Films Watched, March 2021

A few 10s this month, including one first-time watch, A New Leaf. Elaine May’s 1971 directorial debut, it has the ideal casting of Walter Matthau as a middle-aged trust fund playboy who has spent all his money and must find a wealthy wife in order to continue his accustomed lifestyle. Enter May’s daffy heiress, a klutzy botanist who genuinely (and literally!) falls for Matthau’s scoundrel. I’d heard for years how great this acerbic neo-screwball comedy was; now streaming on Criterion Channel, it did not disappoint, from opening car gag to deliriously wet finale. It also coincided with my reading of Mark Harris’ great new Mike Nichols bio, which naturally delves into his professional relationship with May, who is also deserving of such an extensive overview.

With five of them falling in March, Maddin Mondays continued strong, split between four re-watches and three new-to-me shorts. Regarding the former, the two early-aughts features impress slightly less now, if only because they precede what would prove Maddin’s most fertile period (which My Dad is 100 Years Old definitely belongs to); The Forbidden Room, on the other hand, proves enriching to revisit, almost as if by design. As for those shorts, Only Dream Things is the prize and easily the closest the filmmaker has ever come to David Lynch-ian dreamscape fantasia.

Many terrific re-watches beyond Maddin this month, from the still-startling movie that killed Michael Powell’s career to Los Angeles Plays Itself, a three-hour-long film history lecture that hasn’t lost any of its power since I last viewed it sixteen years ago. More revelatory, however, was my first viewing of The Grand Budapest Hotel since its theatrical run in 2014. As with The Royal Tenenbaums, Wes Anderson’s jewel box perfection resonated more at home for me than it did on a very large screen; it’s now ahead of The Life Aquatic and Fantastic Mr. Fox (but still not Moonrise Kingdom) in my ranking of the director’s features.

Elsewhere, with his classic run of eight films in the ‘40s now streaming on Criterion, my Preston Sturges watch has begun with The Great McGinty and Christmas In July; a month-long subscription to Disney+ for WandaVision allowed me to catch up on some Pixar features, including a rewatch of The Incredibles in preparation for the slightly inferior but still very good sequel; the absolutely deranged The Legend of the Stardust Brothers, which I may watch again in April before my MUBI subscription runs out; and The Movie Orgy, a pioneering found footage collage curated by a young Joe Dante, four-plus hours of it currently available to stream on Archive.org and essential for connoisseurs of trashy 50s/60s movies and TV.

Films viewed in March in chronological order, with director, year of release and my rating (out of 10); starred titles are re-watches:

Only Dream Things (Guy Maddin, 2012) 8

A New Leaf (Elaine May, 1971) 10

The Mouse That Roared (Jack Arnold, 1959) 7

Sylvie’s Love (Eugene Ashe, 2020) 6

Los Angeles Plays Itself (Thom Andersen, 2003)* 10

The Great McGinty (Preston Sturges, 1940) 7

Black Bear (Lawrence Michael Levine, 2020)* 8

Soul (Pete Docter, Kemp Powers, 2020) 8

Keep An Eye Out (Quentin Dupieux, 2018) 7

Glorious (Maddin, 2008) 6

Dracula: Pages From a Virgin’s Diary (Maddin, 2002)* 7

The Rabbi Goes West (Gerald Peary, Amy Geller, 2019)**

The Wicker Man (Robin Hardy, 1973)* 9

Gutterbug (Andrew Gibson, 2019) 5

Stray (Elizabeth Lo, 2020) 6

The Last of Sheila (Herbert Ross, 1973) 8

Farewell Amor (Ekwa Msangi, 2020) 7

Coming 2 America (Craig Brewer, 2021) 5

Inside Out (Docter, 2015) 8

The Movie Orgy (Joe Dante, 1968) 9

The Piano (Jane Campion, 1993)* 9

Sinclair (Maddin, 2010) 6

The Incredibles (Brad Bird, 2004)* 9

Boy Meets Girl (Leos Carax, 1984) 7

The Quiet Man (John Ford, 1952) 7

Christmas In July (Sturges, 1940)* 8

Incredibles 2 (Bird, 2018) 8

The Grand Budapest Hotel (Wes Anderson, 2014)* 10

My Dad Is 100 Years Old (Maddin, 2005)* 8

Cowards Bend The Knee (Maddin, 2003)* 7

The Legend of The Stardust Brothers (Makoto Tezuka, 1985) 8

Peeping Tom (Michael Powell, 1960)* 10

The Inheritance (Ephraim Asili 2020) 6

Slim Aarons: The High Life (Fritz Mitchell, 2016) 4

As Tears Go By (Wong Kar-wai, 1988) 7

The Forbidden Room (Maddin, Evan Johnson, 2015)* 9

Bugsy Malone (Alan Parker, 1976) 7

The Color Wheel (Alex Ross Perry, 2011) 5

(**not rated, because I know the filmmakers personally!)

24 Frames: The Piano

I didn’t work at a movie theater until I was nearly 30, though not for lack of trying. Throughout my late teens and early twenties, I dutifully submitted job applications at numerous cineplexes but was unable to convince any of them to hire me. Apart from a six-week stint as seasonal help at the Suncoast Video in Southridge Mall, I couldn’t find work at a video store, either. I applied to every Blockbuster location I could easily reach by bus and even scored an interview at a local chain, Video Planet, where I flailed to answer questions from an intimidating, burly manager with a thick Eastern-European accent. At the time, I chalked it up to this industry’s competitive nature—what young person wouldn’t want to work at a cinema or video store? Someone more aggressive and persistent than me might’ve scored such a job instead of settling for less desirable, more attainable work—in my case, cashier at an auto parts store and (briefly) busboy at a chain buffet restaurant.

The summer after high school graduation, my good friend Agnes got hired as part-time help at Budget South Cinemas, a second-run, six-screen theater in the suburbs. Since tickets were only two bucks at a time when most places charged at least six or seven, it was immensely popular. My parents and I often drove out there to see stuff that had bounced around other theatres months before, from family-friendly hits (The Princess BrideStar Trek IV: The Voyage Home) to absolute dreck (Superman IV: The Quest For Peace.) Even if the movies weren’t technically brand new, they were new enough. More importantly, you couldn’t beat the price.

Budget South Cinemas, 2014. It closed for good a year later.

Agnes worked at the concessions stand, making popcorn, fetching soda and candy for customers and cleaning up the theaters after every screening. She continued picking up shifts after starting school at UW-Madison in the fall, coming home to Milwaukee every weekend to earn some extra cash well into the next summer. As I came to know intimately as an adult working for a cinema, the job’s greatest (and usually only) perk was free movies. In Agnes’ case, she could also bring along multiple guests for a reduced admission of one dollar each. Any cash-strapped 18-year-old in 1993 would confirm that a buck a movie was even cheaper than spending a few hours at Denny’s nursing bottomless pots of coffee, so of course we saw a lot of movies during her tenure there.

So right was the price that we barely discriminated as to what we saw. Cool RunningsRobin Hood: Men In TightsThreesomeWith HonorsAirheads—nothing, not even the latest Pauly Shore vehicle was too bad for a dollar. Having missed it in the first-run theaters, we ended up watching Jurassic Park there at least six times, partially because it played for months and months but mostly because it was awesome entertainment, a big budget spectacle that truly represented the best Hollywood currently had to offer. I almost considered making it the focus of this essay (I’ll bet I can still recall every single scene despite not having seen it since the 90’s), but then I thought of something else I first watched at Budget back then.

Since discovering Monty Python and the Holy Grail three years earlier, my interest in alternative and cultish types of comedy had flourished but that didn’t fully translate to the kinds of films I viewed. Entertainment Weekly’s “The 100 Funniest Movies On Video” issue, which dropped in October 1992 had a considerable impact, even if I’d just begun to seek out prime Mel Brooks and early Woody Allen flicks. I did stumble upon Midnight Cowboy on TV late one night, long after my parents had gone to bed. I hadn’t seen subject matter so explicitly sexual before, not to mention techniques as arty as the film’s quick cuts and zooms and comparatively rambling narrative.

I was faintly aware of a world of film beyond the likes of Jurassic Park and Sister Act 2: Back In The Habit: movies made for adults that were nominated for awards such as Howard’s EndThe Player and The Crying Game. Driven as I was to comedies, I didn’t think to search for these more serious pictures; even dark satire The Player was difficult to find because it didn’t play the multiplexes I frequented. It follows that I might not have watched The Piano with Agnes one evening if she hadn’t recommended it to me after first seeing it on her own at Budget. I’m certain I’d heard good things about the film but had little idea of what it was actually about. Still, I knew Sam Neill from Jurassic Park was in it (and again, the price was right.)

Viewing The Piano that first time, I recall leaving the theater feeling a little confused but on the whole, transformed. Entirely unfamiliar with the setting (a remote, heavily forested island in 19th century New Zealand) or culture (colonialists living among the indigenous Maori population), I’d also never witnessed a protagonist like Ada (Holly Hunter), a mute, unmarried Scottish woman with a young daughter, Flora (Anna Paquin). The two are shlepped to the other side of the world to partake in a 90 Day Fiancé-type marriage with frontiersman Alisdair (Neill). No explanations for Ada’s muteness—she hasn’t spoken a word since age six, only communicating with Flora via sign language (who in turn is her interpreter.) She also has this deep near-mystical relationship with her handcrafted piano, which she has lugged along with her from Scotland. She plays it lovingly on the shore, devastated to leave it there when it’s deemed too heavy to carry through the deep woods back to Alisdair’s place by his crew.

Then there’s Alisdair’s friend and fellow frontiersman, Baines (Harvey Keitel) who offers to trade some of his land in exchange for the piano, which he has moved to his cabin. When Ada confronts Baines, he makes another offer, to let her “earn back” the piano key by key in return for lessons where he can observe her and “do things he likes” as she plays (which involves him wearing increasingly less articles of clothing.) While Ada remains cold and standoffish to Alisdair (who is truly clueless in his attempts to connect with her), she negotiates with Baines, setting ground rules and upping the number of keys earned back as his actions towards her get more physical and then tenderer. It’s that last attribute, diametrically opposed to her husband’s awkwardness that moves her to fall for Baines. Naturally, Alisdair’s pissed and it all escalates to a climax where Ada’s spurned hubby ruthlessly cuts off one of her fingers. After some heavy emoting from both of the men in Ada’s life, Alisdair sends her and Flora away to live with Baines and dissolves their marriage. 

Quite a triangle, eh? Actually, the relationship between Ada and Flora proves more compelling than her hots for Baines. Eerily resembling each other as if they were the largest and smallest components of a nesting doll, Hunter and Paquin seem to share a telepathic connection, as if their souls are linked. Director/writer Jane Campion often shifts the attention to these two actresses for extended moments that have little to do with the central narrative, as if to emphasize their bond and how it serves as a lifeline between the two. As Ada spends more time with Baines, it arguably has a greater impact on Flora than Alisdair, as her acting out against Ada (she gleefully spills the beans to her stepfather) directly leads to her mother’s shocking mutilation.

On top of all that, consider the film’s gutsy, startling ending. As Ada, Baines and Flora leave the island by boat with all their belongings and a crew, Ada impulsively decides to throw the piano overboard (“She says she doesn’t need it anymore,” wails Flora.) Whether through guilt over betraying Alisdair or, more likely, grief over losing her appendage (and by default her ability to play music), at the last minute she deliberately sticks her foot in a tangled rope attached the piano so that it pulls her overboard as well. However, a survival instinct in her suddenly kicks in. She removes her foot from the rope, swims to the surface and is pulled up back on the boat. In a brief epilogue, we see her happily settled on the mainland with Baines and Flora, able to play and teach piano courtesy of a metal finger Baines has crafted for her. The final shot is the specter of Ada drowned with her piano, a haunting reminder of what could have been.

Not only more adult than Jurassic ParkThe Piano was also far more unconventional, from featuring a main character who didn’t speak a word (apart from some brief voiceover in the beginning and at the end) to its otherworldly settling and surprising conclusion (which would’ve been even more daring had Ada remained drowned for good.) While I didn’t go back to watch it another five times (I doubt it played at Budget for more than two weeks), I eventually acquired my own VHS copy of it and a published copy of the screenplay. I also saw all of Campion’s earlier films, from the bizarre, purposely disorienting Sweetie (which makes The Piano look like A River Runs Through It) to her earlier shorts.

I felt a little cautious revisiting the film for the first time in two decades: how would the relationship between Ada and Baines hold up? I feared it would feel exploitative, having recalled most vividly the “trading keys for sexual favors” storyline with multiple shots of Keitel’s bare ass (The Piano is from a brief, strange period when way too many filmmakers mysteriously craved some nudity from middle-aged Harvey.) Fortunately, this was not at all the case, thanks to Keitel’s sensitive, nuanced performance and his ability to express how Baines’ lust genuinely transforms into love the more time he spends with Ada. I suspect Campion, who clearly fashioned the screenplay to make Ada not a victim but someone with enough control to negotiate with Baines when possible was instrumental in guiding Keitel as well.

What hasn’t aged entirely well is the film’s portrayal of the Māori indigenous population. Credit Campion with hiring actual members of that community, even if they’re still treated like second-class citizens, savages quick with saucy retorts who engage in such undistinguished activities as humping trees. The pageant scene, where a few are gullible enough to think the fake severed heads dangling from a hanging bedsheet are real provided a lot of laughs at the time; while it’s still amusing in an early-cinema-audiences-fear-that-the-train-on-screen-is-heading-straight-for-them way, it comes across as condescending, not to mention unnecessary. As for Keitel adopting the Māori’s tribal tattoos, I’m just thankful that it’s only his character’s appropriation and not the film trying to pass him off as an actual tribal member.

Also, a faint whiff of what I’ll call “Miramax-ness” infests the film. Consider the bodice-ripping between Ada and Baines (with Alisdair secretly watching!), the bland, verging on “Piano By Candlelight” Michael Nyman score (most bearable when Ada’s simply playing the instrument) or the slo-mo shots of Ada triumphantly emerging from nearly having drowned at the end. You wouldn’t find this stuff in a lower budget or truly independent film from the era like Go FishMetropolitan or anything directed by Hal Hartley. It’s not bad, exactly, but it comes off as overtly middlebrow now, a tony alternative rather than something radical or even transgressive.

However, I’m still in awe of much about The Piano. Hunter, for one, disappears so wholly into Ada I can barely name anyone else that compares (maybe Charlize Theron in Monster?) At the time, I wasn’t familiar with the actress apart from Raising Arizona; it didn’t register that this was the same person. Having grown to know Hunter well through a variety of roles, from Miss Firecracker through The Big Sick and encounter her again as Ada was eye-opening. Naturally, it helps that arguably the actress’s most distinguishing feature, her southern drawl is entirely absent, and yet—after watching her here, withdrawn, bonneted and much younger and catching her diminutive, scraggly, redheaded, aged self in an episode of Mr. Mayor later that day, I was beside myself trying to reconcile these two opposites.

The look of the film also remains startling. Even with a location automatically otherworldly due to its remoteness, Campion emphasizes certain textures that renders The Piano as if it’s been taken from a dream. Greens and blues, both colors often bleeding into the other seem to invade nearly every frame. The empty, languorous beach shots seem a precursor to those in Portrait of a Lady On Fire. The endless forest is an ideal place to explore interior motives and thoughts, for keeping secrets and indulging in the most private fantasies. The muddy terrain is such that one can nearly feel or smell it whenever a shoe gets stuck in the muck or during that terrifying aftermath of Ada’s mutilation, where, dazed and traumatized, she dutifully, naturally sinks into the ground, her hoop skirt acting as a natural if ephemeral shell.

What initially struck me about The Piano and still impresses is a remarkable lack of stuffiness for a period piece drama. Ada, for instance, is unsentimental towards everything except her piano, and even at the end she knows when it’s time to get rid of it. In addition to the pageant and tree-humping scenes, flashes of humor materialize throughout, from the doddering ladies young and old that keep up the colony where Alisdair and Ada reside to the indelible moment when, in Ada’s attempts to try something physical with her husband, we learn that he doesn’t care for butt stuff. Also, you have to admire the exchange where Alisdair asks Flora, “Where’s your mother? Where’s she gone?” and incensed because she knows her mother’s exactly where she shouldn’t be, Paquin explodes at him, “TO HELL!” with crack timing and force for a ten-year-old (and yes, Paquin’s Best Supporting Actress Academy Award was as much deserved as Hunter’s for Best Actress and Campion’s for Best Original Screenplay, not to mention the latter’s nod for Best Director—the second woman to ever be nominated in that category.)

Before I re-watched it, I felt like The Piano was somewhat forgotten, in a way that a mid-60’s Best Picture Nominee such as The Sand Pebbles was barely talked about in 1993. Today, you rarely see it play at colleges or revival houses although as of this writing, you can rent it on Amazon to stream. I was pleasantly surprised to see it had more views on IMDb and Letterboxd than that year’s fellow Best Picture nominee The Remains Of The Day. For me, it was an introduction to independent cinema, at least of the Miramax-distributed, Oscar-feted variety, but it didn’t lead to me renting other likeminded films, not yet. The Piano was more like a glimpse into another world: a bridge between what I liked in my youth and what I would love as a grownup when I eventually worked at a cinema myself.

Essay #2 of 24 Frames.

Go back to #1: Monty Python and The Holy Grail.

The Great Lake

The Milwaukee neighborhood I’m originally from is roughly three miles from Lake Michigan.

Growing up, it was easy to take the Lake for granted–it was just always there, providing the city’s Easternmost boundary. Like any ocean, it was impenetrable, for you couldn’t possibly see across it to the other side.

Alternately a backdrop for picnics, walks, beach days, fireworks displays, arts festivals, afternoon cruises, fishing and swimming, the Lake stretched on for miles–even within Milwaukee County, there were parts I never visited until my early 20s in the mid-90s, like Atwater Park in Shorewood.

As a Marquette University undergrad, I often walked down from campus to the Lake, usually reaching it via this long-gone pedestrian bridge that crossed over Lincoln Memorial Drive pre-Calatrava addition to the Milwaukee Art Museum.

Once at the Lake, I’d walk North along the footpath, occasionally stopping to sit on a bench and take in the birdsong, the often cool breeze and the not-unpleasant smells of the shore.

The footpath stretched on to Veterans Park, a large swath of green space that was usually empty except for special occasions and festivals like Maritime Days every Labor Day weekend.

My last night in town before moving to Boston in 1997, a friend and I went for an evening stroll through South Shore Park in Bay View, providing one more time to take in the Downtown skyline as seen across the Lake and industrial Jones Island.

Although my parents moved to Iowa the following year, we’d all meet up in our hometown from time to time. Here’s a snapshot taken from roughly the same vantage point at South Shore Park nearly six years later.

On this particular visit (July 2003), we attended Festa Italiana at Maier Festival Park; above are the white jagged rocks along Lakeshore State Park Inlet.

For more unadorned views of the Lake, travel North past Downtown over to Bradford Beach, which above appears suspiciously empty for a mid-Summer afternoon (perhaps it was unseasonably chilly, or “cooler by the Lake” as the expression goes.)

The most convenient way to experience the Lake (if only by sight and maybe smell) is to cruise along Lincoln Memorial Drive–my favorite Milwaukee road (and probably most others as well.)

Returning for a visit in August 2006, I was excited to see a new and improved Oak Leaf Trail Footbridge connecting the end of Brady Street to McKinley Park over Lincoln Memorial Drive.

The rocks along this part of the shore brought back so many memories, including that time a decade before I had snuck down there with a few friends one late Summer night.

The rocky shore seems less mysterious in daylight, although one can still feel like they’re standing at an edge of the world as they feed or just watch the mass of gulls circling around.

I concluded that same trip with a walk along the shore of Grant Park in South Milwaukee.

Because it’s further away from Downtown, the Lake along Grant Park tends to be less patronized than other coastal parks and beaches–it’s often an ideal spot for serenity, meditation and quiet.

Again, the Lake just seems to go on forever. No tides coming in or out like you’d see at an ocean, just waves lapping against the shore, usually gently depending on which way the wind blows.

For over two decades, I’ve lived close enough to the Atlantic Ocean to be able to visit it whenever I wish; I’d like to think growing up so close to Lake Michigan conditioned me for that–the need for proximity to a large, seemingly endless body of water. I only make it back to Milwaukee every few years or so; no visit is complete without spending some time close to the Lake.

1981: Feeling Like A Woman, Looking Like A Man

The peak year for post-punk, 1981 even had its own theme song of sorts in Kim Wilde’s immortal “Kids In America”. It came from the synth-end of that spectrum, along with other such newfangled artists as Depeche Mode, OMD and Soft Cell (not to mention then-veterans Kraftwerk); from the guitar-end, you had The English Beat, Pretenders, The Go-Go’s, even the good ol’ Ramones. More often than not, however, post-punk encompassed a canny blend of the two, an in-between space that collected oddballs from Romeo Void (with Deborah Iyall wailing “I might like you better if we slept together” over and over again into the void) to Adam & The Ants, whose “Prince Charming” is surely one of the oddest UK number one hits of the 80s.

On that note, Laurie Anderson’s “O Superman” is easily the oddest UK number two hit ever, a free-form, spoken word proto-AMSR tone poem spread out over eight minutes. As a six-year-old in Wisconsin, I didn’t hear it until I was in my twenties. My favorite song at the time was undoubtedly the famous-orchestral-flourishes-over-a-drum-machine-beat medley “Hooked On Classics”; I remember becoming ecstatic whenever it came on the radio and I fully appreciated its recent appearance in the gay sex montage in the first episode of It’s A Sin.

Most of the stuff I knew at the time came from Solid Gold and my parents’ preferred soft rock station; while I have a nagging respect for some of it, you won’t see the likes of Air Supply, Christopher Cross or even Rick Springfield here. But Kim Carnes’ husky voice (and slap-happy music video) for “Bette Davis Eyes” endures, as does Lindsey Buckingham’s “Trouble” (he had no good reason to keep such gibberish in the intro, but I’m thankful he did) and ABBA’s startling, verging-on-new-wave “The Visitors” (Who are these “Visitors”? Immigrant hordes? Alien invaders? Mere figments of the singer’s imagination?)

This is the year hip-hop begins to seep (however slowly) into pop culture. Although I didn’t include Blondie’s “Rapture” (too obvious, opting for Debbie Harry’s flimsier but kookier solo effort) or Grandmaster Flash, I did make room for the soon-to-be heavily-sampled ESG and Tom Tom Club, plus Frankie Smith’s novelty crossover and Gil Scott-Heron’s epic proto-rap Reagan takedown. Inevitably, my attention shifts over to post-disco anthems by Taana Gardner, Was (Not Was) and former disco diva herself Grace Jones—Nightclubbing, her gender-bending (and genre-bending) apotheosis has steadily grown into one of my favorite albums since first hearing it just four years ago, with slinky, sultry “Walking In The Rain” a perfect leadoff track.

My 1981 Playlist:

Films Watched, February 2021

They Shoot Horses, Don’t They?

I kicked off February with two Sundance titles (courtesy of this year’s virtual festival), both of them documentaries: Edgar Wright’s love letter to the longtime cult band Sparks, and an adaptation of Michael Davis’ excellent book about the creation of Sesame Street. The former is great for fans (I’m one) but perhaps a little alienating to everyone else, while the latter benefits from some fascinating, behind-the-scenes archival footage shot in the early ‘80s; it also helps that it chiefly sticks to an era I have a personal connection with (i.e.—pre-Elmo.)

I followed that two-fer with Kieslowski’s Three Colors trilogy. I hadn’t viewed Blue or Red since the late ‘90s, and I’d never seen White before, oddly enough. They really do serve as three distinct films not only focusing on different characters but also genres and settings. In short: Blue is painstakingly executed if occasionally dour, White is inventive if often weird and tonally all over the place and Red throws more than a few spinning plates in the air, only to bring the trilogy to a deeply affecting conclusion. Among other re-watches this month: Monty Python and the Holy Grail (classic anarchy, written about in further detail here), After Hours (Scorsese’s best comedy next to The King of Comedy), Solaris (good, if not as transcendent as Stalker) and The Neon Bible (ditto in relation to The Long Day Closes).

If January’s for getting caught up on titles to nominate for Chlotrudis, February’s for watching nominated titles I haven’t seen. Australian indie Babyteeth breathes life into the terminal ill teen romance trope while Peruvian period drama Song Without A Name somehow combines neorealism regarding impoverished indigenous people with a visual palette much closer to expressionism—it doesn’t make any sense on paper, but it’s an arresting contrast onscreen, anyway.

Following Marty (Scorsese) and Marlon (Riggs) Mondays, I’ve moved on to Guy Maddin, for whom Criterion added a treasure trove of features and recent shorts (the latter co-directed by Evan and Galen Johnson) to its lineup this month. Of the three I’ve viewed so far, last year’s Stump The Guesser is the most notable and accessible—like 2000’s five-minute The Heart of The World stretched out to twenty minutes but with an engaging narrative that surfaces through all the faux-antiquated graphics and ephemera.

Finally, a shout-out to my favorite first-time watch this month: They Shoot Horses, Don’t They? felt remarkably modern for something set in 1932 and made in 1969, thanks primarily to Jane Fonda’s steel-eyed performance; her Gloria is easily the most irritable and jaded lead character I’ve ever seen in Hollywood cinema.

Films viewed in February in chronological order, with director, year of release and my rating (out of 10); starred titles are re-watches.

The Sparks Brothers (Edgar Wright, 2021) 7
Street Gang: How We Got To Sesame Street (Marilyn Agrelo, 2021) 8
Three Colors: Blue (Krzysztof Kieslowski, 1993)* 8
Three Colors: White (Kieslowski, 1994) 7
Three Colors: Red (Kieslowski, 1994)* 9
Marona’s Fantastic Tale (Anca Damian, 2019) 6
After Hours (Martin Scorsese, 1985)* 9
Two Of Us (Filippo Meneghetti, 2019) 8
Matthias & Maxime (Xavier Dolan, 2019) 7
The Rabbit Hunters (Guy Maddin, Evan Johnson, Galen Johnson, 2020) 7
The Tale (Jennifer Fox, 2018) 8
In The Name Of… (Malgorzata Szumowska, 2013) 5
Western (Bill Ross IV, Turner Ross, 2015) 7
Solaris (Andrei Tarkovsky, 1972)* 8
Song Without A Name (Melina Leon, 2019) 8
They Shoot Horses, Don’t They? (Sydney Pollack, 1969) 9
Lucky Grandma (Sasie Sealy, 2019) 7
Stump The Guesser (Maddin, Johnson, Johnson, 2020) 8
Monty Python and the Holy Grail (Terry Gilliam, Terry Jones, 1975)* 10
Growing Up Milwaukee (Tyshun Wardlaw, 2020) 6
Judas and the Black Messiah (Shaka King, 2021) 7
The Neon Bible (Terence Davies, 1995)* 7
Light From Light (Paul Harrill, 2019) 6
Recount (Jay Roach, 2008) 5
Mamma Mia! (Phyllida Lloyd, 2008)* 6
Babyteeth (Shannon Murphy, 2019) 8
Nobody Knows I’m Here (Gaspar Antillo, 2020) 4
Walker (Tsai Ming-liang, 2012) 7
Accidence (Maddin, Johnson, Johnson, 2018) 6
Tabu (F.W. Murnau, 1931) 8
I Care A Lot (J Blakeson, 2020) 6
Putney Swope (Robert Downey Sr., 1969) 8
No No Sleep (Tsai Ming-liang, 2015) 5
The Whistlers (Corneliu Porumboiu, 2019) 6
The Band Wagon (Vincente Minnelli, 1953) 7
Saint Frances (Alex Thompson, 2019) 7

24 Frames: Monty Python and The Holy Grail

Introducing 24 Frames, a new project where I write about movies—not necessarily my all-time favorites (although many of them will be) but those that had a significant impact on the way I watched and perceived movies in general. Aiming for a blend of film criticism and memoir with these, just as I occasionally did for music on 100 Albums. Essays will appear in chronological order of when I first viewed a film. Also, spoilers are guaranteed in each of these essays.

*****

Growing up, movies were just another leisure activity for me, as commonplace as walks in the park, visits to museums or Sunday drives out of the city. Going to “See a Show” (as my dad often called it) meant very little other than a social activity to partake in with friends and family until I hit my twenties.

Which is not to say I didn’t have any memorable childhood moviegoing experiences. From Disney’s Pinocchio, my first time in a cinema at age four (I have no actual memory of this, but my mom often mentioned it, never failing to note how scared I was) through roughly my early teens, like any good parents, my folks kept watch over what I saw. At ten, Back To The Future was entirely acceptable, even if the incest-leaning subplot between Marty and his mother was completely over my head (I did feel a little embarrassed watching with my parents the scene where Lea Thompson shows a bit of skin in the car with Michael J. Fox.)

Still, five years later, my mom forbid me to see the racy, R-rated Rob Lowe/James Spader thriller Bad Influence after my buddy Mike had won two tickets to it in a radio contest. By then, I was going out to the movies with friends instead of exclusively with my parents. Mike and I never tried to get into R-rated stuff, but we’d watch such things as The Addams Family or Joe Versus the Volcano (I rarely missed a Tom Hanks film in that post-Dragnet, pre-Philadelphia period) at pretty much the same places I went to see Harry and The Hendersons or Return To Oz with my parents a few years before.

However, I had to go beyond the local multiplexes or, in fact, any theater to stumble across a movie that, for the first time, expanded my idea of what one could be and also feel like it was somehow made just for me. This happened during a classmate’s birthday party at her split-level suburban home. It was less a “Sweet Sixteen” than a decidedly casual gathering—no getting-to-know-you icebreakers or games, just the usual opening of gifts, cutting of the cake and unfettered socializing.

After cake, the birthday girl wanted to watch a movie. Squealing with glee, she put her tape of Monty Python and The Holy Grail (which I’ll shorten to Holy Grail from here on) into the VCR. About twenty of us congregated into the family room as it began. I’d heard of but wasn’t too well versed in this old British comedy troupe, having watched Monty Python’s Flying Circus on MTV occasionally for a minute or two while flipping through channels.

I had no expectations when the film’s title first appeared in white on a black screen accompanied by a loud, dramatic minor chord on the soundtrack. Out of the corner of my eye, I noticed the title again at the bottom of the screen in tiny letters. Something was off—it was in a foreign language which I didn’t yet recognize to be a sort of pidgin Swedish. This continued, unexplained for the next few frames of the credits roll, although it was soon obviously clear the subtitles weren’t matching up with their English counterparts. Under various crew member names, the subtitles consisted of such incongruities as, “Wi nøt trei a høliday in Sweden this yër?”and “Including the majestik møøse” (the latter under a string of credits arranged in the form a note erroneously “Signed RICHARD M. NIXON”.)

Then, the increasingly suspenseful score dwindled to a stop as if someone turned off the record player. Credits in a different font read, “We apologise for the fault in the subtitles. Those responsible have been sacked”; unfamiliar with that British colloquialism, I pictured someone getting hit in the head with a giant literal sack, not unlike the fake 16-ton weight that occasionally fell from the sky on characters on Monty Python’s Flying Circus.

The credits resumed, sans subtitles, seemingly normal until they definitely were not, becoming increasingly moose-centric: “Møøse trained to mix concrete and sign complicated insurance forms (by) JURGEN WIGG”, for instance. Soon enough, the score stopped again, followed by an additional insert informing us of more people getting sacked and a notice that “The credits have been completed in an entirely different style at great expense and at the last minute”—in this case, on a yellow flicker screen with celebratory Mariachi music, many mentions of llamas (including directorial credits to a few) and, at the very end, one at the bottom for the film’s actual directors (and Python members) Terry Gilliam and Terry Jones, kissed by a feisty “OLE!” on the soundtrack.

I had never before laughed so wildly at an opening credits sequence. It did what one was supposed to do while also frequently inciting total anarchy, not only spoofing the idea of mismatched subtitles but also breaking the so-called fourth wall, acting as if the credits were being constructed on the spot as the audience viewed them. Was the entire movie going to be like this? It certainly drew me in.

After a title card (ENGLAND, 932 A.D.) in a ridiculously ostentatious font, King Arthur (Graham Chapman) and his trusty assistant Patsy (Gilliam) arrive at a castle, not riding horses but banging two coconuts together to emulate the sound of their hooves (a solution to the expense and hassle of filming with actual horses.) The castle’s unnamed Lookout wonders where they had possibly found coconuts in England; it is suggested an African swallow could’ve carried them over and a back-and-forth ensues about swallows, their weight and air velocity, etc. Arthur and Patsy, bored, move on, coconuts at the ready.

Holy Grail initially feels like little more than a series of Medieval-centric sketches that could easily slot into the troupe’s TV show (which had aired its fourth and final season the same year.) A man (Eric Idle) strolls through a peasant village pushing his cart, collecting bodies (“Bring out yer dead!”) with a methodical nonchalance as if it were just an ordinary trash day. Arthur and Patsy briefly pass through and in the next scene, the former has an argument with an anachronistic, Marxism-spouting peasant (Michael Palin). They “ride” on into the forest and meet The Black Knight, who challenges Arthur’s authority with a duel, refusing to back down as the latter proceeds to hack off all his limbs. A line of marching, chanting monks methodically whack their own heads in unison with enormous books while Sir Bedevere (Jones) listens to an angry mob of men grasping at straws to prove that a young woman is actually a witch, to which Arthur joins the conversation.

It’s not until Bedevere and Arthur meet that the film’s narrative starts taking shape. We hear from an offscreen narrator about how they assemble the Knights of the Round Table (via a cutaway to “The Book of The Film”); following a brief musical interlude regarding the castle Camelot (done in the style of a rousing, Gilbert and Sullivan-esque number), a deliberately hastily-animated (by Gilliam) God appears from the heavens and informs Arthur and his knights of their heavenly quest, which is to find the film’s titular sacred object. From there, the episodic structure returns as knights individually split off to seek the Grail, only for them all to reunite in the final third to confront such obstacles as a killer rabbit, The Bridge of Death and a castle curiously guarded by some discourteous Frenchmen.

As with their TV show, Python loves a good running gag for the sake of a punchline and Holy Grail is chock full of them: numerous variations on the phrases “I’m not quite yet dead” and “I’m getting better!”; a fey Prince whom continually threatens to break into song, only for his father to plead to the camera to literally stop the swelling music; Arthur’s inability to count to three (substituting the word “five” only to be immediately corrected by one of his crew, “Three, sir!”); even the opening debate regarding swallows gets a callback when we first see Bedevere (attempting to release an actual swallow with a coconut tied to its leg), and later when it turns up the subject of one of the questions the Gatekeeper (Gilliam again) asks in order to allow passage over the Bridge of Death.

Motifs like these are common in comedies—just consult the work of Mel Brooks, whose Young Frankenstein, made around the same time as Holy Grail, features Gene Wilder’s titular character, an operatic tyrant not all that far removed from Chapman’s Arthur. But Holy Grail is more than just gags for the sake of being funny—as it goes on, it further deconstructs the very idea of itself, going all the way back to those opening credits. No matter how invested one becomes in the plot (and all the little side-plots) or the characters, the film keeps viewers aware that it’s only a movie (not unlike Patsy sniffing at Camelot in his sole line of dialogue, “It’s only a model”) and that none of it is real—a big risk for any movie to take considering it’s a medium that usually relies on an audience’s suspension of disbelief.

In addition to the aforementioned “The Book of The Film”, Holy Grail exhibits such self-awareness by referring to one sequence as “Scene 24” (I haven’t counted to see whether it actually is the 24th scene onscreen), stopping the action when a character pauses, looks at the camera as says, mid-scene, “Do you think this scene should’ve been cut?” (in fact, this part was cut and I didn’t see it reinstated until the film was first released on DVD) or an animated stretch where the cast is chased by a grotesque monster until the narrator tells us, “Suddenly, the animator suffered a fatal heart attack!” (cut to Gilliam drawing at his desk and quickly keeling over), continuing, “The cartoon peril was no more; the quest for the Holy Grail could continue.”

Holy Grail’s riskiest, most outlandish conceit arrives roughly a half-hour in when it cuts to an elderly man in contemporary scholarly clothes referred to as “A FAMOUS HISTORIAN.” As he excitedly lectures the camera about Arthur and the quest for the Grail, a knight on a horse (possibly Sir Lancelot (John Cleese)), face concealed gallops into the frame and slashes the poor sod’s throat, leaving the scene of the crime as quickly as he arrived. A grieving woman runs into the frame over to the slain body and cries out, “Frank!”

The film resumes as if this was just a silly aberration, but we’re far from done with the incident. About fifteen minutes pass before the grieving woman reappears along with two policeman, looking over the slain Frank. Later, the policemen and a detective, searching through the forest, overhear an explosion that is the killer rabbit getting obliterated by the Holy Hand Grenade. These dialogue-free scenes are so brief you might miss them; still, we know something is up late in the film when Arthur suddenly wonders where Lancelot has disappeared to and we cut to the latter arrested and detained, being searched as he stands, submissive, with his hands on a police car.

This strange counter-narrative doesn’t fully pay off until the final scene when, Arthur having assembled an army of hundreds (seemingly out of thin air) to storm a castle rumored to be holding the Grail, leads their charge only for the siren-blaring police car to cut them off. The grieving woman from earlier walks towards him and tells the police, “Yes, they’re the ones, I’m sure!” The detective leads Arthur into the back of a paddy wagon, a blanket put over his head. A policeman with a megaphone breaks up the more disappointed-than-disgruntled army and then implores the cameraman to stop filming (“Alright Sonny, that’s enough!”), putting his hand up against the lens. Everything goes white and then fades to black. Jaunty organ music plays on a blank screen for nearly three minutes. The End.

That first watch, I recall feeling more bewildered than disappointed at such an absurd ending. Admittedly, my attention had wavered in and out through the film’s duration; given its purposely episodic structure, I wonder if that was partially by design. I’d see it again six months later when it happened to air on a local UHF channel one evening. Of course, this broadcast was heavily edited for TV, not only cutting out naughty words and excessive gore, but changing the ending from a blank screen to a replay of the opening credits (at least the incongruous organ music was intact!) Eventually, Comedy Central would air a cut closer to the theatrical version that I’d watch again and again until the DVD arrived a decade later.

Even after I saw it numerous times, I still lazily dismissed the film’s ending, thinking it sort of… fell apart, not even making an effort to conclude its narrative in a satisfying way—just one of many unconventionally fun and different things about it. Even after earning a master’s degree in Film Studies, I clung to this opinion, and why not? To paraphrase Arthur’s concluding thoughts on Camelot after that whirlwind production number, “Holy Grail? It is a silly film.”

Of course, one of Monty Python’s greatest achievements was not only indulging in silliness but also taking it seriously—at least to the point before getting pretentious about it. While Holy Grail’s ending is not nearly one of the film’s funniest moments, it is one of its boldest. By allowing the modern day figures to not only intrude the action but literally bring the film to a close is a near-genius move. Think you’ve been watching a satirical goof about Medieval England? Well, how about something where a bunch of men film themselves dressed up as figures from Medieval England, assuming the roles of fictional characters, wreaking havoc, doing whatever they want until, after ninety minutes, they’re finally forced to stop?

The more one considers the implications of this, the more layers Holy Grail accumulates. One could think, “Yes, you’re watching a film. Of course, none of it’s real. Perhaps these people onscreen are delusional—this guy in the crown actually thinks he’s a King, the git!” And yet, such transparency doesn’t obscure the notion Holy Grail remains an entertaining comedy and an enjoyable spoof, not to mention a perfectly silly film.

While it took years for me to appreciate the movie and its ending on all of those levels, not long after that first viewing I did start taping Monty Python’s Flying Circus reruns whenever I could and eventually watched their other four feature films (I appreciated them all but have never felt as connected to any of them as Holy Grail); it also pointed the way towards humor more unconventional and intricate than what I previously knew, indirectly leading to Mystery Science Theater 3000, George Carlin’s stand-up and even old Beatles albums, whose wit and wordplay I hadn’t fully detected when I’d heard their hits on the radio as a kid.

Holy Grail didn’t turn me into a cineaste; on that first viewing, I responded more to the content than the form. But it was an early peak, an opening, a faint suggestion that movies offered much more than I had previously thought.

Essay #1 of 24 Frames.

 Go ahead to #2: The Piano.

Charles River Esplanade, 1998

For my 23rd birthday, I received a new point-and-shoot film camera. Having moved to Boston without a camera six months before, I headed out the following Sunday to make good use of my gift.

I walked all over central Boston: Back Bay, Beacon Hill, The North End and Government Center; I spent the most time going up and down the Charles River Esplanade, most famously home to the Hatch Memorial Shell, a concert venue.

From there, I crossed the Longfellow Bridge from Boston to Cambridge, the Red Line T rushing by in the middle of it.

It was chilly crossing the bridge, but worth it for the stunning views of the Back Bay skyline, then and now flanked by the tall, gleaming John Hancock Tower and the slightly shorter Prudential Center.

On the Cambridge side of the Charles, I passed MIT and took a short detour to see the campus’ renowned Great Dome up close.

I crossed the Charles back into Boston along the Massachusetts Avenue Bridge; I’ve walked it from one side to the other in either direction many times since then.

As I made my way back to my Allston apartment, I walked past the George Sherman Union at Boston University…

…and also along one of the footbridges over Storrow Drive that connects the Esplanade with the rest of the city.

Camera in tow, I returned to the Esplanade on Easter Sunday some six weeks later.

Spring was in bloom, but the air was still cool. The park wasn’t empty, but it wasn’t exactly crowded, either.

I took so many walks that first year in Boston, getting to know the lay of the land mostly by foot.

I made some friends through school, but I had to learn to be on my own. I thrived most doing so when I was not confined to my small apartment but out in the world.

I was lonely, but it was an important experience to have. In time, I understood what it meant to be independent, that I didn’t always have to rely on others to feel valued or whole.

In the years to come, I’d often forget that feeling, reverting back to a fear of being alone, equating it with a lack of fulfillment.  However, I eventually grew to appreciate having that time to myself, whether via a long walk from the Public Garden all the way down to the Waterfront or a simple stroll in my own neighborhood. With smartphones, I rarely carry a camera with me anymore, except on special excursions where I bring my Sony DSLR. Still, even with my phone, I often take pictures of the simplest and occasionally most profound things I’ll spot while walking around my city.

1984: Love Never Ends

Having recently read Michaelangelo Matos’ Can’t Slow Down, a thorough assessment of how 1984 was an especially important year for pop music, it’s an ideal time for me to post my own list of favorites from that year (also, it happens to be the most recent year I have yet to cover on this blog.)

Given that 1984 produced Purple Rain, Born In The USA, Private Dancer, Make It Big, Let It Be (Replacements, not The Beatles, naturally), Zen Arcade and This Is Spinal Tap (which I couldn’t resist including a track from here), I don’t need to further the argument for this year being special. Even beyond LPs, 1984 was flush with classic hit singles, from Chaka Khan’s transformative Prince cover to the beginning of Madonna’s world-conquering run to era-defining anthems by Thompson Twins and General Public to, well, “Weird Al” Yankovic capturing the zeitgeist with his so-obvious-it’s-almost-brilliant Michael Jackson parody.

As with any year, the stuff that missed Billboard entirely but lingered on in the collective unconscious is just as noteworthy. Nine years old at the time, I didn’t even hear these selections from The Smiths, Echo & The Bunnymen, Bronski Beat, The Nails and Hoodoo Gurus until at least a decade later when I was a college student and the local Alternative Rock station aired their daily “Retro Flashback Lunch” hour dedicated to post-punk new wave gems.

However, it’s in the margins where ’84 truly fascinates. Billy Bragg’s electric but spare folk music sits next to Kirsty MacColl’s big pop cover of one of his songs. Rubber Rodeo reinterprets the Pretenders’ jumpy rock with a western twang. Cocteau Twins seem to beam out from their own planet with a sugary wall of sound and pleasantly indecipherable vocals. Everything But The Girl subsists on their own jazz-and-bossa-nova-suffused plane. XTC continues to make perfect pop music while defying nearly everything the rest of the world describes as such.

If I had to pick one song that obviously sums up the year, it’d be “Sexcrime (1984)” by the Eurythmics, but it’s not on Spotify so I’ll go with a sweet techno-pop movie theme (about a love triangle between a man, woman and computer!) from the lead singer of The Human League and the electronic music pioneer whom seven years before gave us Donna Summer’s “I Feel Love”.

My 1984 playlist:

Films Watched, January 2021

Housekeeping

For me, January is usually a mad rush of consuming recent titles from my watchlist before submitting my Chlotrudis Awards nominations; despite the pandemic, this year was no exception. In fact, my number of eligible films seen was the highest it has been since 2006, which makes sense given I’ve viewed over 300 titles at home since things first shut down last March.

The best of this year’s recently-watched bounty: Kajillionaire (Miranda July, Richard Jenkins, Evan Rachel Wood playing a character named “Old Dolio”—what’s not to like?), Sorry We Missed You (never thought Ken Loach would seem more essential than Mike Leigh at this phase of their careers), Beanpole (Russian miserabilism, beautifully shot and not without humor), The Planters (Wes Anderson-ian in the best ways) and She Dies Tomorrow, which, while imperfect, is at least an original (and timely) take on apocalyptic dread. Also, two titles worth subscribing to Apple TV for: Wolfwalkers, a stirring Irish animated epic and Boys State, an engrossing doc that’s a complete microcosm of modern American politics in male teen Texan form.

A subscription to HBO Max (for Wonder Woman 1984, natch) enabled me to catch Bad Education (if this is the template for Hugh Jackman’s post-Wolverine career, more, please) and much buzzed-about docs on The Bee Gees and Jane Fonda; meanwhile, a deal on a subscription to MUBI, a very different streaming service, gave me an excuse to finally watch The Holy Mountain (exhausting but often inspired madness) and Terrorizers (an Edward Yang film that’s more technically accomplished but less emotionally satisfying than Taipei Story from the previous year) and revisit Terence Davies’ Distant Voices, Still Lives. The latter, which I hadn’t seen in over 20 years, naturally led to breaking out my Blu-ray of The Long Day Closes (last watched about 7 years ago.) One of the most groundbreaking filmmakers of the last half-century, and a reminder that I want to revisit his third feature, The Neon Bible, also on MUBI.

Revisited an above-average amount of films this month, most notably two mid-70s features from John Cassavetes: A Woman Under The Influence (still his masterwork) and The Killing of a Chinese Bookie, a deep-dive into a very particular Sunset Strip sleaze, tempered by the director’s most heartfelt and elaborate commentary on being part of a cast and putting on a show. From roughly the same period, also watched Chinatown for the first time this century, which holds up nicely as a blend of classic and New Hollywood sensibilities. Gillian Armstrong’s inexplicable New Wave musical Starstruck remains a curio, while Bill Forsyth’s good, underseen adaptation of Marilynne Robinson’s great novel Housekeeping should be as renown and beloved as Local Hero.

Films viewed in January in chronological order, with director, year of release and my rating (out of 10); starred titles are re-watches.

Midnight Family (Luke Lorentzen, 2019) 6
Death to 2020 (Al Campbell, Alice Mathias, 2020) 3
A Woman Under The Influence (John Cassavetes, 1974)* 10
Bridesmaids (Paul Feig, 2011)* 8
Sorry We Missed You (Ken Loach, 2019) 8
Princess Mononoke (Hayao Miyazaki, 1997) 8
She Dies Tomorrow (Amy Seimetz, 2020) 7
The Bee Gees: How Can You Mend A Broken Heart (Frank Marshall, 2020) 7
Vitalina Varela (Pedro Costa, 2019) 6
Make Way For Tomorrow (Leo McCarey, 1937) 8
Kajillionaire (Miranda July, 2020) 8
Chinatown (Roman Polanski, 1974)* 10
Mamma Mia!: Here We Go Again (Ol Parker, 2018) 3
Ma Rainey’s Black Bottom (George C. Wolfe, 2020) 6
Beanpole (Kantemir Balagov, 2019) 8
Un Flic (Jean-Pierre Melville, 1972) 6
Wolfwalkers (Tomm Moore, Ross Stewart, 2020) 8
The Killing of a Chinese Bookie (Cassavetes, 1976)* 8
Time (Garrett Bradley, 2020) 7
The Holy Mountain (Alejandro Jodorowsky, 1973) 8
Gordon Lightfoot: If You Could Read My Mind (Martha Kehoe, Joan Tosoni, 2019) 6
Boys State (Amanda McBaine, Jesse Moss, 2020) 8
Housekeeping (Bill Forsyth, 1987)* 9
Cuties (Maimouna Doucoure, 2020) 6
Bad Education (Cory Finley, 2019) 8
The Forty-Year-Old Version (Radha Blank, 2020) 6
The Planters (Alexandra Kotcheff, Hannah Leder, 2019) 8
Red, White and Blue (Steve McQueen, 2020) 8
Terrorizers (Edward Yang, 1986) 6
Starstruck (Gillian Armstrong, 1982)* 7
Distant Voices, Still Lives (Terence Davies, 1988)* 8
The Long Day Closes (Davies, 1992)* 10
Jane Fonda In Five Acts (Susan Lacy, 2018) 7
Let Them All Talk (Steven Soderbergh, 2020) 6

Favorite Films of 2020

As always, “2020” is relative. Many of these titles have a copyright date of 2019 (a few even go back to 2018!) My #1 film received its initial theatrical release in 2019 but did not play my town until last February; likewise, most people won’t get to see my #3 film until it hits VOD and Hulu this February, although I had the fortune to view it at virtual TIFF last September. With exhibition presently and continually being redefined due to COVID, think of this as a list of the best new movies of the past year, including those that I could not have seen any earlier.

1. PORTRAIT OF A LADY ON FIRE
Celine Sciamma’s exquisite 18th century romance between two women, an artist (Noémie Merlant) and her subject (Adèle Haenel) gains so much power from taking the slow burn route, deploying all of its accoutrements sparingly, letting the connection between its two leads develop organically so that when it first reaches a crescendo in the astonishing feast scene midway through, one can’t help but be fully engaged in their fate. And, as that actual fate becomes apparent, it’s near-impossible not to feel and absorb the mad rush of emotions practically emanating from the screen, culminating in a simple but profound, powerful final shot.

2. SOUND OF METAL
Ruben, a noise-rock drummer (Riz Ahmed) loses his hearing—a succinct, seemingly clear-cut premise that director/co-writer Darius Marder (in an astonishing feature debut) expands and permutates into a far-reaching but compellingly interior study of losing control and the lengths we’ll go in order to retain it. Anchored by Ahmed’s terrific, immersive performance and buoyed by Paul Raci as his unsentimental counselor, Sound of Metal is a journey whose depth you would rarely find in a studio film; it’s also one of the best ever movies about addiction.

3. NOMADLAND
If anything, an advance on Chloe Zhao’s last film, The Rider, and not necessarily because she’s now working with an Oscar-winning actress (though McDormand is the best possible one for this type of project.) Nomadland retains the earlier film’s willingness to observe and illuminate rather than judge or persuade. Lyrical but not pretty, sorrowful but not miserable, reflective but not static, it may take place in 2012, but it fully embodies an era of American life that’s still with us and continues to unfold.

4. FIRST COW
This has a gentle, gestating narrative that requires patience, but it also rewards those who become invested in the fate of a 19th century cook (John Magaro) and a Chinese immigrant (Orion Lee) as they become unlikely friends and form an impromptu business partnership. What they build is forever precariously hanging by a string due to the titular animal that makes their potential fortune possible. By applying such high stakes to such richly detailed “slow” cinema, First Cow ends up filmmaker Kelly Reichardt’s most fully realized effort in years, possibly ever.

5. BLOODY NOSE, EMPTY POCKETS
The Ross Brothers nearly outdo themselves with their latest documentary, a fly-on-the-wall account of the last day of business for a Las Vegas dive bar. Initially resembling a Frederick Wiseman-directed, much seedier version of Cheers, it eventually reveals the all-too-human behavior of the bar’s assorted patrons, for good and for ill. To divulge anything more would spoil what the Ross’s are actually up to here; I will note that, watching this on November 3rd, it confirmed for me the character and compassion that I know my country is capable of.

6. BACURAU
Defying categorization, this references a variety of classic films but gradually reveals itself as a neo-take on one particular genre (it’s best to come into it not knowing what that is.) A fervent chaos surfaces in often thrilling ways–a drunken speech at a funeral, an unexpectedly brutal death, a certain 80s pop song on the soundtrack (also too good to give away here.) Bold, slightly erratic, gorgeous and, of all things, nearly as tuned into the modern world and its growing social-economic divide as Parasite.

7. AND THEN WE DANCED
This Georgian import focuses on Merab (Levan Gelbakhiani), an aspiring competitive dancer who falls for a new nonconformist male member of his troupe. It owes a lot to Call Me By Your Name, from the intense flirtation that develops between the two to Merab’s sympathetic faux-girlfriend. Fortunately, And Then We Danced easily transcends homage, not only by nature of telling its particular story in a culture where it is still highly taboo, but also in its Georgian dance sequences and in particular, that rapturous finale.

8. DAVID BYRNE’S AMERICAN UTOPIA
Initially thought this was going to be a lesser Stop Making Sense; while any kind of concert ex-Talking Heads frontman Byrne attempts will always live in its shadow, by the end of this, I was overcome by the same adrenaline rush I felt the first time I saw the Demme film. The humaneness and goodwill on display here may or may not resonate as effectively when viewed ten or twenty years from now; presently, it feels immense, a celebration of rhythm as the great unifier.

9. HAM ON RYE
A group of teens converge for a party at a local deli, and that’s arguably the only conventional aspect of Tyler Taormina’s auspicious debut feature. Simultaneously comforting and unnerving, it’s a fully-formed world both carefully resembling and greatly diverging from our own. Nearly as unique as (and far less upsetting than), say, Blue Velvet, it builds towards a ritualistic sequence that filled me with joy while also leaving me with so many questions (What was in those sandwiches? Is this what happens to Mormons?)

10. HOUSE OF HUMMINGBIRD
A working class study blessed by both a great lead performance from Ji-hu Park and writer/director Bora Kim’s nuanced, humanistic approach. Set in the ‘90s, it follows a teenage girl going through some ordinary but substantial issues with her family, friends and school—kind of like a South Korean Eighth Grade, only set in pre-internet/social media times. Mixing Mike Leigh-style class critique and Ozu-esque domestic drama with great finesse, this belongs on a short list of essential coming-of-age films.

11. BOYS STATE
This documentary about a conference of a thousand teenage boys from Texas who come together in state capital Austin to build a mock government complete with elected officials is thrillingly a total microcosm of the current American political climate.

12. COLLECTIVE
Can’t remember the last film (or documentary, no less) where I gasped or whispered “wow…” out loud so many times. This alarming level of corruption took place in Romania, but it could also all too easily happen here (and arguably has.)

13. NEVER RARELY SOMETIMES ALWAYS
As for scenes that explain the title of a curiously-titled film, this is one of the best–certainly the most harrowing and effective in recent memory.

14. WOLFWALKERS
A gorgeous, 2D-drawn fantasy set in 17th century Kilkenny, centered around a conflict between the townspeople and a wolfpack. Forgive me for being sappy, but it genuinely warmed my heart like little else I’ve seen in the past year.

15. KAJILLIONAIRE
Give Miranda July credit for continuing to follow her own peculiar path and not succumb to working-for-hire or diluting her quirks for a mass audience. With a novel hook and a great ensemble, it even resonates in ways one can hardly predict at the onset.

16. STRAIGHT UP
Name-dropping Gilmore Girls in the first fifteen minutes reveals director/writer/actor James Sweeney’s core aesthetic, but he both conceives of and (with his cast) delivers the rapid-fire dialogue superbly without it coming off as secondhand.

17. ANOTHER ROUND
This latest Vinterberg/Mikkelsen pairing nimbly shifts between humor, satire and despair—a funny, sad, engaging and fully dimensional study of male mid-life crises.

18. BLACK BEAR
Aubrey Plaza in this film is not as amazing as Naomi Watts in Mulholland Dr, but she’s really, really close.

19. LOVERS ROCK
So much pure, unadulterated joy in this–certainly more than in any other McQueen film I’ve seen.

20. MR. SOUL!
Stellar, entertaining doc about an old public television show you probably don’t know but should. Ellis Haizlip is an unsung hero of his time; this gives him his due.

ALSO RECOMMENDED:

76 DAYS
BAD EDUCATION
BEANPOLE
CAT IN THE WALL
CITY HALL
CRIP CAMP
DICK JOHNSON IS DEAD
DRIVEWAYS
I’M THINKING OF ENDING THINGS
MOUTHPIECE
THE PAINTER AND THE THIEF
THE PLANTERS
RED, WHITE & BLUE
SORRY WE MISSED YOU
TIME
THE VAST OF NIGHT