Because really what I need to post is my ‘best of 2018’ lists, I just need to get this out of the way first. Lots of good films come out around the end of the year, and I watched a few more directed by women than in November, but it’s still pretty heavily dominated by the traditional filmic voices. (As ever, daily write-ups are at Letterboxd.)
Top 5 New Films (on their first release in the UK)
万引き家族 Manbiki Kazoku (Shoplifters, 2018, dir. Hirokazu Koreeda)
Hale County This Morning, This Evening (2018, dir. RaMell Ross)
Private Life (2018, dir. Tamara Jenkins)
Spider-Man: Into the Spider-Verse (2018, dir. Bob Persichetti/Peter Ramsey/Rodney Rothman)
The Favourite (2018, dir. Yorgos Lanthimos)
All but one of these I saw in the cinema, and these are all easily contenders for my top 10 of the year, so it’s been a strong crop. The documentary (Hale County) isn’t officially out in the UK until mid-January, but it’s a lyrical ode to southern US Black lives in a way that doesn’t focus on the usual tropes, but just allows them to have ordinary lives in a rather beautiful, elliptical way. The others are all fairly well written-up by now, but I will just note that Private Life was a Netflix-only release, though it probably should have had some cinema screenings, because it features some excellent performances in a story about a couple trying to have a baby via IVF and other means, with an undertow of sad desperation (pretty sure this is required for any film starring Paul Giamatti), but not wallowing in that.
Top 10 Old Films (but new to me)
三峡好人 Sanxia Haoren (Still Life, 2006, dir. Jia Zhangke)
Suspiria (1977, dir. Dario Argento)
Hellzapoppin’ (1941, dir. H.C. Potter)
Карнавальная ночь Karnavalnaya noch (Carnival Night, 1956, dir. Eldar Ryazanov)
Possession (1981, dir. Andrzej Zulawski)
The Clock [excerpt] (2010, dir. Christian Marclay)
Last Resort (2000, dir. Pawel Pawlikowski)
Le Marin masqué (2011, dir. Sophie Letourneur)
Bridget Jones’s Baby (2016, dir. Sharon Maguire)
La Bataille de Solférino (Age of Panic, 2013, dir. Justine Triet)
Only one of these I saw in a proper cinema — the Soviet festive satire Carnival Night, which was a real surprise, but very much in a tradition of Soviet-era comedies — but I should note that The Clock was the most comfortable cinematic viewing experience of the year. It’s a 24-hour long compilation of film clips in which the time is shown, edited to be accurate to the actual time, and the Tate Modern (where it’s being screened now) is set up with some very comfortable sofas. I wish more UK cinemas had plush, comfortable chairs like this. Anyway, I stuck around for 90 minutes of it, and would have happily watched many hours more.
The rest are divided between viewings on Mubi (the original version of Suspiria is awash with colours and hysteria; Hellzapoppin’ is just frantic, non-stop carnivalesque madcap nonsense, but very engaging all the same; and the two French films down the end there were both ones of French Mubi while I was there on holiday, and both show strong women directorial talent, and in particular I’d love to see more by Sophie Letourneur, a name previously unknown to me), one on Netflix (the surprisingly pretty good Bridget Jones’s Baby which I honestly did not expect to like at all), and the rest being DVDs I had kicking around, meaning to watch. The Criterion Sunday club went into abeyance in December, but I will need to get back on track before too long, so some more of those titles may start to filter through in 2019.