Archive for October, 2010

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My February in Review

October 1, 2010

Number of films watched in total: 64

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  1. Where is the Friend’s Home?/Life and Nothing More… /Through the Olive Trees (1987/1991/1994, Abbas Kiarostami)
  2. The Red and the White (1967, Miklós Jancsó)
  3. The Quince Tree Sun (1992, Víctor Erice)
  4. Flowers of Shanghai (1998, Hsiao-hsien Hou)
  5. Le Pont du Nord (1981, Jacques Rivette)
  6. Centre Stage (1992, Stanley Kwan)
  7. Mélo (1986, Alain Resnais)
  8. The Holy Girl (2004, Lucrecia Martel)
  9. A Scene at the Sea (1991, Takeshi Kitano)
  10. Boyfriends and Girlfriends (1987, Eric Rohmer)
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Runners-Up

Make Way for Tomorrow (1937, McCarey)
Sound of the Mountain (1954, Naruse)
The Shout (1978, Skolimowski)
Cold Water (1994, Assayas)
Smooth Talk (1985, Chopra)
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Best Rewatches

 (1963, Fellini)
The Shining (1980, Kubrick)
2001: A Space Odyssey (1968, Kubrick)
Two Lovers (2008, Gray)
35 Shots of Rum (2008, Denis)
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Worst

The Set (1970, Brittain)
Heathers (1989, Lehmann)
Pure S (1975, Deling)
Anything for Her (2008, Cavayé)
The Great Silence (1968, Corbucci)
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Wow. What a top ten. I’d almost be content with that as a top ten of all time. It was with February that my fondness for the 1990s as a decade in cinema started to go from mild to extraordinary. I also found some ’80s films I actually admire, too. I cheated a bit and put Kiarostami’s Koker Trilogy as a whole in first place because the three films had such a phenomenal effect on me, and if you’ve seen them you’d know that each build upon the previous and thus are best considered in relation to the others. Where is the Friend’s Home? is one of the most incredibly touching movies I’ve ever seen, and it stands on its own without the self-reflexivity of the other two as a strikingly simple piece of cinema. The next two are decidedly more complex, both in terms of their breaking down of fictional aspects and in form. Seperately perhaps none are as strong as a couple of the following entries in this February list, particularly The Red and the White, which I wrote about here, Erice’s delicate The Quince Tree Sun, and one of Hou’s many masterpieces, Flowers of Shanghai.
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