best Foreign Film in this year's Oscar race.
When Hollywood turns it's back on those who are AARP-eligible, Haneke allows his performers to fully embrace the demise of life and that of a great career. Riva should easily be a nominee for the Best Actress Oscar for her complete embodiment of a role that centers around slow deterioration with minimal dialogue. The pain in her eyes, the stillness of her lifeless body and the depth of her expression tell us volumes about her character.
And there are little touches throughout, most notably a dove that flies into the open window not once, but twice in the film. To me, the bird symbolizes a life of freedom, able to fly to and fro, and possibly a bit deeper meaning. Doves can represent love and peace, and maybe that is why, in an act of defiance, Georges covers it with his coat, only to free it once again. Then again, maybe I'm looking too deeply into it. But does Haneke ever include something without meaning in his films?
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