Tag: Best of Year

My year in film, with links to writing and lists of favorite US releases, premieres, shorts, and discoveries.

Favorite theatrical releases, undistributed premieres, experimental shorts, and discoveries.

Favorite theatrical releases, undistributed premieres, experimental shorts, and discoveries.

With the latest redesign and relaunch of Long Pauses, I’ve decided to take a different approach. Rather than wait until December, I’m going to rank films as I see them. This is a work in progress.

With the latest redesign and relaunch of Long Pauses, I’ve decided to take a different approach. Rather than wait until December, I’m going to rank films as I see them.

This year, to determine eligibility I’ve decided to follow the “New York commercial release” rule, which means that this list has been culled from the 40 or so films I saw. Honestly, this Top 10 could be shuffled randomly and I’d probably be as satisfied with the results.

I’ve now seen about 40 of the point-earning films from the 2009 IndieWire Critics Survey, which seems a reasonable enough number. I’ve taken the coward’s route and included eleven films because I just couldn’t decide which one to leave off.

I’ll follow Tom Hall’s lead and call this my “Incredibly Personal, Completely Subjective List of the Best Films of The Decade.” Consider it a snapshot of my taste right now. Conspicuously absent are several filmmakers who made great films this decade but who, for whatever reasons — my age? critical backlash? the weather? — didn’t […]

This year, for the first time, I submitted an official Top 10 list, abiding by the “one-week theatrical run in the States” rule.

So here are ten favorites, in alphabetical order, with some honorable mentions thrown in, followed by my favorite discoveries of 2007.

I find that I now approach the film blog-o-sphere in much the same way that I would behave if we all gathered face-to-face for a massive cocktail party. I grab my drink and find a quiet table over in the corner where I chat with the folks I’ve known the longest and the best and whose tastes are most similar to my own.

Of the ten best new films I saw this year, eight were festival screenings, and, of those, only two have a reasonable chance of making it to a theater here in Knoxville. I mention that in passing as a reminder of how these year-end best lists are shaped by distribution and by the brand of popular American film criticism that still ghettoizes the vast majority of world cinema into a single, convenient category, “Foreign Language Film.”

I’m paralyzed by the process of ranking films, but Café Lumière was an easy choice for favorite of the year. A transcendent film about transcendence, Hou’s homage to Ozu is a beautifully human piece, full of silence and grace and, most of all, curiosity.

Living in Knoxville, Tennessee, with its two or three screens devoted to interesting fare, leaves me grossly ill-equipped to make sweeping generalizations about the year in film. The following, instead, is an odd mix of movies (or, more often, groups of movies) that I will probably forever associate with 2003.

A year-end list originally published in Senses of Cinema.