Knack Focus takes stock of the past year. That will according to our filmman Dave Mestdach the annals be remembered as the year when Hollywood was on fire. Fortunately were there in the artistic field also a lot of boundaries are crossed.
2017 will, without a doubt, the annals be remembered as the year when Hollywood was on fire, and not so much because of the forest fires around Los Angeles. Over the past months it rained scandals – from Harvey Weinstein on Kevin Spacey to James Toback. And the #metoo-motion made abundantly clear that there is in the scenes of the dream factory a lot of exploitative scenes to play.
But fortunately, there were on the white cloth, inside and outside of Hollywood, did beautiful things to see. Barry Jenkins’ Moonlight, about a young, black gay, won a surprising, but deserved the Oscar for best film and smuggled together with Get Out, Detroit and other committed titles to the thanks to The Donald again opgeflakkerde Afro-American emancipation struggle the cinemas.
Moreover, it is striking that a lot of filmmakers – not as a reaction to the declining box-officecijfers and the rise of streaming services – once again fully focus on the by no anabolic frantic wide-screen tv to access oerkwaliteiten of cinema. Whether it’s Blade Runner 2049 (a postapocalyptisch vision that you omzwachtelt in a film of orange doom), to The Lost City of Z (a compelling mix of jungleavontuur, character study, and colonial criticism) or to other leaders as Nancy, Sieranevada, Lady Macbeth, Silence, It Comes at Night and Jackie: piece for piece are the intense, cinematic and formally inventive trips on an impressive way to make clear that the seventh art is more than ever alive and kicking. Cinema and chill!
1. The Lost City of Z (James Gray)
Fevered pelliculetrip by the Amazon rainforest, in the wake of explorer Percy Fawcett.
2. American Honey (Andrea Arnold)
You are young but what do you want? Hyperenergiek portrait of young people on the road to nowhere, right through the heartland of the USA.
3. Blade Runner 2049 (Denis Villeneuve)
Intense cinematic doemvisioen that Villeneuve tech noirklassieker of Ridley Scott to the crown protrudes.
Also read:Ryan Gosling and director Denis Villeneuve about ‘Blade Runner 2049’, the sequel where everyone is looking
4. You Were Never Really Here (Lynne Ramsay)
A to film solidified, rhythm, space, and music floating nightmare, with Joaquin Phoenix as a man with the hammer – literally.
Also read:Is Lynne Ramsays You Were Never Really Here the new Taxi Driver? ‘No idea how I dáárop must respond’
5. La La Land (Damien Chazelle)
The dancing, singing and languorous Ryan Gosling and Emma Stone as a post-Fred & Ginger.
Also read:How Oscarslokop ‘La La Land’ the musical heruitvindt
6. Dunkirk (Christopher Nolan)
Immersive action on land, at sea and in the air, at 65 millimeters. You taste the sand and the Noordzeewater.
Also read:Christopher Nolan: ‘People will cinema, never at home can beléven’
7. The Woman Who Left (Lav Diaz)
Intoxicating black-and-witportret about a woman searching for justice. Crime and penalty cinema.
8. Moonlight (Barry Jenkins)
How does it feel to be young, black and gay in da hoods of Miami? Tactile, poetic and Oscarwinnend drama.
Also read:Black Movies Matter: why the victory of ‘Moonlight’ is
9. Loveless (Andrej Zvjagintsev)
Divorced parents go in search of their disappeared son in this pitch-black stage.
Read also:a visit To the director of ‘Loveless’, the movie the Golden Palm should have won
10. Good Time (Josh & Benny Safdie)
Robert Pattinson runs for his life and that of his brother – through the mean streets of New York.
- The Safdie-brothers hoisting themselves with Good Time from the underground: “We’re always going to work like criminals’
- Where Robert Pattinson all willing to put his credibility to recapture