Important LGBT flicks on NETFLIX

There are countless LGBT movies available on Netflix, and they encompass all sorts of topics and thematic ground, from married lesbians to gay cowboys to bi-sexual femme fatales. We happen to love them all; the writing is great and the feeling real. We’ve scoured the streaming selections on Netflix to bring you our picks for the 10 best LGBT films on Netflix. The movies here are full of iconic directors (Ang Lee, Peter Jackson, Todd Haynes, The Wachowskis, Mike Nichols) and, of course, stars that love to take risks (Heath Ledger, Jake Gyllenhaal, Kate Winslet, Julianne Moore). These aren't just films from the U.S. – some of the very best LGBT films hail from other countries, where the openness – or closetness – of the culture ends up making for a fascinating depiction of the LGBT community in their neck of the woods. Here are the 10 best LGBT Movies Streaming on Netflix.

Brokeback Mountain
Ang Lee's immaculate depiction of masculinity in the Western genre is a classic that broke barriers in Hollywood. Even though the film lost the Best Picture prize to Crash, it has become the better movie between the two and an all-time LGBT classic. The story of Ennis Del Mar and Jack Twist's forbidden romance in the outskirts of the Wyoming fields turned more than a few heads when it came out. It tackles the most manly, American genre in cinema and decides to ignite it with homosexuality – something that would almost be thought of as blasphemous just a decade ago — showing how far we've come. The sex scene involving the two cowboys is raw, intimate and riveting enough to have sparked major condemning fireworks in red flag states. Based on Annie Proulx's 1997 short story, the film features what might quite possibly be Heath Ledger's greatest performance as Ennis, a man of few words who can convey the deepest of emotions with just the raising of an eyebrow, but cannot bear to show his love for Jack in the outside world. He longs for him, but lives in a time and place where showing his true feelings might get him killed. Jack Twist is played by Jake Gyllenhaal in a career best performance that is as free-wheeling as it is tragic.
Blue is the Warmest Color
This one needs no introduction as it has taken countless prizes including the Palme d’Or. Its French title is La Vie D'Adèle (Adele's life), which couldn't be more apt because this is very much a movie about a girl growing up and finding her true identity. Adèle — played by the seductive Adèle Exarchopoulos — becomes attracted to blue-haired vixen Léa (Léa Seydoux). Adèle is on an experimentation phase and falls in love hard. It's her first real romance and the high is contagious. The two lovers embark on a sexual journey, which includes a close to 10 minute graphic sex scene, but also an experience that will change them both as they grow up and find their identities in life. It is a simple and very well-told story of love and its decay. Adèle sees the color blue everywhere, and director Abdellatif Kechiche makes sure we do as well by inserting it into the most beautiful of frames. I think it could have been a little shorter than the three hours it runs, but pinpointing what could have been cut is very difficult, as each scene, especially the mundane ones, allow one to feel as if present alongside the characters. Exarchopoulos’ sublimely engrossing acting is astounding. She certainly has an illustrious career ahead of her. Moreover, she was a great choice for Kechiche’s exploration of female sensuality (the shower scene among many is a visual masterpiece). While the sex scenes seemed a little over the top, one must remember they are unique in cinema’s depiction of sex (be it same-sex or not).
The Kids Are All Right
Julianne Moore and Annette Benning play a married couple that go through the same issues any other heterosexual married couple would go through. Benning with her devious yet honest smile is a tour de force as Nic, a woman who only wants the best for her children, even when she can sometimes come out looking harsh and too honest. Julianne Moore, playing Jules, is her wife. Jules feels isolated and resorts to an affair with their kids’ sperm donor Paul, magnificently played by Mark Ruffalo. The scenes between Moore and Ruffalo are tremendous, sexy, touching, and extremely honest. Much credit must be given to Writer/Director Lisa Cholodenko, who infuses realism and indie spirit to the film. Cholodenko — 36 at the time — hit a career peak with the film. While her first two features (High Art and Laurel Canyon) had potential, The Kids Are Alright shows the after effects. Born and raised in California’s San Fernando Valley, Cholodenko makes high art out of family manners. Her personal life — she also had a kid through sperm donation with her long-time partner Wendy Melvoin — made this a personal and rewarding independent effort.
Heavenly Creatures
This understated gem by Peter Jackson brought the director's career to its highest peak. Best friends Pauline (Melanie Lynskey) and Juliet (Kate Winslet) create an intense fantasy life together — so intense that their parents start to worry about them and suspect that it's more than just fantasy. The girls vow to never let anyone crash the world they've created and go to extremes to protect it. Jackson's disturbing story is first and foremost a love story of the highest order, encompassing a whirlwind of emotions in a fantasy story that feels all too raw and real. It doesn't depict the love between these two girls in an outright obvious way, but the small touches and gestures make the viewer realize that this is more than just an intense friendship. It’s as much a horror movie as it is a fantasy or love story: a murder occurs, but the blindness of being in love in a world that cannot acknowledge that makes the girls shun the outside world. The film wouldn't be the masterpiece it is without Winslet and Lynskey's chemistry, which at times can veer towards the intensely scary. It is a perfectly cast film that has aged like fine wine over time.
Christopher Plummer won a much deserved first Oscar at the tender age of 82 for his role as Hal Fields, an elderly man who finds out he has terminal cancer and decides to tell his son Oliver (Ewan McGregor) that he's actually always been gay and has a lover. Oliver, a graphic artist, tells us the story through his viewpoint, from his childhood and the problematic relationship of his parents all the way to the outing of his dad and his subsequent death. Plummer is charming but devastating as a man who finally opens up to the world and feels a freedom that he quite clearly never had throughout his adult life. Director Mike Mills' film is a personal project as he went through the same story that the film depicts. This is very much a love letter to his dad who learned to live and enjoy life just when it was too late. It's a touching and poignant story that deals with real-life topics and can't help but hit us on the most personal of levels. The fact that stories like this do happen in everyday life only enhances the melancholic sadness of the surroundings.
Velvet Goldmine
Todd Haynes' film, Velvet Goldmine, is a masterful tribute/love letter to the glam/glitter rock movement of the 1970s. All the audience really knows of Velvet Goldmine's idols is what any fan would know. We experience the story through interviews and musical performances, and that astoundingly provides us with enough information. It's the aesthetic of "man's life is his image"– that superficial beauty expressed through art reveals so much more than at first glance. Glam rock superstar, Brian Slade (based on David Bowie), is played by Jonathan Rhys Meyers to perfection with his thin, effeminate looks and swaggering. Haynes has great fun with the notion that there was a time in popular culture history that androgyny and bisexuality were seen as a cool fad. Velvet Goldmine's main story is Brian Slade's rise to and fall from fame. Slade's cold and calculating ways accumulate in the hoax of his own assassination — the ultimate symbol for the death of glam rock. His most sympathetic side is revealed during his affair and subsequent break-up with punk rocker Curt Wild. Ewan McGregor plays Curt Wild by feverishly emulating Iggy Pop — although the history of Wild having electroshock therapy to cure his homosexual leanings is straight from the life of rock icon Lou Reed. Both Rhys Meyers and McGregor do their own singing for their characters. Upon seeing Wild's performance, Slade is obviously envious of him and attracted to him. Inspired, Slade takes his music to the next level.  Velvet Goldmine depicts the theme of the permanence of art. Todd Haynes shows that this music — and this movie — is much more than disposable pop culture, but rather akin to the works of Oscar Wilde and the movie Citizen Kane, both which he references throughout, and that art is kept alive through the appreciation of it by the audience. 
While this film is best known for being "that lesbian gangster movie", it is far better than that tag might suggest; it is exciting, stylish, and occasionally horrifying. Caesar is a money launderer for the Chicago mob and Violet is his girlfriend who has been with him for the last five years. Caesar has no idea that the arrival of female painter/plumber (and ex con) Corky to work in the neighbouring apartment will have such a dramatic effect on his life. Violet, however, notices Corky immediately and soon sets about seducing her by asking for help retrieving an earring that she has "accidentally" dropped down the sink. Even when Caesar returns home and sees her looking somewhat dishevelled he regains his calm when he sees that the other person present is a woman and thus not a threat to him.  Violet and Corky hatch a plan to steal Caesar’s money, trying to figure out how they can take the money and make Caesar think it was stolen by Jonnie. Of course the scheme doesn't go according to plan, when instead of running, Caesar decides to confront Jonnie about the theft. Unlike a lot of thrillers this contains no exciting stunts or exotic locations. In fact, it is set almost entirely in Caesar's apartment and the one next door. Rather than limit the film, though, it provides a sense of claustrophobia so that we can see why Violet wants out. The acting is excellent throughout and the direction is stylish without being overly so. Sexy, violent, and brutal, Bound is directed by The Wachowski Brothers, just a few years before they'd set the world on fire with The Matrix.
 The Birdcage
A gay couple (Robin Williams, Nathan Lane) have to play it straight when their son (Dan Futterman) wants to marry a girl (Calista Flockheart) who has ultra-right-wing parents (Gene Hackman, Dianne Wiest). The Birdcage is a virtual word by word remake of a very funny 1978 French movie called La Cage Aux Folles. The French film was hilarious and (in its time) daring. Some of its views are dated, but not offensive. The Birdcage follows the original script VERY closely and adds its fair share of funny lines. Of course as a studio film from the 1990s it does throw many gay stereotypes at its audience: there's the lisping, queeny maid (Hank Azaria), the EXTREMELY effeminate man (Nathan Lane), and his mincing, swishy partner (Robin Williams). The film encourages you to laugh at their mannerisms again and again. It can sometimes be a little too much, but given that it's a product of the 1990s, it is understandably a little behind today's times. That doesn't stop it from being an LGBT classic that many from the community have adored for a few decades. Williams is a bit too swishy but, basically, underplays nicely. Lane is the reason to watch this playing a WAY over-the-top and very loud prima donna. However, Hackman and Wiest are a scream as the couple, and Christine Baranski shows up and brightens up the movie. The film is very colorful and there's plenty of buff guys and gals wearing next to nothing to get your attention. It's kitsch, but kitsch done right with quite a few laugh-out-loud moments that do stand the test of time.
Stranger by the Lake
The Certain Regard directing award in Cannes went to this movie, which is usually a sign of something innovative. I failed to do my research before going to the theatre for this one, so let me warn you. There is a lot of very graphic man-on-man sex, but as long as it is not a total surprise for you, the sex scenes actually add to a certain raw suspense. Just do not watch it with any squeamish homophobes. The plot is very simple: Franck, a young man looking for love, finds lust on a summer beach in Michel, a man who — Franck witnesses — has just drowned his lover. It would not be completely true to say that fear was the turn-on, and yet, Franck (played by Pierre Deladonchamps, who won the Cesar for most promising actor) continues to see Michel. At 97 minutes, it is a short movie that nevertheless feels like it takes its time to unfold, and I, for one, went from being slightly bored to being on the edge of my seat scared as hell. The last several minutes I must have been holding my breath too, because I distinctly remember breathing out as the credits started rolling. If you are looking for an uncomplicated thriller, and are not afraid of gay pornography, see it.
Longtime Companion
Longtime Companion was perhaps one of the very first movies to put a face, heart, and soul to the epidemic of HIV/AIDS at a time when movie makers, as well as society as a whole, ran away as fast as they could from not only the disease itself, but also those that had it. For that alone it should be congratulated and celebrated. Essentially, Longtime Companion is the story of how life takes a sudden change for a group of gay friends from the very onset of the whole HIV/AIDS crisis in 1981. Back then The New York Times carried an article that mentioned an outbreak of a "rare cancer" in the gay community, often termed "gay cancer", which was tragedy in itself, as it shielded the actual method of transmission of the illness that was spreading with alarming speed.
The movie divides itself in chapters, focusing on the appearance of the infection and how it crept its way into social consciousness as a fearsome, four letter word we now acknowledge as AIDS. We're introduced to a variety of characters, all realistic in nature, and confront their issues that are commonplace. Friendships are formed, love is exchanged, and all the while bonds are tested as this "thing", this invisible character, becomes almost omnipresent in every sense of the word. A very grim, yet real scene early in the film is one that can't be denied: at a hospital visit, one character (played by Campbell Scott) immediately washes his hands in restrained disgust after greeting a sick friend (Dermot Mulroney) because of the fear of contagion. Counterpointed is a much later, extremely emotional scene involving Bruce Davidson as he says goodbye to his lover and allows him to "let go". It's two sides of the coin, but Norman René creates a haunting experience that remains indelible to anyone who has been in those situations. It's one of the finest films about gay men ever done, and it's a must for anyone getting into queer cinema.

7 Great Docs of 2015

Just as fiction has been expanding the narrative barriers and experimentations this decade, so has non-Fiction – maybe even more so. With the advancement of social media comes a generation of people with the need to capture each and every key milestone of their lives on their phone or tablet or device. As such, the wealth of first-hand material we will be getting in the years to come will no doubt facilitate and advance the way documentaries can tell a story and shape their narratives. Everyone at the moment is working on their own little documentary of their lives, many without even realizing it, and the wealth of media that one person from this generation can amass in a lifetime will be very much part of the trajectory that fiction and non-fiction films will get into in the next 30-40 years. This is why a documentary like "Amy" or a movie like "Tangerine" – shot on an iphone – might just represent the most ground-breaking film events of the year. They will no doubt inspire many to follow in their footsteps. The following seven 2015 docs are one of many examples of the extraordinary year in non-fiction cinema.

The Look of Silence
“The Look of Silence” is Joshua Oppenheimer’s sequel to “The Act of Killing,” and he once again addresses the Indonesian genocide of the mid-1960s that killed millions. If the first film dealt with the perpetrators this one is about the victims, as a man who lost his brother in the killings tries to track down the perpetrators through research and in-your-face interviews. The truth isn’t easy and a final confrontation had me almost looking away, but the interviews are the highlights as they bring back a past that most of the perpetrators are in denial about. If there is a more important, contemplative, and meditative film about human nature this year, I sadly haven’t seen it. This isn’t an easy watch, but it’s an essential one. It represents one of the reasons I hope we all go to the movies — to face hard truths and cold facts that might otherwise be forgotten. Oppenheimer is quickly becoming a world-class filmmaker with these important films and the potential significance they bring to society is almost beyond words. The Indonesian genocide that took place in the 60's is such a layered, sprawlingly controversial part of history  that these two films will no doubt be seen as historical documents for the years to come.


“Amy” is virtually the first of its kind, a tragic examination of the late singer’s life, composed entirely of footage shot by Amy and her friends and directed and assembled with immeasurable passion by Asif Kapadia. The late 27-year-old singer/songwriter was an unmatched talent but tormented by the most torturous inner demons imaginable. This compulsively watchable film exemplifies the next evolution in documentary, one in which each key milestone of a life is recorded with phone or camcorder by the subject herself, and then this wealth of first-hand material is shaped by a talented director into a touching portrait. Kapadia doesn’t show talking heads as they’re being interviewed; instead he lets us listen to the interviewee while Amy’s personal footage plays in counterpoint onscreen. Don’t be surprised if we get more of these kind of documentaries in the years to come, as we seem to be part of a generation that wants everything recorded and instantly mementoed. In fact, two other films on this list have used the same approach. "Amy" is quite simply the best of the three and a serious Oscar contender for Best Documentary.

Heart of a Dog
Heart of a Dog is Laurie Anderson's ode to life, which to tell you the truth results in a much more absorbed and pondered contemplation than most film-makers would care to deliver. Anderson is the definiton of an artist, always pushing boundaries and always looking for different ways of expression. Here she uses all kinds of modern media to create something wholly original: a meditation on life and death that is meant to relax and open up your thoughts. The project started out as memories and thoughts about her rat terrier Lola Bell and her mother, both of which passed away rather recently. Then her husband, the rock musician Lou Reed, died as well- which seemed to have pushed Anderson further down the spiritual path of healing, which then explains why the topic of death seems a very natural one for, not only her, but the film she decides to make. This hard-to-describe, almost unexplainable film also needed the soothing sound of Anderson's very soft singsong voice to narrate this tremendous achievement. Her narration is so important to the surroundings that the film would quite simply just not work if she hadn't lent her voice to it. 
In Jackson Heights
Frederick Wiseman is a national treasure, a non-fiction filmmaker that deserves to be considered among the greatest documentary filmmakers of all-time. "Jackson Heights"  -his 43rd film- explores the fascinating story of Jackson Heights located in Queens, New York City - one of the most ethnically and culturally diverse communities in the United States and the world. Given the current climate and the backlash happening in this country over the Syrian refugees, a film such as this one is a much needed wake up call. In Jackson Heights there are immigrants from every country in South America, Mexico, Bangladesh, Pakistan, Afghanistan, India and China.  The film mentions the stunning fact that more than 167 languages are spoken in this crowdedly diverse sector of New York. Some are illegal, some aren't, but all try to integrate into american society by any which way possible. It's through this ethnic diversity that we as viewers watch in amazement at a fascinating stronghold of American culture. The issues raised are important and relevant : assimilation, integration, immigration and cultural and religious differences figure prominently into the picture that Wiseman tries to paint. It's not only a fascinating film, but also one of his very best.

Going Clear: Scientology and the Prison of Belief
Alex Gibney's tough inspection of Scientology might be the most effective horror movie of the year.  Documenting the inner-working of the Church of Scientology, "Going Clear" is the definitive look at the history and rise of an organization from a cult to new religious movement. It documents its belief system, the role of celebrities who are part of it, and its long- standing allegations of psychological abuse & exploitation that occur within the church. Gibney uses archive footages & interviews from former Scientologists who describe their very own horrific experiences when they were part of the religion to uncover the disturbing secrets of this new religion that still remains shrouded in mystery. What struck me the most though is what the movie says about the absurdity & dangers of blind faith by illustrating easily people can be manipulated as a solution to all their problems.  There will be those that will mention the film as being a very one-sided affair, but the data and evidence Gibny gives the viewers is more than enough to put a clear and concise argument against Scientology at the table. It will be interesting to see if Gibney's impeccable direction and cleverly told expose will lead to a Best Documentary nomination come Oscar night, protesters be damned.
Kurt Cobain Montage of Heck
Director Brett Morgen, who gave us "The Kid Stays in the Picture" back in 2002 gave us this fascinating dissection of Kurt Cobain. If a theme kept popping up in non-fiction films about deceased artists this year it was the word "Intimate", which perfectly explains Kurt Cobain: Montage of Heck hook. It's a vivid and detailed account of the Nirvana lead singer's life, rise, demise, and untimely death.  Morgen compiles most of his film with details from Kurt's notebooks, drawings, audio recordings and self-made video footage. It's a fascinating -warts and all- depiction of a complicated, misunderstood musical legend that went haywire when fame came knocking at his door. The part of the movie that most people will be talking about -understandably so- is when we see home video footage of Cobain and Courtney Love, most of the time, strung out on heroin, nicotine, and alcohol. This is all going on even while Love is pregnant with their child, Frances. This is where the intimacy really takes on a new life; 
At one point Kurt proclaims he'd make himself miserable to make her happy and even "abort Christ for her". It's a chilling moment that only gets enhanced when Morgen interviews Courtney Love and gets her side of the story. No matter who you believe, it's impossible to leave "Montage of Heck" unshaken by what you've witnessed. 
Listen to Me, Marlon
Just like the above mentioned docs about Amy Winehouse and Kurt Cobain, the subject of "Listen to Me, Marlon" was an enigmatic cultural figure that seemed to defy description.  
You'll get numerous accounts about how beautiful, compassionate, difficult, weird, crazy, tragic, bizarre, provocative, secret, shy, he was. These are all contradictory ways to describe him in his own right, but maybe they were all true and THAT is what might make him the most fascinating Hollywood figure to come along, maybe ever. Brando also had the knack for personally audio recording a lot of himself, a sort of self-therapy that becomes god-sent and effectively used in"Listen to Me, Marlon". Brando as he spoke into a tape recorder for many years, whether it was preparing for a role (as we hear for Apocalypse Now and Last Tango in Paris), self-hypnosis (he had to meditate a lot one can see), and just stuff to leave behind for his kids. Riley found close to 198 hours of Brando mumblings on recording. He's on record here of saying things that -as mentioned before- might contradict one another, but they are such fascinating, thought provoking ruminations that you just listen in awe at a legend having a go with himself. 


It Follows
Mad Max: Fury Road
Inside Out
Straight Outta Compton
Star Wars: The Force Awakens
Son of Saul
The Revenant
The Hateful Eight

Crimson Peak
99 Homes
Infinitely Polar Bear
The Second Mother
Irrational Man
Shaun the Sheep Movie
Steve Jobs
Wild Tales
The Gift
While We're Young
Mississippi Grind
The Walk
The Hunger Games: Mockingjay Part 2
Me, Earl and The Dying Girl

Love and Mercy
The Intern
James White
The Night Before
The Big Short
Beasts of No Nation
Bridge of Spies
The Martian
The Diary of a Teenage Girl
Cop Car
The End of the Tour
Mission: Imposssible - Rogue Nation
Run All Night

Where to Invade Next
Daddy's Home
45 Years
The Danish Girl
Our Brand Is Crisis
Pawn Sacrifice
Black Mass
Time out of Mind
Tom at the Farm
Ricki and the Flash

Magic Mike XXL
Clouds of Sils Maria
Pitch Perfect 2
Furious 7
The Cobbler

Roger Deakins' talent and Oscar

Roger Deakins. A legendary cinematographer that has NEVER won an Oscar, despite being nominated 12 times. Absurd. Blasphemous. He's eyeing a 13th nomination with Sicario, a visceral and intense movie from Quebecois director Denis Villeneuve. A lot of the film’s brilliance has to do with the cinematography that Roger Deakins brings to the table. This is Deakins’ second collaboration with Villeneuve – they make a great duo – and the film is almost as much a showcase for Villeneueve as it is for the famed cinematographer. Villeneuve seems to be giving carte blanche to Deakins with every movie, which isn’t a bad idea, and the two complement each other to great degrees. Villeneuve told me earlier this year “I always profoundly felt Roger wanted to make the movie. One thing I adore about Roger is his discipline and his rigor. He exudes so much respect from the cast and crew. When I started editing the movie I was just floored by what he had done."

"The Wallpapered Hallway" Barton Fink, 1991

Barton Fink, a hypnotic satire on Hollywood, had Deakins working with the Coens for the first time. It builds up a world of dread which converses with every wallpapered hallway and tiny room. The above shot is just one of many hallway scenes that takes your breath away. Deakins focuses a lot of his time on the hallway to build up every claustrophobic minute and takes us into the psyche and feel of John Turturro's Hollywood scribe. Time will never erase the image of a hell-sent John Goodman unleashing fiery hell and brimstone around the flame drenched hallway.

"The hallway shots were really tricky to do," said Deakins, principally because the corridor had to go up in flames during the production. "We built the hallway in Long Beach somewhere, and we basically built two, because we were going to burn one! That one was rigged with gas, recessed in the walls, and all the wallpaper was perforated so the gas would come through it. It was quite interesting, and it worked really well, actually." Deakins to Vulture

"The Chalkboard Equation" A Serious Man, 2009

This underrated Coen's masterpiece is their oddly affecting take on the story of Job. The whole movie is an equation, encompassing a man's misery and journey in figuring out exactly why he has been cursed by such terrible luck and sorrow. The equation is of course too otherworldly to figure out, if it even exists, as shown by this striking frame in which Larry -the guilt-ridden Minnesota professor- tries to find the meaning of life through a never ending equation. The whole point is that there is no point and this striking image has even more impact once you figure that out for yourself.

"There was a tweenie bouncing off unbleached muslin for the first shot. The second shot is lit by the practical and some softened HMI window light and the third shot is also lit by HMI window light. For both I was using 4K HMIs projected through light grid diffusion and I may have had a 1/4 grid to double diffuse the light as well. That I can't remember. There was no space for a balloon in that lecture hall. We taped white cloth to the ceiling and, using existing par lights for fixings, we bounced Red Heads off the ceiling. It could well have been Nook lights but the same idea. I rarely use balloons. The class rooms were lit with white florescent lights that we rigged for the purpose. There was a little bounce coming through the windows, which was slightly cooler than the florescent lights. I believe I also had a couple of 800 Joker HMIs bouncing off the ceiling in the corner of the room behind the camera." Roger Deakins

"The Great Escape" O Brother Where Art Thou?, 2000

O Brother, Where Art Thou? -another Coens collaboration- is a visually aesthetic film that was heavily edited and altered in post-production using digital technology. In fact it's one of the very first films to have ever gone through that process.  It has a beautiful, rustic style that was developed after the footage was shot on film and then transferred to digital (and then re-transferred back to film). The result is an orgy of beautiful colors that pop off the screen and welcome us into the 21st century through the eyes of 3 jail broken, outrageous convicts in the 1930's deep south.

"We were shooting in Mississippi in mid-summer and the Coens and I wanted a dry, dusty look but obviously, it was a very lush environment. We also wanted a kind of feeling of a painted postcard, and we experimented for quite a long time. Digital finishing was starting, people had been using digital technology to do effects work and we thought, "Why not try and do the whole film like that?" We made some tests and figured that by the time we finished shooting and were in post-production that the technology would be advanced enough that we could do it. It was a bit of a struggle, but that's what we did." Thompson on Hollywood

"The Interrogation" The Man Who Wasn't There, 2001

When Roger Deakins shoots in Black and White you know it's going to be a total and utter visual feast. The Man Who Wasn't there is an underrated beauty from the Coens and encompasses every single, possible film noir trope, but twists it around and becomes a stamped on Coen-esque visionary nightmare. Deakins uses the overtly stylish surroundings to sheer perfection using every possible smoke-filmed frame to recall the good old days when Black and White photography in Hollywood films was an art in itself. Back in those times cinematographers tried to one up each other with the was they could use black and white. Deakins proves he could have held his own if he working at that time.

"We shot the Barber's shop on the backlot at Paramount. I had a truss above the door outside the set and bounced a row of lights on this truss onto reflectors held back 15 or 20 feet from the window. It wasn’t so much the photographic look of the film they were relating to than it was the sense of the small California town and the atmosphere of the town" Roger Deakins

 "We talked about it and it was like – it wasn't 'doing noir.' We wanted to do a modern film but it just happened to be this. We weren't trying to copy a film noir or anything. If it looks film noir it's just because I was playing with the lighting and what felt right at that moment. But for 'The Man Who Wasn't There,' I didn't have references or anything. It was nothing like saying, 'Oh, I'm going to do this kind of scene that we saw in 'Citizen Kane' or 'Sunset Boulevard.' It wasn't about that. I just approached it in the way I would any film, thinking, 'What should this scene feel like,' you know?" Hitfix, Incontention

"Sunset" The Assassination of Jesse James by the Coward Robert Ford, 2007

This lost classic from 2007 is one of the last features Deakins shot on film, ever since then he has made the full transition to digital film. It's hard to pick just one image from Andrew Dominik's masterpiece as it is one of the most beautifully photographed movies of the 21st century, the train station shadow/smoke scene is one other iconic moment that comes to mind, but for my money nothing beats this gorgeous frame in which Brad Pitt's Jesse James look over the sunset as he contemplates his next move. It's an eerie, evocative shot that once again shows just how great Deakins can shoot the first sunrise of the day (cue Sicario for another great moment of the sunset)

"I couldn't actually do what I wanted to do photochemically,. "I know some movies look digital but it's kind of the way they're shot and the technology and processing that's being used on them. But I don't think the average person would notice it ... and it just had a better sense of the changing times and the idea that this world was dying," he says. "And in a way, that's what Jesse James knew. It was a much more kind of reflective and thoughtful"  Hitfix, Incontention

"Eve and WALL-E" WALL-E, 2008

Director Andrew Stanton and his WALL•E team kept asking and referring to Deakins for his vision on how the first act of the film could feel live-action. Of course going to Deakins for advice meant that the animators were looking for ways in manipulating the light. His imprint on the films dialogue free first 20 minutes is there, the visual aesthetic takes your breath away as the use of different colours and schemes proves just how powerfully visual an animated can be.

 "The real world, the natural world that we live in just isn't as well-lit as your typical animated world is. There are shadows here. Areas in half-light over there. And if you can take that into account as you're planning your camera movements on a CG production, make those sorts of necessary adjustments to light levels as you're composing your shots, you'll then wind up with scenes that look much more naturalistic when they're up there on the big screen." And while Deakins is quick to play down whatever small role he played in WALL•E's eventual enormous box office success "Seriously. I only consulted on a few shots for the first 20 minutes of that film," Huffington Post

"The Japanese Jellyfish" Skyfall, 2012

Skyfall is by far the best shot Bond film. Its images simmer and make the film such a cinematic, enticing treat to behold. No wonder many have called Skyfall the greatest of James Bond movies. Send Deakins to shoot a movie in Japan and you'll end up with one hell of a finished prodyuct. The imagery that stuck with me the most was that of the Shanghai office interior where James Bond intercepts Patrice, a hired assassin that ruthlessly goes after 007. Their fight, shot in a silhouette with a distinctive neon blue signage, features a prominent jellyfish floating in the background

"We were coming out of the monochromatic gray of England, so we wanted to arrive in Shanghai with a bang—a lot of color and movement of light. Gradually we came to the idea of making everything glass, so the whole thing was this big box of magical reflections. We built a model to see how the reflections would work and so we could position the big billboards and have the assassin firing at the hotel room in the right position. Then we built the set on the soundstage and spent a number of weeks rigging it, positioning every light. The jellyfish originally were just a stand-in image, but it was such a good choice, it stayed. We needed images for the monitor, and the art department found this footage of jellyfish floating through the frame,”

“When it came time to discuss what we really wanted to put on those screens, Sam and I looked at each other and said, ‘Well, why don’t we just leave it as jellyfish?’ It looked interesting, and it was a really deep blue, and we wanted this whole Shanghai section to feel quite cold. So that’s how the jellyfish got in the film — they were just stand-ins, really!” Shot Significance: “The calming, poetic nature of the jellyfish imagery builds the tension of the scene. If the imagery had been frenetic, like what you usually see on billboards, we wouldn’t have been able to build that sort of menace. And that’s what we were after: the ultimate cat-and-mouse scene.” Roger Deakins

"Freedom" The Shawshank Redemption, 1994

Deakins earned his first Oscar nomination for shooting The Shawshank Redemption. A film which started off as a decently reviewed prison drama and has turned into a stone cold classic. That famous shot of Andy escaping from the prison, arms outstretched as the rain pours down on him? You know, the moment so powerful that it was repurposed on the poster? Yeah, that wasn't originally part of the plan. Or at least what Deakins says,

"It was a difficult schedule on that film, and we had quite a lot of night work scheduled for when Tim's character escapes from the jail: He was going to run across the length of the field and catch a train that was going by the prison,"  "There was a lot of stuff planned, and schedule-wise, we just couldn't do that. So this shot, with Andy standing there in the rain, had to be this iconic shot that signified the end of the sequence ... because we couldn't afford to shoot the rest of it, basically!" The film came out in 1994, the same year another Tim Robbins–toplined, Deakins-shot movie with a funny name debuted. "One of my neighbors came up to me the other day and said, 'You know, I really like Shawshank, but one of my favorite films is The Hudsucker Proxy!'" laughed Deakins, who noted another similarity between the Coen brothers comedy and Shawshank: "When The Hudsucker Proxy came out, hardly anybody saw it. It was quite a blow for the boys and me, because we'd put so much into that film, and I thought it was really good! But when Shawshank was released, too, it made nothing theatrically; then, when it had a video release, suddenly it was on the charts for a year. It's all very odd." Roger Deakins

"Night to Dawn" No Country For Old Men, 2007

This bravura No Country scene, which goes from night to dawn as Josh Brolin is pursued by criminals, has an incredible use of light throughout, add in one very ardent pit bull and you've got a night of terror for our hero. In order to capture the dawn shots, Deakins shot some in the morning and some at magic hour, though he confessed that he can't tell which came when.

"I think that was one of the most difficult sequences I've ever done, really, I'm not 100 percent happy with it, but I'm not 100 percent happy with anything, really. It was really hard to do, given our budget and schedule." We were filming in New Mexico, and the weather is so different in the mornings and the evenings. Nobody really notices it, but it's obvious to me that the clouds build up during the day and you've got a lot of them in the evening shots, while the morning shots are crystal clear. There are quite a few of those mismatches." Roger Deakins

"Ready for War" Sicario, 2015

It seems like Deakins has taken a real liking to Quebecois director Denis Villeneuve. They collaborated together on Prisoners, Sicario and the upcoming Blade Runner sequel. Sicario is as much Deakins' film as it is Villeneuve's. Following FBI agent Emily Blunt, the film has Deakins returning to the similar landscapes and as those from “No Country For Old Men". These are clean, saturated colors and might just be Deakins' best digital work to date. The shots of a danger-filled Mexico City and tempty, isolated deserts brings out the best in Deakins' talent. However, we can't ever shake off the finale in which Villeneuve and Deakins follow their soldiers into the field of battle as the sunset looms over their silhouetted bodies.

"You always run tests for something, but we didn’t do that many tests on Sicario. It was mainly testing the night vision system and the FLIR (thermal imaging) camera, but there weren’t too many other things we tested. I rarely work with more than one camera. Even on Skyfall, it was mostly a one-camera show. It’s a different approach to filmmaking. [Sicario director Denis Villeneuve] is quite decisive about what shot he wants tobe on for what part of the action. So it’s not a matter of getting a load of cameras out and just getting coverage. To me, that’s not filmmaking. Denis has a very precise way of approaching things. He likes working single camera and so do I." Roger Deakins

"One of the most notable influences on our choices of camera placement, framing and lighting was the style of Jean-Pierre Melville. He’s able to attain a sort of simple yet stylish realism… we tried to stick with that spirit in filming Sicario, with an economy of means that in English we refer to with the expression ‘less is more" IndieWire

Interview with "James White" director Josh Mond

“James White” might just be the total opposite of Amy Schumer’s summer fling, “Trainwreck”, yet it is very much about a trainwreck. Starring Christopher Abbott (of “Girls” fame) and a never better Cynthia Nixon, James White is about a man – or boy, if you will – who has to deal with so many issues, both physical and mental, that watching it we are just waiting for the moment when it all implodes and the breakdown occurs. I recently spoke to the film’s director, Josh Mond. His connection with the filmmakers at New York’s Borderline Films – Sean Durkin, Antonio Campos, and Josh Mond – is becoming a cinematic movement. These three guys write, direct and produce each other’s films. So far we’ve had Campos’ directorial debut “Afterschool”, and three years later a bigger splash, Durkin’s brilliant “Martha Marcy May Marlene”, which gained many awards for Durkin and star Elizabeth Olsen. Campos followed up “Afterschool” with an ever better feature, “Simon Killer”. Josh Mond is up next; his directorial debut, “James White”, is the best of the lot so far.
“I really feel like we’ve set up a world where we get to work with our friends, not even just each other but so many others like for example our DP Mátyás [Erdély] (who also photographed Son of Saul) right down to our costume designer. We really just want to build and continue our relationship with people like we are with each other.” The shoot was short, but incredibly emotional: “We shot the film in December of 2013, a total of 22 days I think. We had 18 days in New York and 4 days in Mexico.” Mond and aforementioned cinematographer Mátyás Erdély give us a high-wire act, an impeccable artistic feat, with Erdély using his camera for abnormally efficient close-ups on his main character to enhance the claustrophobic feel of the movie. “I thought it was just right for the story we were telling. With the help of a handheld camera we could present the energy that this character experiences. As for my DP, Mátyás, I’m pretty sure his body is still hurting a little bit from carrying the camera around all the time. It really is arduous work what we tried to do, but we figured the movie can be powerful if shot this way.”
After having met and developed a friendship during the shoot for “Martha Marcy May Marlene”, Christopher Abbott and Josh made a short film together, “1009”, that served as sort of an experimental precursor to “James White”. “A lot of it was shot very close to the face, and later, when I was editing the short, it suddenly struck me only then and there in the editing room that he was doing stuff that I didn’t realize he was doing before. So I called him and I told him that I was writing that part for him now. After a while he just read a bunch of drafts and gave me some notes. He was then a part of it already. I can’t wait to work with him again.”
From the very first scene of “James White”, our main protagonist James is bouncing and dancing around drunk/high, mid-day in a dingy nightclub. It’s a hallucinatory scene that sets the tone for the rest of the film. The camera comes in and out of focus on an extreme handheld close-up, which puts you in the head of an immature, self-centered young man who gets one reality check after another from there on in. “We wanted to start the movie out like he’s high, at his highest moment, or really his lowest,” said Mond. From there James leaves the nightclub and ends up at a shiva for his estranged father at the house of his mother, played by Cynthia Nixon, who’s battling cancer. Nixon is a wonder to behold, as she delivers an awards-worthy performance of intense feeling. Nixon’s own mother died of similar circumstances only a few months before the shoot had begun, and Mond’s mother, Corinne, inspired “James White” as she too succumbed to cancer. “Things were really beginning to gel for the company, “Martha Marcy May Marlene” was sold to Fox Searchlight, we had a great deal with them, and then I got a phone call to come home right away because she only had a few hours left. I got a chance to see her and then she passed away not too long after that.”
When asked about any filmmaker who might have had an influence on him, Mond right away mentions Michael Haneke, whose movies always deal with the uncomfortable, the taboo, the complications of humans. In light of his mother’s cancer, James White tries to cope with the whirlwind of emotions by continuing to go out, get drunk, get high, sleep with women, and exude violent behavior. It’s not a happy movie, and you might need a drink or two after having watched it, but the artistry is phenomenal. After its incredible bow at Sundance in January, where it was praised in every way, an experience that Mond calls “surreal”, the 28-year-old director’s film is about to get released to a public that might not be ready to deal with the many “heavy” issues at hand, but that would be a mistake. It’s a topic that one way or another we’ll have to all deal with in our lifetime. Mond says, “I realized that what makes you connect most to a movie are the things that you feel uncomfortable sharing.”
Mond talks about the first of many meetings he had with Nixon for the movie, the bond they built, and the connection they had with a disease that seems insufferably permanent in our world. He said about that meeting, “Cynthia was just very generous and truthful with what she shared; Chris and I met with her a couple times. It also helped me deal with the emotions I didn’t understand at the time. There was shame, guilt, sadness, anger, fear, all of the above.” Josh’s sister helped him heal as well: “she called and said, ‘you may think this is the worst thing that could ever happen, but you’re so lucky you got to spend that time with her and share (this) with her, because it’s a really beautiful thing.’”

Interview with Screenwriter Nick Hornby on "Brooklyn"

Whenever I get an opportunity to talk to Nick Hornby, the conversation always shifts away from the topic at hand and instead veers towards our unadorned love for Bruce Springsteen’s music. Hornby’s love for music in general shows in every book and every screenplay he writes: “High Fidelity” was a love letter to the “record store”, “About a Boy” had countless references to pop music, and in “Wild”, Witherspoon’s lonesome hiker marches on her epic way, humming the 1987 Springsteen song, “Tougher Than the Rest” before declaring, “Sing it, Bruce!”
“I listen to music a lot during the working day,” says Hornby. “Loud/fast/urgent or moving and emotional or, sometimes, repetitive contemporary classical. I don’t listen to it while I’m working, but during breaks, and it all finds its way in somewhere.” Then the conversation shifts back to Springsteen: “Apparently Steve Pond was in the front row of the Springsteen DVD show for the upcoming River box set,” he says.
The 58-year-old British author and screenwriter has more than just that Springsteen box set to get excited about these days, as he’s been getting Oscar buzz for his delicately touching screenplay “Brooklyn”, an adaptation of Colm Tóibín’s novel of the same name. “The awards talk,” he murmurs. “Well, I’m glad I live in my town rather than yours! It’s pretty constant in L.A. If you tried to start that conversation [in the UK], where people don’t follow how it works and don’t really know we’re already part of the race, you’d seem a bit presumptuous. But most of the time it’s just the kind of excitement a writer never gets in a working day.”
Before Hornby started writing screenplays, Hollywood adapted two of his novels into great movies: “About a Boy” and “High Fidelity” (which features an amusing cameo from The Boss himself – Bruce Springsteen). Both were critically acclaimed and nailed the blue collar Hornby touch that makes his writing such an authentic treat, so much so that rumors actually exist of a possible Hollywood sequel to “About a Boy”. Surprised about the question, Hornby puts it to rest: “I don’t know where those rumors came from. I can’t imagine writing a sequel to any of my novels at the moment.”
The difference between the cinematic and the novelistic approach is night and day; both have their merits, but concessions have to be made when it comes to the silver screen: “Well, a script is an unfinished thing. It needs the work of a few hundred other people before it gets to where it needs to be. It doesn’t and shouldn’t belong to you. Even an unpublished novel is still a novel. And you have so much room and time in a novel – every single line in a screenplay has to fight against every other line for oxygen.” No matter the concessions, Hornby seems to be a natural at the cinematic game: he got a Best Adapted Screenplay nomination for 2009’s brilliant “An Education”, received a WGA nomination for last year’s two time nominee “Wild”, and his latest endeavor – John Crowley’s “Brooklyn” – is one of the most buzzed about titles for awards contention this year. His wife, producer Amanda Posey, has played a key role in bringing Hornby to the big screen. “My wife and her producing partner actually asked me to do Brooklyn, and I can’t say no to them!” he says. “I loved the book and could see a way of doing it.”
All three of his screenplays feature strong female lead roles and he is quickly becoming the best writer for women in Hollywood. “It’s probably not a coincidence that the last three screenplays have been about young women”, he says. “”An Education” taught me that if you write a big, strong part for a young woman, you get the opportunity to work with the best actresses in the world, because there is, ridiculously, nothing else for them.” It’s a sad fact that hasn’t gone unnoticed in the headlines, with many actresses strongly coming out and fighting for equal pay and others just not finding the amount of work necessary to sustain a career. “The best male actors are not so interested in independent cinema, because they’re getting these huge paydays from studios, plus they get big parts as well. Reese, Carey, Saoirse and all the others just don’t see roles of that magnitude most of the time. It’s ridiculous, of course. The talent is out there, in spades, and the market too. But this imbalance works to the advantage of those of us who want to make movies that have a chance of lasting.”
“Brooklyn” is a beautifully made film about good, well-intentioned people trying to do their best in life. The gorgeously crisp and colorful cinematography by Yves Belanger is to die for, as is the direction by John Crowley, which is stylishly slick enough to harken back to a time when handsomely made, feel-good pictures worked marvelously well in Hollywood. This is an old-fashioned movie done right, a heartfelt effort by people who very much care about story and character. Nick Hornby’s screenplay captures his usual impeccable ear for small talk. Saoirse Ronan plays Ellis, an Irish girl who moves to New York to start a new life, but finds herself doubting that decision once there. The movie will make her a household name, and there’s already talk of a possible Oscar nomination for her performance – which originally had Rooney Mara cast in the lead role – and for the film itself, which is exactly the kind of crowd-pleasing treat the Academy eyes year after year. “Saoirse is incredible,” he says. “It’s impossible to imagine anyone else in the world pulling that off. So subtle, so moving… she pulls you in and doesn’t let go.”

Hidden Gems of 2015

Every year people lament the state of contemporary cinema. People claiming that Hollywood is churning out way too many abysmal sequels, prequels, adaptations and seems to be running out of ideas don't seem to realize that if you manage to work past the endless stream of negativity, there is hope. Now, more than ever before, there are countless ways to find hidden gems that might not have even played at your local theater. It's not just VOD anymore, an entirely different market exists consisting of movies that skip the theatrical release and go straight to home viewing through services like Amazon and Netflix. No one can see everything, there's tons of cultural noise out there, and with close to 300 movies released every year, it's easy for a great movie to get lost in the shuffle. Well, that's where I come in. The following 11 titles did make it to theaters, barely, but deserved more attention. Don't mind chiming in with your own picks.

One of the strangest most interesting movies I saw this spring starred Ethan Hawke. In the Spierig brothers' "Predestination", Hawke plays a temporal agent who constantly time travels to find a criminal that has obsessed him for god knows how long. To explain what happens in this movie is probably as hard as explaining Christopher Nolan's "Inception" upon first viewing. Mind bending and brilliantly conceived, "Predestination" is a movie that sometimes trips on its own format. In fact I guessed a few of the big twists before they actually happened, but it really is just a blast to sit through a film juggling this many ideas and that just simply wants to blow your mind – even if that's not always the case. The film takes pride in its lack of subtlety and in trying its best to shock, provoke and entertain in equal doses. For a year that finally seems to be recognizing the impact of female-driven cinema, "Predestination" provides a smart and vital additional angle to this year's feminist narrative. It reminded me of a great Agatha Christie book with a modern, 21st century, transgender twist. This is the best Wachowski brothers movie that they never ended up making.
"Tangerine", an ultra-low budget film shot on an iPhone for chump change and directed by Sean Baker, comes at you like an exhilarating force of nature. It doesn’t care if it shocks you or riles up your senses. It’s a fervent product of Sundance and one of many indie summer releases that first premiered over there this past January. It’s an imperfect movie but one filled with abundant energy in its every frame. Groundbreaking is the right word, for it is ultimately the first of its kind: a film shot on an iPhone with transgender actors taking on leading roles. Witness how evolving awareness of transgender issues has sparked a wealth of fresh cultural expressions. Jeffery Tambor is gut wrenchingly great in TV’s best show "Transparent" (with "Fargo" not too far behind if you must know) and if you haven’t heard of Caitlin Jenner then you’ve clearly been living under a rock. The film takes place on Christmas Eve in California and deals with a transgender sex worker who just finished serving a short sentence in prison and finds out her pimp/boyfriend cheated on her. She obviously doesn’t take the news very well and sets out to find the “fish” he cheated on her with. What ensues is a screwball comedy that never winces; in fact, it bites. It’s a hell of a good time, but more importantly it’s incredibly stylish filmmaking . Of course the fact that it was shot on an iPhone already makes it an important milestone film, but the L.A subculture that it introduces makes it all the more fresh and happening

The Gift

The biggest big studio surprise of the summer was, sadly, a movie that many people had not heard much about. With 108 reviews on RottenTomatoes “The Gift” has an outstanding RT rating of 93%. Its metascore on Metacritic stands at 77. So what happened between the critics and audience awareness? As with most mini-budget movies, the marketing was micro — but despite that unavoidable reality, it ranked #3 at the box-office when it premiered and since earned an impressive $28 million on a budget investment of $5 million. Directed by “Zero Dark Thirty” actor Joel Edgerton, “The Gift” is a tense, creepy psychological thriller that has so many twists and turns in its screenplay that you never know what’s coming next. Edgerton directed, produced, wrote and starred in a movie so inspired that it’s reminiscent of Hitchcock and “The Turn of the Screw.” Starring a nastily corrupt Jason Bateman and the vastly undervalued Rebecca Hall, we need more of her at the movies, “The Gift” is a razor-sharp dissection of marriage and friendship that reminds us how we can never escape our past. Go in knowing as little as possible and come out knowing more than you were prepared to find out. It's a nifty little B-movie that ends up turning the screw off your head.

Shaun the Sheep

"Shaun the Sheep" features some of the best dialogue-free scenes in recent memory. The film has scarcely any spoken words, as it just relies on its visuals to entertain us, and does a marvelous job at that. Clearly influenced by Charlie Chaplin and Buster Keaton's physical screwball comedy, directors Richard Starzak and Mark Burton have fashioned a classic out of such a simple story. A complete freak accident sends a farmer tumbling down the road to a bigger city where he loses all memory of his life and accidentally becomes a famous hairdresser for the celebrities. It's up to his flock of sheep to get him back to the farm, but not without going through the most insanely crafted screwball adventures imaginable. Just like Wallace and Gromit, the cast of characters were well known in the U.K. prior to the film's release, but if audience reaction and the deluge of rave reviews is any indication, this won't be the last we hear of them. The stop-motion animation is breathtakingly beautiful with layers of details in ever frame. The British deadpan wit is also in prime display here, with a little Monty Python-esque skit comedy thrown in for good measure.  I’d probably put this in an exclusive category of stop-motion classics such as “The Fantastic Mr. Fox,” “Chicken Run,” “Wallace and Gromit: The Curse of the Were-Rabbit” and of course “The Nightmare Before Christmas.”


If I said that 75-year-old Lily Tomlin has never been better than in this phenomenal movie by Paul Weitz (American Pie, About a Boy) would you be impressed? Well you should be, because Tomlin’s had a phenomenal career: “Nashville,” “The Late Show,” “9 to 5,” “All of Me,” and “Flirting With Disaster” have all had a little Tomlin-esque spiciness sprinkled at their core and all the better for it. She was also, once upon a time, Robert Altman's muse -- which quite frankly tells you everything you need to know about Tomlin. What she does in “Grandma” is heartbreaking and nothing short of astounding. She brings the spiky, zesty nature she’s always been known for, but plays with our emotions until we reach a finale that seals the deal on the truly amazing quality of her work. Tomlin's Elle Reid is a foul mouthed, all-too honest lesbian granny that aides her suddenly pregnant granddaughter to find enough money for an abortion. Taking place in a single day, the film is an episodic romp that gets deeper and more fragile as it goes along. It's not necesarilly a film about aging as much as it is about the deeper connections we miss in life. David Edelstein said it best when he remarked "Grandma marks a new era in gay cinema — one’s that confident and mature enough to acknowledge regret." Expect a torrent of awards love to come Tomlin's way in the months to come, she'd probably be my pick for the New York Film Critics Circle "Best Actress" Award.

Infinitely Polar Bear

Mark Ruffalo gave the best performance in "Spotlight", but that wasn't even the best acting he gave this year. In "Infinitely Polar Bear" he's a manic-depressive mess of a father that tries to win back his wife by attempting to take full responsibility of their two daughters while she gets out of the city to complete her business degree. Ruffalo creates one of the most entertainingly inappropriate, but ultimately disturbing accounts of mental illness in recent memory. His mannerisms and gestures look scarily real, but so do the twitches and spasms that run throughout his body, a sign of the physical and mental unrest that inflicts this tangible character.  The director is Maya Forbes, a Harvard graduate and first time filmmaker that based the movie on her own experiences as a child in Cambridge where she was raised by her father who had bipolar disorder. The movie is an ode to her dad, a lovingly rendered portrayal of a man trying his best, but chased away by inner demons. Much of what happens in Forbes' movie can be crushingly real or even unbearably painful, but she seems to find light in every dark shade present. She doesn't direct the movie as much as live through it which, given the backstory, is quite a heroic and formidably therapeutic attempt. Ruffalo, one of the very best actors of his generation, completely floored me.

Heart of a Dog

The brilliant Laurie Anderson's film is more than just an ode to her deceased dog Lolabelle. This exploration filled non-fiction film is about the deepest questions we can possibly ask ourselves as human beings. The themes range from death, love, memory, surveillance all the way to the nature of language. It's all beautifully narrated by Anderson, who's soothing voice reveals the depths of pain she has encountered in the past few years with the death of her husband Lou Reed, her mother Mary Louise and beloved dog Lolabelle all coinciding one by one. Her narrative voice becomes a kind of melodic flow rather than a plain spoken worded ordeal- it intensifies the stories she tells us and is an integral soundtrack to her personal journey. Most of all this is a film about mortality, the one theme that eats us up as human beings, the meaning of which will never fully be explained in our lifetime. That doesn't mean we can't keep asking ourselves questions about it, that's part of who we are and what makes us feel relentlessly alive. We might never come to terms with it, but there's something wondrously mysterious about it all - the meaning we try to find out of this personal journey might never be fully comprehended, but there's a real beauty in coming to terms with the unknown. I don't use the term very often, but "Heart of a Dog" is the definition of a "work of art".

Mississippi Grind

I'm a sucker for gambling movies. I'm also a sucker for road trip movies. Mississippi Grind is both of those, so of course it makes this list. Ryan Fleck and Anna Boden (Half Nelson, Sugar) are also one of the very best Indie filmmakers in the business. In Mississippi Grind, the highly talented Ben Mendelsohn plays Gerry, a gambler who is unquestionably down on his luck facing personal and financial ruin until he meets Curtis (Ryan Reynolds), a young poker player who also craves the adrenaline of a quick financial gain. They bond through their love of card playing, dice rolling, and chip throwing. They go from Iowa to New Orleans in search of the big win, and their journey turns "Mississippi Grind" into a road trip movie. Curtis claims "The journey's the destination," but the same can be said about the film which seems to have taken pieces of Altman's "California Split" and Karel Reisz's "The Gambler". Both leads are perfectly cast. Mendelsohn is at times mesmerizing and Reynolds shows us that he has acute acting chops if given script pages with some meat to chew on. Together they make a formidable pair of losers. Two men who would appear to be fun to be around but are reckless and therefore dangerous to be associated with. And therein lies the beauty and intricacy of Mississippi Grind. Shot on film, Mississippi Grind almost has that 1970's film feel. It's methodical in its pace and is not afraid to rely on the charm of its characters to further elaborate its narrative.

James White
Opening in very limited release on November 13th, "James White" is already destined to be overshadowed by the marquee holiday titles aiming for box office gold and awards love. Starring Christopher Abbott -- of "Girls" fame -- and a never better Cynthia Nixon, the film might just be the total opposite of Amy Schumer's summer fling "Trainwreck", yet this film is very much about a trainwreck. A man -- or boy if you will -- has to deal with so many issues, both physical and mental, that watching it you are just waiting for the moment when it all implodes and the breakdown occurs. What you don't realize is that the breakdown has already started: from the very first scene he's bouncing around drunk mid-day in a dingy club, and things only get worse after that. Nixon plays this boy's mother, whose cancer that was previously in remission has come back in full stride, and next thing you know she's at stage 4 and with only weeks to live. Meanwhile her son, trying to cope with the whirlwind of emotions, continues to go out, get drunk, get high, sleep with women, and exude violent behavior. It's not a happy movie, and you might need a drink or two after having watched it, but the artistry is phenomenal. After its incredible bow at Sundance in January, where it was praised in every way, director Josh Mond's film is about to get released to a public that might not want to deal with the many "heavy" issues at hand, but that would be a mistake. "James White" is an impeccable artistic feat with Mond using his camera for abnormally efficient closeups on his main character to only enhance the claustrophobic feel of the movie.

99 Homes

Ramin Bahrani’s tense but terrific film stars Andrew Garfield as Dennis Nash, a man whose family home gets foreclosed by arrogant, money-hungry real estate mogul Ray Carver, devilishly played by Michael Shannon. Circumstances lead the desperate Dennis to work for Carver to get his home back. Both are excellent, and Laura Dern as Dennis' mother is heartbreaking in an exceptionally resonant role, showing us the immense talents this underused actress possesses. Bahrani brings an authentic documentary-style feel to the whole thing, using hand held cameras to swerve with the characters and raise the tension. This is about a society gone astray, hell a country gone astray, and a poisonous system that doesn't just seems unfair, but criminal. This is a movie for its time about its time, that is frighteningly urgent and has more than enough relevance to pack a punch. Late film critic Roger Ebert was a staunch supporter of Bahrani’s films and for good reason. He’s a unique voice that finally makes his big studio picture debut here. You can tell there’s a studio behind him here because “99 Homes” does have to make some concessions in its final cut and is not a perfect movie, but the artistry is major and Bahrani creates a movie that'll give you nightmares.


Sebastian Schipper’s high-wire act of a movie is more than just a stunt. Shot in a single 138-minute take, but not one cut, it’s a grim, but powerful look at a Spanish girl named Victoria who meets 4 German men in the wee hours of the night in Germany and embarks on a harrowing journey with them. Schipper and his ace cinematographer Sturla Brandth Grøvlen  make the camera move poetically through the after hours of Berlin with elegant ease, never has Berlin looked this menacing, but breathtaking in a movie before.  Grøvlen's camera seems like its own acting beast and breathlessly dictates the white knuckled tension.  I fear many might shrug it off as just a gimmick, but that would be very far from the truth. Yes Schipper's film is in fact a phenomenal technical achievement, but one done with the alerting sentiment that there needs to be a good story behind the gimmick. There are some scenes of unquestionable tension here as hoodlums, clubbers, hustlers, romantics navigate in an out of the story, but character development rarely gets forsaken.

Contenders - Best Foreign Language Film

Weighing in on the Foreign Language Film contenders has become a sort of tradition for me at AD. Of course my commendable efforts to try and watch as many of the films as possible pales in comparison to Nathaniel Rogers’ current project/obsession over at The Film Experience, where he’s literally trying to watch all 81 submissions. When I bump into him at TIFF every year, he’s almost guaranteed to tell me that he’s off to see some random country’s Oscar submission. I of course haven’t seen all of them, but I have seen most of the buzz-worthy titles and I do want to thank the people who have helped me with screeners along the way. Such a project would not be possible without all the film festivals. Just recently, Montreal’s Le Festival Du Nouveau Cinema — which ended this past Sunday — helped me find the missing pieces of the puzzle, with screenings of their impeccably well organized program.
This year we hope that the major snubs that happened last year in this category — with Two Days, One Night and Force Majeure not getting nominated — do no repeat themselves. The fact that the Academy lets the countries themselves pick the film is somewhat of a problem and leads to a biased agenda. Iran obviously picked the 171 minute Islamic epic Muhammad: The Messenger of God over imprisoned filmmaker Jafar Panahi’s scathingly brilliant social critique of Iranian society Taxi. Thailand not only didn’t choose Apichatpong Weerasethakul’s masterful Cemetery of Splendour, but in fact banned it from ever showing in the country due to a few “un-patriotic” details shown in the movie. Germany said no to Sebastian Schipper’s incredible 134 minute one take wonder Victoria in favor of safer bait-y fare Labyrinth of Lies, and China decided to choose — huh? — Go Away Mr. Tumor, a romantic comedy based on a webcomic over Jia Zhangke’s heartbreaking dissection of Chinese societal ills Mountains May Depart. I’m only scratching the surface here, but many other countries opted for the safer, non-political route with their films, which makes the category all the more controversial.
Take as an example Cemetery of Splendour. Apichatpong Weerasethakul is quite possibly the most forward thinking, prophetic filmmaker of world cinema today and yet his country treats him like a traitor. So much so that Weerasethakul has recently stated that he will not be making another movie in his native country ever again, instead opting to explore the South American movie scene. It’s their loss, as Weerasethakul is a filmmaker that is considered by many to be the best current director in the world. His films do not follow the conventional narrative and instead opt for dreamy surrealness, popping your eyes out with the most incredible imagery, knocking your senses out with an unabashedly masterful use of sound and luring you in with its haunting storytelling.
Moreover, what kind of political statement would be made if Jafar Panahi’s Taxi was nominated. Panahi has been under house arrest for more than five years now and has been banned from making any kind of movie for the next 20 years. Yet, he remarkably continues to find loopholes and make the most creatively ingenious films imaginable and then finds a way to sneak them out of the country and into film festivals worldwide. Taxi won the Golden Bear this past Fenruary at the Berlin Film Festival. For a lesson in how to make movies with the most dire of constraints infringing on your creativity, just watch any of Panahi’s three post-house arrest movies, especially 2011’s This is Not a Film, the best of the bunch. His situation has not only changed the way he makes movies, but in the process has made him a wholly better filmmaker.
I’ve come up with ten titles that I believe are the standouts in the Foreign Language Film category. With all the complaining I’ve done set aside, most of these titles are actually pretty great movies and represent some of the better parts of world cinema.
Son of Saul
Lazslo Nemes’ Son of Saul. is a holocaust movie shot from the point of view of a concentration camp prisoner forced to burn the bodies of gas chamber victims after leading them to the trap. The movie is an immeasurable accomplishment, with scenes of staggering beauty and incredible pain. Nemes’ masterpiece reinvents the Holocaust movie by focusing more on the psychological nuance of the tragedy rather than just shock. If there was a better, more artistic movie at TIFF 2015, I didn’t see it. The movie opens with Saul finding out that the last group he led to the gas chambers included his 7-year-old son. Saul is a man so persistent in giving his deceased boy a proper burial that he risks his life and the lives of his co-prisoners just to find a proper rabbi for the kiddish ritual. His risk-taking can sometimes be maddening, but there is something to be said about a man who still believes in keeping his tradition and religion intact, even in the face of unspeakable horror. The Jews around him are building up a resistance and are prepared to fight, but Saul seems completely aloof, focusing instead on finding a rabbi and having a burial. Using a hand-held camera can sometimes end up being damaging to the overall narrative of a film, but here it compliments the story and gives it a fresh spin. The fact the first time filmmaker Nemes was just 28 when he wrote and directed this masterpiece speaks volumes about his talent. Some scenes are so deeply realized and profoundly thought out that it feels like you’re in the hands of veteran master. The film uses its camera to find dizzyingly surreal moments for its characters and supplies a uniquely original take on a used up cinematic genre.
The Assassin
The Taiwanese submission, The Assassin, is Hsiao-Hsien-Hou’s first film since his critically acclaimed Flight of the Red Balloon back in 2008. It justly won him the Best Director prize at Cannes earlier this year, which is the obvious award the film should be getting, as it is truly a master class in directing a movie. Just like his other fantastic movies, the filmmaker takes his time here, making every shot look like a beautifully painted stroke. His martial arts film is not concerned with plot as much as it is about trying to convey indelibly breathtaking imagery: “There are already so many martial arts films with that style, why bother making another one,” he told Film Comment. Tackling the Wuxia martial arts genre, Hsien-Hou’s film is about a female assassin in 7th century China named Nie Yinniang who embarks on a mission to kill the family that abandoned her when she was just a child. Yinniang is played by a beautifully talented actress named Qi Shu who can evoke more feelings and hurt in a single stare than most actors can in words and gestures. The movie isn’t about the fighting, yet when it does occur it is done in such an artful, seductively nasty manner. The way the whole thing is shot looks like something we’ve never seen before, a movie that is almost certainly a work of art and that can have each and every one of its frames frozen in time for us to gasp at its beauty. The Northeastern Chinese sets were built not on soundstages, but outdoors, so that natural light could be used. The cinematography by Mark Lee Ping Bing is thus filtered with so much beauty, it’s like looking inside a jewel box. This might not be the Academy’s cup of tea, but the solid reviews it’s been getting will almost certainly make it one of the lasting true contenders for the category.
Dheepan might have won the Palme D’or earlier this May at Cannes, but that wasn’t enough to persuade the French to choose it for the Oscars. Dheepan is a remarkable film, in Sri Lankan with French subtitles, but Mustang — this one is Turkish with French subtitles — is just as remarkable. Opening on November 20th, it’s not only a genuinely infuriating and touching movie, but it might also be one of the very best of its kind, a film about female empowerment in a small society completely lacking in it. The story of the five Turkish girls of Mustang becomes a love poem for, as Brian Tallerico stated, “the millions of women who have looked at the world around them and found they needed more.” The tale of five spirited young sisters imprisoned in their deeply repressive male oriented family home is an unequivocal triumph for its first-time female director Deniz Gamze Erguven. She directed the movie while pregnant: “It was a commando operation. I was exactly halfway through my pregnancy when we wrapped, and we were shooting twelve hours a day, six days a week. It put me in the same position of fragility as the girls, which wasn’t a bad thing since it meant we were all in the same boat.” She shoots her movie like a pro with a primal understanding of the cinematic form and her characters. What’s even more astounding is her work with the young actresses, all of whom more or less have never acted in a movie before. There are shared similarities to Sofia Coppola’s The Virgin Suicides, another female driven, female directed film. Erguyan replied that she “saw The Virgin Suicides when it came out and read Jeffrey Eugenide’s book, but Mustang is not a derivation of it.” Mustang is about teenage angst in a freedom constrained society. “I wanted to talk about what it’s like to be a girl and a woman in modern-day Turkey, where the condition of women is more than ever a major public issue. I frequently left Turkey for France and everytime I’d go back to Turkey I felt a form of constriction that surprised me. Everything that has anything to do with femininity is constantly reduced to sexuality, it’s as if everything a woman or even a young girl does is sexually loaded.” It’s a story that is sadly quite relevant in that part of the world — with arranged marriages, strict dress codes and proper “non-seductive” behavior being prescribed for women.

The Second Mother
Two particularly interesting films about motherhood are vying for a nomination this year. They couldn’t be more different from each other. Director Anna Muylaer’s The Second Mother tackles the generational and class divides happening in her native Brazil. Actors Regina Casé and Camila Márdila shared the World Cinema Dramatic Special Jury Award for Acting at Sundance and the film won the Audience Award at Berlin. This is the story of a Sao Paulo nanny named Val who has to live with the guilt of having left her daughter Jessica until she re-enters the picture and decides to crash at Val’s workplace, When Jessica arrives, cohabitation is not easy and has Val pondering the past and re-envisioning her own future. Everyone will be affected by the personality and candor of Jessica with Val finding herself right in the middle of it. Muylaer’s film is trying to show the dividing class structure in Brazil and how it’s being -rightfully so- destroyed by the next generation. Jessica doesn’t understand why her mother gets treated so poorly, especially by the matriarch of the family who seems to have her values and nose stuck up in 21st century bourgeouis-ism. The story is also a touching ruminification on mother-daughter relations. Regina Case’s performance as the mother is eccentric, neurotic, but ultimately moving Muyaler’s direction is passionately laid out. When it comes to female directors “if your film is doing well, it’s because of us.” she told AD. Look for a great interview by Jazz this week with the star and filmmaker of this great movie.
Goodnight Mommy
The mother in Goodnight Mommy couldn’t be more different than Val – in directors Veronika Franz and Severin Fiala’s film she has come back from a mysterious accident with her face bandaged up due to plastic surgery and an overall newly found aggressive behavior. Her two sons start to suspect the worst, Is this really their mother? After all, she wasn’t this brutally honest and frank with them before. The notion that an imposter has taken over the matriarchal role seems somewhat preposterous at first, but the hysterical behavior the mother starts to impose on her children starts to worry both the children and the viewers themselves. The rest of the movie is too spoiler-filled to really go in-depth, but the surprise ending is one of the few welcome “twists” in recent cinema. This is a hard, tough watch that doesn’t give us any easy answers, but the filmmaking is breathtakingly, horrific imposing an almost Freudian aspect to the mother and son genre. Audience response has been warm to Goodnight Mommy, but can older more conservative voters respond the same way film geeks/fanboys have online? One thing’s for sure: Franz and Fiala impose tough, controlling, obsessively detailed frames to their movie and make something disturbingly special.
A Pigeon Sat on a Branch Reflecting on Existence
Roy Andersson’s films resist definition. As one critic pointed out: ‘Why would you write about a Roy Andersson film? You might as well dance about a cake.’ Don’t pay attention to the pretentious title, this Swedish film is actually quite an amazing miracle. The 2014 Golden Lion winner at Venice is an episodic, deadpan dramedy from Andersson’s brilliant, twisted psyche. The conclusive piece of his “living” trilogy that started with 2000s Songs From the Second Floor shows us the abyss of human existence and the pointlessness of some human lives. A knowledge of Kafka’s works might help, I was also reminded of Waiting for Godot in this seemingly modern tale of two unsuccessful and troubled travelling salesmen – it all feels like a metaphor for something otherwordly that cannot be comprehended. There’s nothing conventional or familiar about it. Roy Andersson’s movies are like that. You better brace yourself for a sequence of images, scenes and characters that may or may not fit together but are guaranteed to surprise, amuse and shock you. Andersson tackles death here, but tries to give it a twisty irrevocably deadpan style. sometimes you’re not sure what his point is but that’s part of the charm. I’ve heard some people say that they were bored to tears by the film, but then again this isn’t a film for short attention spans. As we stand it’s one of the bigger titles of the race, with much critical baggage on its back, and a respectable box office intake, but will voters adhere to its rebellious narrative?
The Club
The Club is Pablo Larrain’s latest provocation. It just won another Best Film award, this time at Montreal’s Le Festival Du Nouveau Cinema, which concludes a year where the film won prizes left and right including the Grand Jury Prize at the Berlin Film Festival in February. After directing the excellent No, he sets his eyes out on the controversial sex abuse scandals of the church that happened in his home country. If Tom Mccarthy’s Spotlight didn’t show the perpetrators or the victims of these horrendous crimes then Larrain doesn’t shy away from doing so. The Club is about the evil men that committed the abuse and the isolated, small town house they live in for penance. It’s also about the victims, in particular one disturbed victim that seeks revenge. There are four men, a nun -whom has comitted a different kind of sin- and an overall gloomy atmosphere to the whole thing. To make matters worse a fellow priest who has just joined the house shoots himself in the head, a Church head comes to visit to inspect and possibly close down the house. Rage follows, but so does the fact that what is supposed to be prison for these men is actually a retreat, filled with recreational activities and a free pass they do not deserve. Larrain meticulously crafts the film with the eye of a proven filmmaker, he doesn’t shoot the film as much as live in it by trying to understand his characters and their motivations “I try to love my characters as well, even though they could be the meanest person in the world, and have done things that you could consider immoral or wrong.” the director told IndieWire earlier this year. The formula works wonders with The Club.
The Clan
Pablo Trapero’s The Clan owes a lot of its narrative style to Martin Scorsese’s crime movies, with a rock and roll soundtrack, frenetic long takes and absurdly violent crime scenes. Trapero won the Silver Lion for direction this past September for this harrowing Argentian true story of the Puccio Clan, a family who kidnapped and killed in the 80s. It is all rendered with such horrific grittiness onscreen that it’s not hard to look away in some scenes. Trapero has taken the route of forcing us to identify with his heinous main characters, which makes this film more closely related to a Rob Zombie movie like The Devil’s Rejects than it does to any other crime film. It is however a little more restrained than the aforementioned filmmaker’s twisted visions, but nevertheless we are given the task of watching a family patriarch -deviously played The Secret in Their Eyes’ Guillermo Francella- embark in the most disturbing kidnappings, for political reasons, all in the meantime having his family abide and become more than just passive accomplices. Some of the victims are kept in the downstairs basement, where the screams can be heard from the upstairs family kitchen. The family doesn’t say a word, adhering to the father’s twisted agenda – yet the only one with a moral compass is his oldest son Alex, who starts to rebel against his old dad. The director has said that “What’s interesting for me was to tell the story of the relation between a father and his son and this is universal” . The film has become a phenomenon in his native country, breaking opening weekend box office records and having been seen by more than 2 million people in its first month of release alone.
Labyrinth of Lies
Of course, any World War II film about justice has to be part of the discussion. Giulio Ricciarelli’s film Labyrinth of Lies is about the conspiracy by the German government to cover up many of the crimes committed by Nazis during the second world war. It takes place in 1958 and has a young prosecutor investigating the case. His efforts are, however, obstructed by the powers that be who’d rather not be reminded of the past. In a particularly flabbergasting scene, the prosecutor asks his young colleagues what the word Auschwitz means to them. None of them come up with an answer. Unlike the other pictures on this list, Labyrinth of Lies does not enter the Oscar race with any prestigious Film Festival awards or critical acclaim on its belt, just look at its metacritic score 62, instead this is the kind of film that will have audiences saying it is a great movie. A potent crowd pleaser. Most pundits think this will get nominated. It is a safe, sometimes meandering, but often interesting story that only seems to be scratching the surface of the harsher truths at stake here. Ricciarelli directs it with all kinds of prestige-picture flair, but this isn’t even close to being the best German film of 2015.
Fresh off winning the top prize this year with Cannes’ Un Certain Regard section, Grimur Hakonarson’s Icelandic film Rams was high atop my must see list for this article. Taking place in a secluded part of Iceland the film is about two sheep herding brothers who are so good at what they do that they are rewarded for their prized rams. Yet all is not well with this pair of siblings as they don’t talk to each other anymore nor do they even try to make eye contact. Tragedy strikes the small town when it is discovered that a brain and spinal eating disease has rummaged the village’s sheep and that the villagers must kill off their entire herds. This of course doesn’t sit very well with our two brothers who somehow try to take matters into their own hands, with both comic and tragic results. The brothers must fight together by putting aside their own egos aside and taking extraordinary measures to save the remaining sheep. This means breaking a 40 year silence between them, with one brother saying to the other, “No sheep – just the two of us.” Rams is about a deeply rooted culture threatened by extinction, it is about famillial ties that cannot be broken, but most importantly it is about a heritage that is very dear to the Icelandic people and that seems to bring people together in times of crisis.