Ameena Matthews in "The Interrupters"
My best film experiences of 2011 (in no particular order):
“The Interrupters” (2011) by Steve James. My high point of new films in 2011. Ameena Matthews is a star. I’ve rarely seen such magnetism and heart in any personality on film — documentary or fiction. I would follow her into war or do her any favor she asked. Everything was right about this film. It’s time to evaluate James’ entire career up to this point. He might not be given his due in the documentary landscape.
“Sarah’s Key” (2010) by Gilles Paquet-Brenner. One of the best new films I saw this past year. I’m not normally a fan of the “Holocaust genre” but this one moved me, probably because it was about so much more. The best and most powerful closing image of the year, which reminded me of my favorite new film of 2010 and it’s piercing closing image: “Jaffa” (2009) by Keren Yedaya.
“Petit a petit” (1971) by Jean Rouch
I haven’t seen nearly enough by the old master but this one could be his magnum opus. Somehow it sums up everything his cinema is about, with poetry and precision yet as breezy and playful as the best of the New Wave.
“Barry Lyndon” (1975) by Stanley Kubrick
More emotion than I’m used to seeing in a Kubrick film. I found it full of subtle energy. The scope and tragedy of the story moved me. Also, I love the wording of that first intertitle: “How he acquired the style and title…”
“Dry Summer” (1964) by Metin Erksan. Seeing this film (only my second Erksan) confirmed that I had just encountered a master previously unknown to me. I eagerly await more revelations from him.
“Inglourious Basterds” (2009) by Quentin Tarantino. Watching this film over and over again gave me a comfort and pleasure. Somehow it encapsulates my European experiences and I can feel that in the future it will symbolize a certain formative period of my life in a very emotional way, which means it will have a very special place in my heart. I love watching without subtitles and feeling just as confused as I normally do when I am between multiple unknown languages.
“Broken Flowers” (2005) by Jim Jarmusch. This film aches with yearning and mystery. I treasure it and can’t believe I waited so long to actually see it. As much as any of his works, proves Jarmusch to be an absolute cinematic magician.
“The Passion of Joan of Arc” (1928) by Carl Theodor Dreyer. Seeing this in a luminous print on the big screen with a transfixed audience reminded me (yes, here comes the popular cliche again!) how transformative and powerful true film (and film projection) can be. And now I finally get this film’s brilliance, which is not so apparent on a dvd. Deservedly one of the high water marks in the history of cinema and visionary for so many reasons.