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Thread: BEST MOVIES OF 2010 -- so far

  1. #106
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    I'm writing in this "best of 2010" thread because:
    I rewatched one of the 39 movies I listed back then: Polanski's political thriller THE GHOST WRITER and
    the documentary I listed at #4 overall: SWEET GRASS, about taking sheep to pasture like the protagonists of "Brokeback Mountain", a visually arresting film, is finally going to be released on BluRay (October 2020). A major reason I love this film is that it's spectacular, in the direct meaning of the term. It's compelling in several ways, but primarily visually. So, the sharpness of the Bluray format makes it easier to appreciate in almost all its splendor (you'd have to watch it in a theater to get the full, immersive effect of going up a mountain among the herd). "The Ghost Writer" like Chris Knipp stated, is perfect and classic. I listed it as "highly recommended" but it's one of two films that would be listed higher if I made the list today. The other one is WINTER'S BONE.
    Last edited by oscar jubis; 05-15-2020 at 07:44 AM.

  2. #107
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    SWEET GRASS was in the 2009 NYFF and reviewed here then. That's amusing that you link it to BROKEBACK MOUNTAIN. But more important it's an early example of the Harvard ethnographers and anthropologists Ilisa Barbash and Lucien Castaing-Taylor. It was unusual partly for how different it was from a movie like BROKEBACK MOUNTAIN and for its authentic atmosphere that you refer to, with no dialogue and no narration, only the ambient sound, and the bells of the sheep.I have a lot of time, though it's an acquired taste, for this kind of film. It's not a kind of film that's likely to wind up at the cinemplex when it reopens. THE GHOST WRITER - thanks for citing me - I did say it's perfect and masterful but I didn't say it's a classic. That's partly because as I explained people don't pay attention to a well-made film without flashy special effects anymore. As for WINTER'S BONE, I think it has left a mark and may have had an influence. It seems a long time ago now, since when I saw it at the SFIFF then, Jennifer Lawrence was a beautiful unknown, with mainly TV in her CV at that point.
    Last edited by Chris Knipp; 05-15-2020 at 02:27 PM.

  3. #108
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    "An old master at work, a classic-style thriller without special effects but fully supplied with excitement, suspense, and memorable scenes."(C.K.)
    Not a classic but "classic-style".

  4. #109
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    I forgot I'd said "classic-style." I may be wrong, but I was arguing that THE GHOST WRITER won't be acknowledged to be as good as it is, so it won't become - to give the no. 1 meaning I get for "classic" on Google: "judged over a period of time to be of the highest quality and outstanding of its kind." Because it'll be forgotten.

  5. #110
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    This feeling that a movie I love may be forgotten is what compels me to post, at least some of the time. I also like to keep in touch with you because you do such a good job and because I am quite aware of how time consuming it is to write well. This is especially true as I get older; I must tell you how much I admire your energy; I'm only 59 and I can tell you definitely that writing is slower and requires more effort for me than when we started writing here back in 2002. I agree that THE GHOST WRITER is less famous/popular than many others, even many others in the same genre, and this is a relative matter. Compare the degree to which this film has been forgotten to the case of "Losing Ground", the film directed by a black woman in 1982 which you wrote about today. In my TOP 10 of 2010 , there are a couple of films I consider masterpieces, or nearly so, that may be even more obscure for many reason including their origin. The best film I watched in 2010 is Brilliant Mendoza's "GRANDMOTHER" aka Lola, a film from the Phillipines about two grandmothers finding a way to resolve the violent confrontation between their grandsons when the justice system fails to serve them. There's also THE LAST SUMMER OF LA BOYITA, a coming-of-age from Argentina that deals with issues of gender and identity about as deeply as any film I've seen.
    Last edited by oscar jubis; 05-19-2020 at 04:11 PM.

  6. #111
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    It was definitely easier to write when I was very young, 20-30, or earlier. However, we're wiser now, aren't we? Writing about films can contribute in some small way to preserving the memory of the films in question, I would also agree. Hopefully one has a fresh angle on some of them too, on occasion.

    I reviewed a Brillante Mendoza film in the 2008 NYFF. I think that's all, but I cited a Mike D'Angelo tweet from Cannes 2016:
    Mike D'Angelo ‏@gemko
    Ma' Rosa (Mendoza): 43. Resisted the effort to push my empathy in one direction. Also, somebody please buy Mendoza a decent camera.
    Didn't quite get how you're relating Kathleen Collins to Roman Polanski.

    I appreciate your presence and wish other members would check in.

  7. #112
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    Just saying that there's different degrees of "forgotten", one that may apply to Polanski's film and another that applies to a film directed by Ms. Collins which a lot less people have seen over the years and that you just happen to write about, and bring into my awareness. Thanks.

  8. #113
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    You're welcome, my pleasure.

    Different types of forgotten, yes. LOSING GROUND is a lot more forgotten than THE GHOST WRITER. The latter is available on six different platforms, and you can watch it right now for free on YouTube. https://www.youtube.com/watch?v=-16vKFCmylc
    LOSING GROUND is only available on the Criterion Channel, and you have to join up, if only temporarily, to watch it.

    Maybe THE GHOST WRITER isn't forgotten at all. It even got back its production cost, apparently. It's just not in the list of great films. Nobody saw LOSING GROUND. Very large difference.

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