Wednesday, January 1, 2020

cosmic representations hovering around 2010 - 2020

:: best of the decade ::

films. primary list, alphabetically

Michael Haneke Amour 2012
Starring Jean-Louis Trintignant, Emmanuelle Riva, and Isabelle Huppert. Still, no film by him (for this viewer) matches his 2001 The Piano Teacher, but this film has a quiet intensity that makes it stand out and some beautiful performances by these three heavies.

David Michôd Animal Kingdom 2010
Many films this decade involve the stellar performances of Ben Mendelsohn. This film also first brought to my attention the actor/filmmaker Joel Edgerton and the work of David Michôd, whom also made The Rover. The Australian films this decade were some of the best.

Mike Leigh Another Year 2010
Leigh's first film of the decade, and one of his best. Intense relationships shifting and unraveling in a film that flows so beautiful it leaves you completely overwhelmed by the virtuosic abilities of Mr. Leigh.

Derek Cianfrance A Place Beyond the Pines 2012
Another stunning performance by Ben Mendelsohn. This film and many others from the decade have a definite relationship to the 1970s and early 1980s. Not in the mindless way that Stranger Things does, but present a subtle ambiance working under and above the surface. Clearly this time period shaped many filmmaker's aesthetics from the last ten years, and here it is very much present in A Place Beyond the Pines and in addition Killing Them Softly, both with Mendelsohn and both with a sort of perverse sense of the world that often times can make a viewer quite uncomfortable.

Viktor Kossakovsky Aquarela 2018
Often times it is very enjoyable to see a non-narrative, non-documentary, and non-avant-garde film that is perfectly shot and put together. Aquarela is one of those rare films that just concentrates on the craft of filmmaking, and a preoccupation with the magic of cinema.

Alejandro G. Iñárritu Birdman or (The Unexpected Virtue of Ignorance) 2014
"A big bang of movie razzle-dazzle from Alejandro G. Iñárritu, opens with a winking sleight of hand. Riggan Thomson, a Hollywood has-been turned Broadway second-chancer played by a blissed-out Michael Keaton, is hanging out in his dressing room at the St. James Theater in Times Square, by which I mean floating, like a mystic who’s passed transcendence and gone straight to nirvana."  Manohla Dargis New York Times review.

Yi'nan Diao Black Coal Thin Ice 2014
Chinese Serial Killer film, classical in some ways, but highly abstracted. Almost like a Beckett meets Tsai Ming-liang film. Drunken and depressed, our hero navigates a depressed existence, with his general atmosphere of absurdity being more what I followed than the plot. Virtuosic in that the film does not rely on music like a Fincher film would, but builds tension and mood through alternative modes. After a couple of viewings, I believe it would be difficult to put my finger on how this mood is executed so strongly, truly a mysterious and subtle magic this film has. It is wonderful to watch a film that you understand is executed perfectly, but the abstraction of it keeps you at a distance.

Denis Villeneuve Blade Runner 2049 2017
All of Villeneuve's films from the decade are ones I have watched quite a few times and have felt a strong connection to. Hard not to put them all on this list.

Woody Allen Blue Jasmine 2013
After Bullets Over Broadway from 1994, I basically gave up on Mr. Allen. One of the few watchable films in the first part of the 21st century was Small Time Crooks from 2000, but it was really Blue Jasmine that is on par with his classics. When I first met my wife, she was living in an apartment building just next to Sally Hawkins' fictional apartment building which appears briefly in the film. Tragic ending that hits very hard every viewing, one of his best films.

Richard Linklater Boyhood 2014
A great achievement by Linklater to put together a film like this and maintain the concentration. Quite novel film that gets better each viewing, and one of the few films that makes you want to re-watch immediately after it ends.

Chang-dong Lee Burning 2018
Have seen this a couple of times and the film just blows me away and is often in my mind. The visual ambiance he creates is dark and sublime without using tricks and tomfoolery. Besides Australia, South Korea has really had a strong decade.

Luca Guadagnino Call Me By Your Name 2017
After seeing the trailer for Call Me By Your Name, I thought the film seemed pretty lame but after realizing it was written by James Ivory, I immediately went out to see it. Watched a few times in the last couple of years and it is easily one of my favorites of the decade.

John Michael McDonagh Calvary 2014
Both McDonagh brothers have made some great films in the last decade or two. Calvary and The Guard are great ones that portray a strange humour and feel that is utterly unique and quite a bit in the tradition of theatre or literature.

Todd Haynes Carol 2015
I recently read Patricia Highsmith's Carol and believe that Haynes and Phyllis Nagy greatly improved on the story, one of those films that adds much to the book (in my opinion) and so beautifully shot. Haynes best film since Safe.

Christopher Nolan - Dunkirk - 2017
Very nice for Nolan as it mellows out a bit with some of the non-linear narrative tricks, at least the tricks are presented in a subtle way. Stunning visually and sonically with one of Hans Zimmer's best soundtracks. Very much love Tom Hardy's finale, memorable when so many films are competing this decade for the most non-traditional ending.

Doug Liman Edge of Tomorrow 2014
Have seen this film maybe 4-5 times and love it quite a bit. Groundhog Day that is further examined here comedically in an unlikely film with Tom Cruise killing aliens.

Paul Schrader First Reformed 2018
There are many aspects of Schrader's First Reformed that implore one to watch it over and over again: Ethan Hawke's stunning performance, Lustmord's cosmic score (that only shows up later in the film), Amanda Seyfried and her Magical Mystery Tour, Schrader's tipping of the hat to not only his previous work but Bresson and the like, and also the film's relationship to environmental concerns. More than anything though is the ending and its relationship to the total film, which initially left me so confused after leaving the theater, until my wife explained it to me in such a straightforward way and the simplistic profundity was just shocking. It really brought back into my consciousness the importance of "reading a film" in a clear way, something this viewer had learned in film school but somehow half forgotten over the years. Reexamining how one watches a film in a way that happens not in a fog but under a clear conditions.  This could be supplemented by:
A. Watching the film numerous times.
B. Listening to interviews with Schrader and his Blu-ray commentary.
C. Rewatching Schrader's older work like Hardcore, Light Sleeper and Taxi Driver.
D. Reading or having some understanding of Schrader's study of Yasajiro Ozu, Robert Bresson, and Carl Dreyer in his book Transcendental Style In Film
A film enthusiast can seek alternative methods of watching a film that really assist an intimacy with the work. Alternative viewings can involve: Watching the film silent. Having the film play but only listening to it. Watching the film with attention to edits and shot lengths (does the director use hard cuts, dissolves, etc... how do the edits accentuate a filmic rhythm)? Watching the film without subtitles, slowing down certain sequences to get a better idea of how they were constructed. A film's ending has become something that makes or breaks it. The Sopranos' ending comes to mind, with its shocking and in many unclear narrative trajectories.

Jordan Peele Get Out 2017
One of those films I had to see a couple of times to get into. Solid film. Interesting how he mixes humor with dread, not always so successfully done by others.

John Slattery God's Pocket 2014
I am not a Mad Men enthusiast, but there are many aspects of the show that make it stand out. One of the biggest for me is John Slattery's performance, and general presence. Every so often he shows up and adds quite a bit to a film, like Spotlight. I had no idea he directed until this film and it is one of those quietly stunning films from the decade, hugely funny and endlessly rewatchable. A solid portrait of Boston Mass, the somewhat ugly city where Slattery grew up (and partially this reviewer). As stated numerous times on the art of memory; this decade in film has a strong relationship with the 1970s and early 1980s, a period when kids didn't wear seat belts, peoples breath stank, and apartment/house interiors were dark from ugly wainscotting, grime and a lack of light. I remember one teenage summer reading Thomas Mann, Jun'ichirō Tanizaki, and Franz Kafka in some ugly as shit Revere or Lynn Mass wainscoting-heavy interior and really understanding the importance of light in architecture to keep one from falling into a heavy state of depression. The actors (Philip Seymour Hoffman, John Turturro, Christina Hendricks, and Richard Jenkins) move to and fro in these ugly spaces, partially dipso and having a tough time at it. Great film with many memorable lines and an hell of an atmosphere.

David Mackenzie Hell or High Water 2016
Written by Taylor Sheridan who's work this decade includes Sicario as writer, and Wind River plus Yellowstone as director and writer. Timeless film that certainly is set in a time past where conversations involved more than what method people use to bleach their teeth. This website writer often times goes about in the quotidian world with many pressing questions: Where the hell am I? What happened to my comrades? Why is all music boringly monoculture? Why do people support a fast food chicken company that is anti LGBTQ and at the same time go about criticizing those who don't as OK-Boomers? Why is Star Wars the only topic of film conversation one hears anymore? Anyway... seeing films like Hell or High Water puts this viewer temporarily in a place where these questions don't need asking.

Thomas Vinterberg The Hunt 2012
In the 90s, the concept of Vinterberg and von Trier's Domga 95 was extremely appealing to me. Vinterberg's Festen (The Celebration) from 1998 was the first I believe and that along with von Trier's The Idiots were a big deal at the time. Looking back I am not totally sure that the films were as strong as the concept (I need to rewatch them), but Vinterberg's The Hunt is really a virtuosic and deeply meaningful film that in many ways seems like the adult film that came out of the freshman Festen. Much of what makes this film so solid is Mads Mikkelsen's performance, one of the greatest actors working today. He does not often get to shine but here he delivers one of the most beautiful performances of the decade, something that was perhaps missing from the Domga 95 films? I listen now to many film podcasts and try and keep up with what is happening and honestly I can't remember the last time someone mentioned Dogma 95, are their Vows of Chastity no longer relevant for contemporary film viewers? In many ways the ideas come up constantly when I watch film, like the relationship between what I am hearing and what I am watching (as does Bresson's many sound/image ideas). How many films does one watch these days where 100% of the film's dialogue and sound work was not what was recording sync? Does it matter? More times than I can count one sees a long static shot and the camera is moving about just enough to know that it has been hand-held, or lighting is obviously provided by what light there was available. These subtle touches really add a lot to films these days. The technology of digital image capturing has really come so far that so many things are possible now that were not in the early days of digital. With this many vows of chastity have perhaps crept into decisions that cinematographers and directors make these days?

Ken Loach I Daniel Blake 2016
That this film is made by the same man who made Kes gives justification enough to see it, and it happens to be a stupendous film.

Paul Thomas Anderson Inherent Vice 2014
I couldn't get excited about The Master, but PT made up for that film with this truly bizarre film and one of his best. The first time I honestly didn't get much of it but on repeat viewings the fog has cleared slightly but there is still plenty of fog in this Chandleresque nonsensical booze and sex induced ride. PT's use of Can's Vitamin C is surely one of the strongest moments of cinema magic this decade.

Martin Scorsese The Irishman 2019
This film I have mentioned a couple of times on this site. It joins the list of truly profound films by Scorsese like Mean Streets, Taxi Driver, Raging Bull, Italianamerican, American Boy, Goodfellas, No Direction Home, and The Last Waltz.

Chad Stahelski & (partially) David Leitch John Wick: Chapters 1-3 2014-2019
These three films show up in this list for a few reasons. I was never a Keanu Reeves fan, but when he is solid in a solid film, there is some cinematic enchantment that happens. Growing up watching him in films, it is hard to explain the aura he gave off when first watching John Wick 1, partially because of how great he looked and fought for his age, but also just how much he had minimized his acting style over the years, if 10 words were necessary, he would only use 1. Not too many actors can pull that off. 

Andrew Dominik Killing Them Softly 2012
Not sure how many people would agree, but for this viewer Killing Them Softly introduced a new kind of film into the 21st century, although a new kind of film that is hard to put one's finger on its qualities, or "hard to take its measure" as is said in No Country for Old Men. Perhaps it is the Australian/New Zealand influence on contemporary film, or the qualities I mentioned earlier in this post related to A Place Beyond the Pines, that the cinema from the 1970s and early 1980s are very present in these works but not blatantly like in Good Time or Stranger Things with their truly ersatz soundtracks. It is more like an obsession with lesser known works from that time period, like the writings of the novelist George V. Higgins who also wrote The Friends of Eddie Coyle, or John Flynn's The Outfit from 1973, or Stuart Rosenberg's The Laughing Policeman from the same year (both of which I had not seen until recently thanks to a friend's strong referral) or Jerzy Skolimowski's Moonlighting from 1982. These more crime-filled, seedy and grimy films from that period are in a way reborn in many films from this decade. Films where sound plays such an important role (like The Shout from 1978) or the shite of urban life like in Charles Burnett's Killer of Sheep from 1978. Perhaps being a fan of all of these films, the way contemporary filmmakers interact with that rich history is more of an interest. But more than any of this; Killing Them Softly is just a solidly made film and has stunning performances from actors that have really dominated the decade like Richard Jenkins, Scoot McNairy, Max Casella, Ben Mendelsohn, and of course heavies like Brad Pitt, Ray Liotta, Vincent Curatola and James Gandolfini. Other related works are : God's Pocket, Hell or High WaterA Place Beyond the Pines, Starred Up, Out of the Furnace, The Rover, Cold in July, Joe, The Kingdom, and The Drop.

Lucien Castaing-Taylor, Véréna Paravel Leviathan 2012
As mentioned earlier, experimental films over the years have really shifted into this anti experiential way of experiencing film for this viewer. They have gone from something I once obsessed over to something I barely pay attention to. Often times more experimental documentaries give this viewer the jouissance he once felt from the avant'garde. Leviathan and Sweetgrass by Lucien Castaing-Taylor and collaborators are good examples. Non-narrative films which explore what cinema is capable of without story, the relationship to early or pre-cinema (as written about by such writers as Tom Gunning), and explorations into sound and its relationship with image, a relationship that explores complexity in a way that most experimental film currently do not but rather settle into a world of alternative music video. This film delves into many beautiful cinematic experiences: movement from the screen to the audience's eyes using imagery that is the definition of liminal light, the sea and how the camera goes in and out of it like a bird diving for fish accompanied sonically in a way that completely mystified this viewer. Also, you so rarely see people in the sound art world working in film, here we have Ernst Karel's sound work adding so many layers to this great work. One also thinks of BJ Nilsen's sound design work in Sicario (I believe the aerial shot early on in the film, correct me if I am wrong.)

Yorgos Lanthimos The Lobster 2016
Growing up through my youth reading Robert Walser, Samuel Beckett and Franz Kafka, I felt an immediate connection to The Lobster upon seeing it. Lanthimos' The Killing of a Sacred Dear resonates in a similar way, but this film more so with its Walserian surrealism and (at first glance) cold aesthetics. Very much similar to Beckett's Sucking Stones.... repetitive and bordering on boring, but so humorous and strange the experience becomes irrational and dream-like. Nothing else really like it.

Kenneth Lonergan Manchester by the Sea 2016

Kenneth Lonergan - Margaret Extended Cut - 2011
Lonergan is certainly one of the most exceptional filmmakers working this decade. The first film I saw by him was Margaret, and after that was completely overwhelmed by his 2000 film You Can Count on Me. After seeing Margaret about 3-4 times I finally saw the extended cut and the difference between the 2 films is quite extreme, with so many more layers and subtleties in the longer cut. Extraordinary and often times hard to watch performance by Anna Paquin, and one of the best performances of the decade by J. Smith-Cameron. Manchester by the Sea also one of those powerful films that is not only beautifully constructed, but has performances so powerful your head spins faster than light. Two outstanding films.

Barry Jenkins Moonlight 2016
This film I have spent much time with and written about many times on this blog. Great film.

Mike Leigh Mr. Turner 2014
Honestly one of my favorite Mike Leigh films, from an oeuvre that has so many remarkable works. Some of his departures from the Leigh world have not resonated as strongly, like Topsy-Turvy, but this one is just so stunning and Timothy Spall here is utterly mesmerizing.

Jim Jarmusch Only Lovers Left Alive 2013
Jarmusch has made some great goddamn films and this is one of them.

Takashi Makino Origin of the Dreams 2015 & works in general
The works in general by Makino from this decade are gorgeous and essential for any enthusiast of transcendental jouissance in cinema. I picked Origin of the Dreams but many other films are very much worth watching including cinéma concretOn Generation and CorruptionThe Picture from Darkness, and Emaki/Light.

Aki Kaurismäki The Other Side of Hope 2017
The Other Side of Hope and Le Havre are two pretty damn good recent Kaurismäki films. A drastically underrated director with such a strong body of work. Immersing oneself into the world of Kaurismäki is unlike any world one can experience, something only really the cinema can offer.

Pedro Almodóvar Pain and Glory 2019
Incredibly nuanced performances from Antonio Banderas and Asier Etxeandia, the kind of screen performances one hopes so much to see but so infrequently does. I normally am somewhat repelled by Almodóvar (sorry to say), but here he really makes a wonderful film about memory and reminiscence, aging and mortality, inspiration, desire, friendship, depression, and restrained emotions. About in many way not dramatizing but living in a world of suppressed emotional fatigue. One moment incredibly touching was when the two old friends, having split and not spoken in 32 years, meet up and again thick as thieves.

Bong Joon Ho Parasite 2019
Often times a person that is sensitive to film style, meaning they consume it quickly and try and make sense of it, sees a film that has a truly unique style and has immediate respect. Perhaps like seeing Béla Tarr's films for the first time. Parasite comes from a direction that completely mystified this viewer and for that it instantly became one of those great films. As stated elsewhere, this is why film enthusiasts spend so much time in the dark; in Plato's Cave, trying to make sense of the light.

Jim Jarmusch Paterson 2016
Another basically perfect film from Jarmusch with a filmic rhythm that is completely mesmerizing. Some filmmakers offer up a completely original rhythm that offers you two hours more or less into a world not your own. Aki Kaurismäki offers up a similar one.

Paul Thomas Anderson Phantom Thread 2017
I have no interest in the business of making cloths, especially for rich folks, but Mr. Anderson's film here is truly one of his best and how could one not want to continually live in his aesthetic environment? Also that he shot this film really speaks volumes.... like Roma shot by Alfonso Cuarón, a great film shot by the director is really like nothing else.

Denis Villeneuve Prisoners 2013
Have seen this quite a few times and it really is just one hell of a film.

Ridley Scott Prometheus 2012
This is one of the better Ridley Scott films from this decade, and a solid cast. Really stunning on the big screen.

Alejandro González Iñárritu The Revenant 2016
Many great moments in this film, but the two things that have stood out over multiple viewings are the score by Alva Noto, Ryuichi Sakamoto + Bryce Dessner, and the long shots and totally gorgeous photography by the overwhelmingly talented Emmanuel Lubezki.

Chloé Zhao The Rider 2017
Quietly appears as a classic film of the recent years.

Alfonso Cuarón Roma 2018
Like mentioned earlier for Phantom Thread... a great film shot by the director himself is like eating a perfect piece of cheesecake with a bit of Tinta de Toro wine to wash it down, an utterly pleasurable experience. If you died after such an experience you could say you lived a full live.

Steve McQueen Shame 2011
This film is like a drug, you just want to keep getting another hit, like Ministry's "just one fix".... Michael Fassbinder here and in Hunger gives some truly great performances.

Hirokazu Koreeda Shoplifters 2018
An outstanding film from an outstanding career in film-making. One can endlessly watch this one.

Denis Villeneuve Sicario 2015
This film I have seen many times but I also like to put it on and just have it playing as the music and sound design are so strong. A really great work by Villeneuve and one of the truly best soundtracks ever in any film, composed by the late great Jóhann Jóhannsson.

Tom McCarthy Spotlight 2015
I always gravitate to Boston films and often times to investigative journalism films. Probably have seen this 5+ times and never tire of it, perhaps not the most inventive film, but the no frills construction is very pleasant for this viewer, in a world where so many films are unsuccessfully trying to expand the borders of narrative.

David Mackenzie Starred Up 2013
Ben Mendelsohn and Jack O'Connell both give some intense performances here. Scottish director David Mackenzie's Hell or High Water and this one are some great films that bring one back to the 1990s with the tradition of the indie film that is so opposite of today's super hero films.

Martin McDonagh Three Billboards Outside Ebbing, Missouri 2017
Top notch performances, and interesting that McDonagh can make a pretty successful and engaging film about a story that in a way is meaningless.

Tomas Alfredson Tinker Tailor Soldier Spy 2011
I had read the book and seen the BBC show a couple of times and this really added another layer to the great le Carré story. Outstanding cast really brings the quiet rage of this story to life.

Maren Ade Toni Erdmann 2016
Just really one strange film that made quite an impression on a single viewing.

Terrence Malick Tree of Life 2011
Not really a perfect film or one of the best Malick works, but there are some wonderful moments in it that make it worth watching, especially the abstract photography segments. Never in any film except maybe 2001 does one see such large budget virtuosically photographed cosmic abstractions.

Coen Brothers - True Grit - 2010
A classic from the Coen Brothers, this follows their pretty much perfect film A Serious Man, and is about as different as you could image. Very nice how they are able to change gears so dramatically.

Béla Tarr - The Turin Horse - 2011
Truly beautiful film from Mr. Tarr, and possibly his last narrative film. You never eat potatoes the same after seeing this one.

Jonathan Glazer Under the Skin 2013
One of the strangest and quietly creepiest films of the decade, with an equally uncomfortable soundtrack by Mica Levi. The entire film but especially the ending is more queerly horrific than any horror film I have seen.

Valeska Grisebach Western 2017
Very original film from Grisebach, a great combination of grit and lush beauty. Unforgettable.

Lynne Ramsay You Were Never Really Here 2017
One of those films you watch and are just completely in awe of.

:: kill yr television ::

David Lynch Twin Peaks: The Return 2017
Best show of the decade by far, possibly ever made. It is completely incomprehensible that this was made; the many dense layers, the complexities, the mysteries, the length, and the lack of tv-filler. Part eight is truly one of the most divine experiences one can have in the dark, and after seeing the entirety of the Twin Peaks The Return, Lynch actually consistency reaches eight throughout.

Nic Pizzolatto True Detective season one & three 2014-2019
Profound television. After 5 times watching season one, this viewer is ready for another go. Stephen Dorff's performance in season three is one of the best of the year, not sure why more people aren't vocal about that? All those years working in film he just taps into and gathers up some kind of epiphanic grit which gave me goose bumps.

Craig Mazin Chernobyl 2019
Visually stunning and essential for those who follow the careers of Jared Harris, Stellan Skarsgård, and Emily Watson. I read the book it was based on and the screenwriters did a beautiful transformation into the narrative we follow here. So bloody beautifully shot as well. I have been obsessed with Hildur Guðnadóttir's since her first release from 2006 Mount A, here she is taking the work a step further bringing doom-laden ambiance to this series.

Derek Simonds The Sinner season one & two 2017-2018
Two solid seasons. Bill Pulman gives a stunning performance as do Jessica Biel and Carrie Coon.

Alec Berg & Bill Hader Barry season one & two 2018-2019
Mr. Hader is a film connoisseur with some great taste, the love is apparent when watching this.

Phoebe Waller-Bridge & Harry Bradbeer Fleabag season one & two 2016-2019
How often can a filmmaker make addressing the camera work so well?

films. secondary list, alphabetically

Dan Trachtenberg 10 Cloverfield Lane 2016
Steve McQueen 12 Years A Slave 2013
James Gray Ad Astra 2019
Sebastián Lelio A Fantastic Woman 2017
Hirokazu Koreeda After the Storm 2016
Hu Bo An Elephant Sitting Still 2018
Charlie Kaufman, Duke Johnson Anomalisa 2015
Joe Penna Artic 2018
Ben Affleck Argo 2012
Denis Villeneuve Arrival 2016
Terence Davies A Quiet Passion 2016
Jia Zhangke Ash Is Purest White 2018
Mati Diop Atlantics 2019
Jia Zhangke A Touch of Sin 2013
Jennifer Kent The Babadook 2014
Matt Ross Captain Fantastic 2016
Paul Greengrass Captain Phillips 2013
Kelly Reichardt Certain Women 2016
Lila Avilés The Chambermaid 2018
Jim Mickle Cold in July 2014
Jean-Marc Vallée Dallas Buyers Club 2013
Christopher Nolan The Dark Knight Rises 2014
Alexander Payne The Descendants 2011
Terence Davies The Deep Blue Sea 2012
Denis Villeneuve Enemy 2014
Alex Garland Ex Machina 2014
Robert Zemeckis Flight 2012
Ryan Coogler Fruitvale Station 2013
Corinna Belz Gerhard Richter Painting 2011
David Fincher Gone Girl 2014
Joe Carnahan The Grey 2011
John Michael McDonagh The Guard 2011
Alice Rohrwacher Happy as Lazzaro 2018
Aki Kaurismäki Le Havre 2011
Ari Aster Hereditary 2018
Claire Denis High Life 2019
Tamara Kotevska, Ljubo Stefanov Honeyland 2019
Ethan Coen, Joel Coen Inside Llewyn Davis 2013
Christopher Nolan Intersellar 2014
David Gordon Green Joe 2013
Andrew Haigh Lean on Pete 2017
Debra Granik Leave No Trace 2018
Robert Eggers The Lighthouse 2019
Bi Gan Long Day’s Journey Into Night 2018
Ridley Scott The Martian 2015
Jeff Nichols Midnight Special 2016
Alexander Payne Nebraska 2013
Jennifer Kent The Nightingale 2018
Dan Gilroy Nightcrawler 2014
Lars von Trier Nymphomaniac: Vol. I & II 2013
Quentin Tarantino Once Upon a Time… in Hollywood 2019
Sophie Fiennes Over Your Cities Grass Will Grow 2010
Scott Cooper Out of the Furnace 2013
Lee Chang-dong Poetry 2010
Oren Moverman Rampart 2011
Malik Bendjelloul Searching For Sugar Man 2012
Joanna Hogg The Souvenir 2019
Jeff Nichols Take Shelter 2011
Ben Affleck The Town 2010
Andrew Haigh Weekend 2011
Damien Chazelle Whiplash 2014
Jean-Marc Vallée Wild 2014
Taylor Sheridan Wind River 2017
Robert Eggers The Witch 2015

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