Halfway Through 2016: Movies

Cemetery of Splendour
Cemetery of Splendour

In direct contrast to a rather wishy-washy list of albums, at mid-year, there’s a clear candidate for my favorite movie of 2016 (so far). Like all other Apichatpong Weerasethakul* films, Cemetery of Splendour is a one-of-a-kind, meditative, polarizing fever dream that flew under the radars of all but the most stalwart art-film geeks (of which I am one). It centers on a military hospital in the director’s rural hometown, which he positions as a sort of purgatorial waystation for sleep-prone soldiers. While a good chunk of it unfolds as dialogue-heavy traditional narrative, more often than not, the film practically glides from scene to scene, making time for lengthy passages full of such ephemera as the shifting light in the sky or the unusual therapy provided by symmetrical rows of glowing neon tubes at the foot of the soldier’s beds. Seductive and inscrutable in equal measure, it’s a film I can’t wait to watch a second and possibly third (or fourth) time.

As for the rest, four are festival titles, at least two of which (Little Men, Morris From America) will hit theaters before summer’s end. The Lobster may be the unlikeliest indieplex hit since Winter’s Bone (which it has already outgrossed at the cinema I work at), while Love and Friendship suggests Whit Stillman was born to adapt Austen.

My favorite 2016 films so far, in alphabetical order:

Being 17
Cemetery of Splendour
The Dying of the Light
Free In Deed
Little Men
The Lobster
Love and Friendship
Morris From America
Rams
Weiner

 

*I still can’t bring myself to refer to Weerasethakul by his preferred nickname of “Joe”.

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