Three months have passed in my 2018 challenge to watch an unseen film (something new or new to you) every day, with the bonus proviso that it’s ‘March Around the World’ month (a Letterboxd-based film-viewing challenge) so there’s an international flavour to my watching (more than usual), with a specific reference to Africa. Expect African films! Again, I’m still posting notes on all of them over at Letterboxd, but a round-up is required.
Top 5 New Films (on their first release in the UK)
Sweet Country (2017, dir. Warwick Thornton)
Annihilation (2018, dir. Alex Garland)
Malila: The Farewell Flower (2017, dir. Anucha Boonyawatana)
Untitled (2017, dir. Michael Glawogger/Monika Willi)
Close-Knit (2017, dir. Naoko Ogigami)
Only one of these films was actually given a release at cinemas (the first one), although I should note that I also caught up with Lynne Ramsay’s You Were Never Really Here for a second time (I originally saw it at last year’s London Film Festival), and it’s surely my favourite film that was given a cinema release in March, a bleak anti-genre film pulling apart the mythology of the lone hitman.
There are two films from streaming services, with the poetic documentary about nothing in particular, Untitled (the last film by documentarian Michael Glawogger) on Mubi, while Annihilation was of course only given a Netflix release in the UK (aside from a few measly one-off screenings at Everyman cinemas).
My final two films above, Malila and Close-Knit, were screened at the BFI Flare film festival (which deals with LGBTQI+ themes), though I daresay they won’t get a ‘proper’ release. The first is by a trans woman filmmaker although it doesn’t explicitly deal with transgender people (it’s sort of a gay love story set in the Thai jungles, but more than that it’s a Buddhist-inflected meditation on what it means to be alive), while the Japanese film is a more commercially-orientated film about a family unit featuring a trans woman (played by a cis male, as it’s early days for Japan I suppose).
Top 10 Old Films (but new to me)
Untitled (For Marilyn) (1992) and Lovesong (2001, dir. Stan Brakhage)
Daratt (aka Dry Season) (2006, dir. Mahamat-Saleh Haroun)
Happy Hour (2015, dir. Ryusuke Hamaguchi)
Umberto D. (1952, dir. Vittoria de Sica)
Faat Kiné (2001, dir. Ousmane Sembène)
The Lodger: A Story of the London Fog (1927, dir. Alfred Hitchcock)
Samba Traoré (1992, dir. Idrissa Ouédraogo)
Yeelen (1987, dir. Souleymane Cissé)
XXY (2007, dir. Lucía Puenzo)
Melancholia (2008, dir. Lav Diaz)
The Criterion Sunday project of watching Criterion Collection films provides my joint number 1, two short films by Stan Brakhage, which is a bit of a cheat I suppose but as they’re both under 10 minutes, it seems fair. Brakhage has a number of these painted-directly-on-the-celluloid works, and Untitled is perhaps my favourite, dedicated to his wife. Almost every image is like an individual painting, overwhelming in its cumulative beauty, though you do need to put on a good soundtrack (they’re both silent). Criterion is also responsible for Umberto D., a sensitive and nuanced De Sica film, very beautiful and very sad. The Lodger was also projected off a Criterion disc, but this wasn’t part of my project (not yet), as the night I saw it was more dedicated to the musical trio providing accompaniment (hence the rather patchy film projection).
There’s a number of African films, as trailed in my intro above, because of the ‘March Around the World’ focus on African cinema this year. My favourite was the Chadian film Daratt, which has a beautiful simplicity to it. Indeed, uncluttered narratives are a bit of a feature of my favourite films, including Samba Traoré (Burkina Faso), Yeelen (Mali) and Faat Kiné (Senegal).
At the rather more epic end of the scale are the 5½ hour Happy Hour (a recent Japanese film about four women) and the 7½ hour Melancholia (another of Lav Diaz’s customary overlong meditations on Filipino history and society). Finally, bringing things back to the LGBTQI themes mentioned above was XXY, a beautiful Argentine film about a gender non-conforming person.