January 2018 Film Roundup

I rarely post here nowadays except for the weekly Criterion Sunday films (some day, some day, I’ll get round to posting more once again)… But I’ve still been watching films! My friend Pete has been doing a 2018 challenge to watch an unseen film (something new or new to you) every day, so that’s quite a few films. I’m posting notes on them over at Letterboxd, but hey why not have a round-up here!

Top 5 New Films (on their first release in the UK)

Self-Criticism of a Bourgeois Dog (2017, dir. Julian Radlmeier)
Tempestad (2016, dir. Tatiana Huezo)
Field N—-s (2015, dir. Khalik Attah)
The Post (2017, dir. Steven Spielberg)
Journey’s End (2017, dir. Saul Dibb)

Signing up to the Mubi streaming service has introduced me to a wide range of new films, including some new releases that never came out in the cinema. The films of Julian Radlmeier are notable amongst these, and while his first two shorter works were interesting, it’s his first full-length feature which had me hooked on his particularly deadpan satirical style (a little bit reminiscent of Jessica Hausner’s Amour Fou, by way of Jarmusch).

Then again, a couple of these favourites are poetic and somewhat experimental documentaries screened at the Institute of Contemporary Arts (the two pre-2017 films above), so perhaps my tastes are taking me a little way from the multiplex these days. Rey (2017, dir. Niles Atallah), which I caught in the cinema but was also on Mubi during January, was another rather interesting film, a staged fiction but which intersected with documentary in surprising ways.

Of the big releases I saw, The Post was probably my favourite, but I found plenty to like in Journey’s End (a rendering of WWI via a stage play), and — just missing out on my top 5 — The Commuter (2018, dir. Jaume Collet-Serra), wherein Liam Neeson punches people on a train, albeit in an efficient and entertaining way.

Top 10 Old Films (but new to me)

Street Without End (1934, dir. Mikio Naruse)
Snow Canon (2011, dir. Mani Diop)
My Happy Family (2017, dir. Nana Ekvtimishvili/Simon Groß)
Reprise (2006, dir. Joachim Trier)
Reminiscences of a Journey to Lithuania (1972, dir. Jonas Mekas)
Mur Murs (1981, dir. Agnes Varda)
The Hitch-Hiker (1953, dir. Ida Lupino)
Dead Slow Ahead (2015, dir. Mauro Herce)
Funeral Parade of Roses (1969, dir. Toshio Matsumoto)
Jubilee (1978, dir. Derek Jarman)

My old film watching takes in one film first released on Netflix last December, which for my purposes counts as ‘old’ but isn’t really (My Happy Family, a wonderful Georgian film). Elsewhere, a screening of Mati Diop’s early short and medium-length works opened my eyes to a bright new talent I’d been missing this decade, and makes me excited for her upcoming feature-length debut.

As for older works, I’ve been trying to catch up on the classics of Japanese cinema, which brought me to Mikio Naruse’s silent works (most of which I watched towards the tail end of last year) and also Funeral Parade of Roses, a sort of unclassifiable piece of drama which seems to throw everything into the mix.

Several of the rest of my list above screened on Mubi, so they’re a blend of films I’ve long meant to get round to watching (Varda and Mekas) peppered with others by directors largely unknown to me, but whose films I was surprised by (Trier and Herce). I know Joachim Trier in particular has a profile, but like Diop, I’ve somehow missed his films. I shall have to do some catching up.

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