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On the surface Upstream Color might sound peculiar and unnecessary as its premise could potentially be mistaken for pretentious experimental odds and ends, but truthfully it works best, perhaps, as a bridge between Stanley Kubrick’s 2001 and early Terrence Malick, in the best possible way.Īmy Seimetz shines as Alex, our put-upon protagonist who finds herself brainwashed into emptying her bank account by a thief (Thiago Martins) who uses a combination of drugs, parasites, and bizarre hypnogogic neuro-linguistic-type programming to dupe her. Shane Carruth’s inspired sci-fi follow-up to 2004’s Primer (itself a pocket-sized pearl), Upstream Color, is an otherworldly experience that will make the right kind of adventurous audience absolutely ecstatic and frequently fighting tears of joy and wonder when not wholly hypnotized by its visual versification and bold narrative. Only Lovers Left Alive is a visual spree detailing the haunting harmony of ageless sweethearts in perpetual midnight. More visual than it is verbal, this elegiac and eerie film displays, amongst other things, the wraithlike dissolution of Detroit, the unearthly otherness of Tangier and many amusing and macabre tableaus of the undead, their uncanny mores and their outlandish dwellings. Its mixture of classic Gothic sensibilities, jets of blood, moments of mortal fear, piercingly sad genuflections, and painfully poignant ruminations on unending love are immensely atmospheric and all but impossible to shake.Īs ever, Jarmusch displays a rather outré appetite for beauty in desolation and this tugs sweetly at the film’s terrified suggestion of fractured, disconnected lives, making for a kinetic experiment.
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Tough-as-nails and fiercely romantic, this vampire film is full of leitmotifs involving fear, exhilaration, alienation, isolation, creativity, art, music, literature, life, and death. It’s not an easy film to watch, but it’s even harder to forget, and ranks among very Haneke’s finest works.Įve (Tilda Swinton) is one part of an incurably cool vampire couple whose husband, Adam (Tom Hiddleston) is having self-harming thoughts in Jim Jarmusch’s chic shocker, Only Lovers Left Alive. The plot becomes riddled with ambiguities and bourgeois guilt mid the dismay of modern identity. It’s rare that a film takes an almost hostile attitude towards the audience by manipulating, provoking, teasing, and then revealing so little. Or is it? Haneke leaves ample clues for the viewer but he obscures them, too. Georges (Daniel Auteuil) and Anne (Juliette Binoche) Laurent are the middle-aged upper-class French couple under attack by unseen forces out to intimidate them.Īs Caché unfolds and the Parisian family at its center weather the storm, a superbly crafted and at times extremely upsetting psychological endurance test results, and one that salts the wounds of Western contempt for the Muslim world as the unseen stalker in the Laurent’s lives may well be an abused figure from Georges past.
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Enjoy!Ĭaché, the eighth film from Michael Haneke (and by the way, both 2009’s The White Ribbon and 2012’s Amour also rank with the century’s finest) uses surveillance and voyeurism as mechanisms for anxiety and suspense. A best documentaries list will be forthcoming.Īnd now, with all that said, here are the best films the 21st century has seen so far. PLEASE NOTE: While listing a mere 25 films means that many worthwhile films and filmmakers had to be left by the wayside, there is a lengthy honorable mentions section at the end of the list.Additionally, the following list does NOT include non-fiction films. The films on this list show a wide-ranging assortment which includes auteur-driven films, influential movies, astonishing international fare, a few blockbusters, plentiful arthouse gems, genre films, and many magnificent female-led projects, too (that’s truly been one of this century’s best progressions), each of which represent the very best of the cinematic artform. While we’ve been seeing less and less movies being shot on 35mm in favor of now ubiquitous and widely accessible digital formats, the following list doesn’t really delve into these trends and it also eschews the gimmicks and populist movements that have been dominating multiplexes as of late (3-D everything holds no footing here and there’s an absence of the enjoyable but often tedious Marvel movies, and while I love Harry Potter and Middle Earth, too, those films can be read about on another list). So far the 21st century has been an exciting, variable, and unpredictable period for cinema.