Films I loved in June 2017

5 July 2017
Graduation

Adrian Titieni as Romeo Aldea in Graduation

Graduation is about the hypocrisy of well-meaning people doing the wrong thing. In the case of Romeo Aldea (Adrian Titieni), a Romanian doctor living in a small town, he resorts to corruption to help his daughter pursue a better quality of life. Like many critics, I was astonished by filmmaker Cristian Mungiu’s tense and confronting 2007 film 4 Months, 3 Weeks and 2 Days, but I think Graduation is even better. Despite the film’s grim beginning, it is not an ordeal and it even offers a glimmer of hope that the younger generation may break the cycle of cynicism, opportunism and self-interest that the older generation have taught them. Not unlike the films of The Salesman filmmaker Asghar Farhadi, there are no overly bad people in Graduation, just a range of characters with different breaking points and limitations.

The Villainess

Kim Ok-bin as Sook-hee in The Villainess

‘Kinetic’ and ‘visceral’ are two words I sometimes worry I over use, but I can’t think of anything better to describe the delirious and thrilling action sequences in The Villainess. The gleefully convoluted tale of revenge, a secret assassins’ agency and double-crossings contain many familiar themes and plot points from films such as La Femme Nikita and Kill Bill, but it is the superb ultra-violent action choreography and cinematography that makes The Villainess stand out. While the film’s gritty yet slick aesthetic has seen it compared to things like The Raid and some of the more intense moments in Park Chan-wook’s films, I also thought of Gaspar Noé and the way he manages to float the camera through scenes in a dreamlike and often seemingly impossible way.

Annette Bening as Dorothea Fields and Lucas Jade Zumann as Jamie Fields in 20th Century Women

I’m not sure when exactly, but at some point while watching 20th Century Women I became aware of just how much I was loving being in the company of the five main characters. Inspired by writer/director Mike Mills’s own childhood, 15-year-old Jamie (Lucas Jade Zumann) is at the centre of the narrative, but the film really belongs to his mother Dorothea (Annette Bening), best friend Julie (Elle Fanning), and Abbie (Greta Gerwig), who lives in the same boarding house, as well as William (Billy Crudup). They are a fascinating, likeable and vulnerable ensemble of characters trying to make sense of the complexities of family, love, mortality and aging against the backdrop of the sexual revolution, the emergence of punk and the impending presidency of Ronald Reagan. While tinged with melancholy, this is ultimately a warm and embracing film about how experiences and relationships shape us.

Okja

An Seo Hyun as Mija in Okja

Bong Joon-ho has always excelled in his ability to mash-up genres and perform radical tonal shifts within a single film, and Okja is no different. It starts like a kids film (but with more swearing) focusing on Mija, a young girl wanting to be reunited with her beloved super pig. Okja then shifts gear into camp and comedic action when Mija falls in with a group of animal rights activists, and then finally ends up as a confronting and moving critique of industrialised meat production. Emerging child actor An Seo Hyun gives a grounded performance as Mija, while the manic performances from the supporting cast – which includes Tilda Swinton, Jake Gyllenhaal and Paul Dano – successfully conveys the madness of the world she encounters when she gets caught up in the machinery of capitalism and media hype.

Gal Gadot as Diana Prince/Wonder Woman in Wonder Woman

Wonder Woman fulfils the potential shown by Man of Steel in 2013 when the DC Extended Universe kicked-off with Superman’s origin story. Both films concern godlike superhero characters with childlike emotional intelligence who have to learn to make sense of the world, especially when it comes to difficult moral choices. Wonder Woman is a far less angst-ridden affair, and it charts Diana Prince’s journey from the secret island of Themyscira where she grew up, to the Western Front in Belgium during World War I, where she is convinced she will meet and defeat Ares the god of war. As well as delivering several exhilarating and beautifully choreography action sequences, what gives Wonder Woman its edge is the way is grapples with issues of morality concerning what it means to act for the greater good, and the complicated nature of war where defeating the big super villain won’t sudden bring war to an end overnight.

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Kedi

I’m not sure if you have to be a cat-lover to enjoy the Turkish documentary Kedi, as I feel it does explore broader ideas about the relationship between humans and domesticated animals. On the other hand, as somebody who grew up and continues to live with cats, I’m not the slightest bit objective. I adored this charming, beautiful and surprising soulful film about the thousands of street cats living in Istanbul and the city’s human residents that some of the cats deem worthy of their affection. Kedi showcases a beautiful city from a cat’s perspective, examines the symbiotic bond between people and cats, and muses on deeper questions regarding life, god and love, and how cats fit into all that. Brilliant.

David Lynch

David Lynch in David Lynch: The Art Life

I’ve had the good fortune to attend two exhibitions of David Lynch’s artwork – The Air is on Fire in Paris, France in 2007 and more recently David Lynch: Between Two Worlds in Brisbane, Australia in 2015 – and both demonstrated how Lynch’s art runs parallel to his work as a filmmaker, exploring and expanding on many of the themes in his films. The documentary David Lynch: The Art Life is an excellent portrait of Lynch the artist, exploring how his childhood experiences and early influences helped shape his artistic obsessions. I’ve never heard the notoriously secretive director talk so candidly about himself and his work, and the film contains a lot of footage that I (a massive Lynch fan) had never seen before.

Twin Peaks

Twin Peaks

And speaking of Lynch, the new series of Twin Peaks continues to soar above and beyond my expectations.

Thomas Caldwell, 2017

Films I loved in May 2017

30 May 2017
Get Out

Daniel Kaluuya as Chris Washington in Get Out

Get Out is a remarkable film that manages to do several things at once. It’s a horror/comedy that is actually both frightening and funny. It is also an effective piece of easily consumed entertainment that still works as a smart commentary on race. It’s not didactic, yet its examination of how middle white America regards African Americans is hardly subtext – it’s the main focus of the film. It engages sympathy and identification from the audience for its black protagonist, while also portraying several uncomfortable observations about how the dominant white culture both condescends towards and fetishises black culture. It’s a significant accomplishment when a film this fun is also so smart, thought-provoking and challenging.

Kyle MacLachlan as Dale Cooper in Twin Peaks

I’m cheating by including a television series, especially considering that as a rule I don’t engage with television like I do with cinema, but Twin Peaks is a massive exception. The original 1990-1991 series is possibly my favourite piece of visual entertainment/art and as much as there are a number of TV shows I adore, it remains the only series that for me has ever transcended the limitations of television (maybe I could also say the same about some of Dennis Potter’s work, but I’ve never regularly rewatched those show like I have with Twin Peaks). I could not be happier with the four episodes of this new series that have been released so far. There’s enough that is recognisable about this new series to connect it to the original series, but like the brilliant 1992 film Twin Peaks: Fire Walk with Me, it is very much its own thing, and showcases co-creator David Lynch‘s ongoing creative evolution. It’s got a slow burn intensity that perfectly delivers Lynch’s humour, sense of mystery and darkness. A lot of it is familiar and a lot of it makes me feel way out-of-my depth, and that’s how I like it.

Thomas Caldwell, 2017

 


Films I loved in April 2017

30 April 2017
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Lily Gladstone as Jamie in Certain Women

While re-watching Certain Women (having first seen it last year when its fate in Australia outside of the festival circuit was unknown) I was struck by how much I have come to adore filmmaker Kelly Reichardt. Her understated vision of small town American life, often featuring characters living on the fringes of society, shares a lot with the Belgium Dardenne brothers in that their films appear minimalist and naturalistic, but they are finely crafted and filled with pathos and human drama. Featuring three of America’s most interesting and unpredictable women actors – Laura Dern, Michelle Williams and Kristen Stewart – plus the very promising emerging actor Lily Gladstone, Certain Women consists of three overlapping stories about characters obsessing after unobtainable and romanticised notions of justice, authenticity and love.

Personal Shopper

Kristen Stewart as Maureen in Personal Shopper

One of the reasons I like Olivier Assayas’s films so much (and possibly the reason I didn’t initially) is because his films are so difficult to pin down; they defy easy categorisation or explanation. In Personal Shopper Kristen Stewart (who was also in Assayas previous film, Clouds of Sils Maria) plays Maureen, a woman who works as a personal shopper for a wealthy celebrity. The importance and significance of objects in people’s lives has played an increasingly prominent role in Assayas’s films and here the focus is on the clothes that Maureen selects and how wearing them herself is forbidden and therefore desirable. Maureen is also a spiritual medium trying to make contact with her recently deceased twin brother in the parts of the film that resemble a haunted house movie. The end result is a film about the material and immaterial worlds in relation to Maureen and her attempts to preserve her own identity in the wake of her grief.

Raw

Garance Marillier as Justine in Raw

I feel that a lot of the advance hype for Raw – making all sorts of hyperbolic claims about how extreme and shocking it is –  has been a little bit misrepresentative of what kind of film it is. Fortunately, it is a strong enough film that the pre-hype – accurate or not – doesn’t damage it in the slightest. Raw combines the body horror of cannibal films with a sexual coming-of-age story about a young woman attending veterinarian school, where a hazing ritual awakens all manner of new appetites. There is such an immediate and visceral feel to the whole film that the taboo desires depicts are often both sensual and repellant, beautiful and gruesome, life-affirming and destructive. I think what I really loved about this film is how so many ideas and themes are intertwined to define easy analysis. It’s not even always clear what is imagined and what is real, what is symbolic and what is literal. This is exciting stuff.

Anne Hathaway as Gloria in Colossal

I love it when a film with an outlandish premise focuses on the implications of that premise, rather than get bogged down with providing lengthy explanations and backstory. It’s an approach that privileges things like characterisation and themes over the duller mechanics of story development. Colossal is one such film, as rather than delving too deeply into why Gloria (Anne Hathaway) is connected to a giant monster terrorising Seoul in South Korea, it uses the scenario to explore issues of addictive behaviour and abusive relationships. Most impressive is how its use of satire – both playful and serious – toys with monster movie conventions and subverts the expectations of America indie rom-coms.

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Teresa Palmer as Clare in Berlin Syndrome

I was a huge fan of Australian director Cate Shortland’s previous film Lore so I was very keen to see Berlin Syndrome and went in knowing next to nothing about it. So I wasn’t expecting its story of a young Australian women visiting Berlin to develop into the very particular type of thriller that it did. What impressed me the most is how effectively it worked as a white-knuckled genre film while at the same time undermining expectations and subverting conventions. Not only is the salacious and sensationalist male gaze, which is often present in films of this nature, completely absent, but Shortland avoids going through the motions of delivering the obvious plot points to instead focus on the subjective experiences of the character.

Their Finest Hour and A HalfDirected by Lone Sherfig

Gemma Arterton as Catrin Cole in Their Finest

I’ve long admired the way Lone Scherfig makes feel-good romance films that have a strong subtext exploring darker and more serious themes. In Their Finest Scherfig not only tells a story about the difficulties women faced working in the English film industry in the 1940s, but she is also examining how cinema is emotionally manipulative for idealogical impact. Their Finest is a reminder of the devastating effect that World War II had on the lives of everybody who lived through it, while also working as a behind-the-scenes comedy, with a lot of very satisfying laughs about how films are made and the egos involved. And while some of the plot turns feel overly melodramatic, they also work as self aware moments that remind us how easily films can evoke emotions from us.

Casting JonBenet

Casting JonBenet

Making its Australian debut on Netflix is Australian filmmaker Kitty Green’s Casting JonBenet. Similar in approach to Robert Greene’s Kate Plays Christine (which has so far only screened locally at festivals) Green blurs the line between documentary and fiction, to make a film about the making of a film. In this case, the subject matter is the unsolved 1996 murder of six-year-old child beauty pageant queen JonBenet Ramsey. Casting JonBenet consists of interviews and auditions with various hopeful actors, all of whom live in Boulder, Colorado, USA where the murder occurred. Green’s film isn’t interested in finding out who did it, it is interested in revealing all the various theories about the case, and more importantly, understanding why those theories have manifested. As the film progresses the interviewees increasingly relate aspects of the case to their own lives, which is when this film truly becomes a work of great beauty, insight and sadness.

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Sidney Warbrick as Thomas and Dan Skinner as John M Hull in Notes on Blindness

Finally, Notes on Blindness was released on home entertainment this month. It’s technically a documentary that consists of reenactments, but describing it as such doesn’t really do justice to its scope and ambition. It’s a portrait of the Australian-born theologian John M Hull who in 1983 began keep an audio diary to describe his experiences going blind. The film maintains the original audio recordings with actors playing Hull and various other people in his life, occasionally lip-synching to the pre-existing audio. Filmmakers Peter Middleton and James Spinney use sound and visuals to create an impressionist work that conveys Hull’s inner-world in this gentle, poetic and immersive film.

Thomas Caldwell, 2017

Films I loved in March 2017

1 April 2017
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Hugh Jackman as Logan in Logan

Despite enjoying the original 2000 X-Men film and its 2003 sequel, I’ve been mostly indifferent to the franchise and its increasingly complicated mythology. So I was pleased to discover that Logan was more-or-less a standalone film that only required a general knowledge of Logan aka Wolverine’s (Hugh Jackman) backstory. I was then exhilarated to discover that the bleak tone and strong violence allowed for some of the most captivating action sequences I have even seen in a superhero film, but most of all I was won over by the strong characterisation and tonal seriousness that made it the first superhero film to truly stand out from the pack since Christopher Nolan’s Batman films. And while Logan is overt with its western iconography and even directly references Shane, the film the kept on coming to my mind was Clint Eastwood’s 1992 masterpiece Unforgiven, which like Logan is a beautiful, bitter and brutal swansong to an onscreen persona.

Clash

Clash

Egyptian filmmaker Mohamed Diab uses a number of cinematic devices in Clash that I often respond well to, including setting the film over a limited period of time and bringing together a diverse group of characters who are then stuck together in single location. Taking place from one afternoon until early morning during the 2013 Egyptian riots, the entire film is set in the back of a police van that is filling up with members of the Muslim Brotherhood and opposing pro-military supporters. While a lot of the film is about the tension within the van between the characters, it also captures the growing instability outside that is witnessed through the van’s barred windows. It’s a sad and angry film about what has happened to the filmmaker’s country, but there are also brief moments of calm and humanity that transcend the divides.

Salesman

Taraneh Alidoosti as Rana in The Salesman

The Salesman once again demonstrates Iranian filmmaker Asghar Farhadi’s mastery of layered cinematic drama. Various ethical questions are explored as actor/teacher Emad (Shahab Hosseini) becomes increasingly fixated in discovering the truth about what happened to his wife Rana (Taraneh Alidoosti) during a traumatic event that occurs early in the film. And as the audience – and Emad – constantly second-guess what took place, we also constantly shift position on how to best respond. Farhadi is able to generate enormous sympathy for his characters, while also being extremely critical of some of their actions. Farhadi’s ability to explore issues of morality within the framework of an engaging dramatic mystery makes him not just an immensely talented filmmaker, but also a deeply humane one.

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Scarlett Johansson as Major in Ghost in the Shell

Based on my limited knowledge of the Japanese manga series Ghost in the Shell (I’ve only previously seen director Mamoru Oshii’s 1995 and 2004 animated films) this new live-action USA variation by director Rupert Sanders is far more focused on using the franchise’s cyberpunk scenario to deliver spectacle rather than explore philosophical questions. Taken then on its own terms, this 2017 film is an exhilarating, beautiful and inventive science-fiction/action film that favourably evokes classics of the genre such as Blade RunnerRoboCop and The Matrix. For once the artificiality of the CGI setting and the uncanny quality of many of the characters works strongly in the film’s favour, but mostly this film continues to showcase Scarlett Johansson as one of the greatest action actors currently working in film.

A Man Called Ove

Rolf Lassgård as Ove in A Man Called Ove

The Swedish film A Man Called Ove is unashamedly a crowd pleaser, but with enough restraint and sincerity to prevent it from ever becoming saccharine or melodramatic. The concept of a grumpy rule-obsessed elderly man who begins to rediscover his humanity is hardly breaking new ground, but the combination of dark humour, and the strong performances by the protagonist and supporting cast, lifts it several notches above similar films. This sad, funny and entertaining film about coping with grief and finding empathy for others is ultimately very sweet.

Angela Davis

Angela Davis in 13th

And finally, while Ava DuVernay’s documentary 13th has been available on Netflix for a while now, I only caught up with it this month and I’m extremely glad I did. While specifically examining how mass incarcerations in the USA is a modern manifestation of slavery, it more generally is a history of racism in America. What really struck me is how convincing DuVernay presents evidence to reveal that racism against African-Americans has long been a political and economic construct, which has relied on popular culture to create and reenforce hateful and harmful stereotypes. Often confronting, but always with integrity, this is essential viewing.

Thomas Caldwell, 2017

Films I loved in February 2017

26 February 2017
T2: TRAINSPOTTING

Ewan McGregor as Mark Renton and Jonny Lee Miller as Simon ‘Sick Boy’ Williamson in T2 Trainspotting

T2 Trainspotting is not the best film released this month, but it’s the one that had the biggest effect on me. As somebody who vividly associates seeing the original 1996 film with my early 20s, that’s exactly what it is calculated to do. Like a lot of the soundtrack featured in the film, it functions as both a remix and an update of the original Trainspotting as we are reintroduced to the characters to discover that none of them have moved on as much as they would have liked to. Thematically it is anti-nostalgic, while stylistically being deeply nostalgic which results in a film that is equal parts refreshing and euphoric as well as sobering and melancholic.

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Sandra Hüller as Ines Conradi and Peter Simonischek as Winfried Conradi in Toni Erdmann

On paper the concept of Toni Erdmann sounds patronising and condescending – an older man follows his daughter on a business trip to disrupt her ordered corporate life with pranks and jokes to make her find joy in life again. Instead, this is an impressive drama/comedy about the relationship between parents and their children that also comments on the dehumanising effects of capitalism. It is also a film of surprises with the ability to trigger strong emotional responses with the many scenes that are unexpectedly deeply moving plus and the many, many scenes that are deliriously funny. The escalation of humour in key moments results in some of the finest cinematic comedy in recent years.

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Michelle Williams as Randi and Casey Affleck as Lee in Manchester by the Sea

Manchester by the Sea is a beautifully written, directed and acted drama about living with grief, guilt and regret. The use of flashbacks to convey the memories of the lead character Lee Chandler (Casey Affleck) as they come back to haunt him means that for a lot of the running time the audience don’t know the full details behind what has made him into such a shadow of a person. The climax of the backstory is heartbreaking and makes the events in the current time period all the more poignant.

cameraperson

Cameraperson

Documentary cinematographer Kirsten Johnson assembled various outtakes from the documentaries she has filmed, as well as some personal home movies, to create her deeply personal and very moving film Cameraperson. Through the juxtaposition of footage taken all over the world during different time periods, Johnson reflects on how humans cope with tragedy and horror – whether experiencing it directly or witnessing it – and the blurred lines between objectivity and subjectivity she has experienced in her professional life.

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The Family

The Family documents the widespread power and influence of the Melbourne-based cult The Family from the 1960s to the 1990s. It’s an extremely accomplished documentary that includes extensive interviews with survivors of the cult, who were children at the time, and members of the police who were instrumental in rescuing them. Perhaps most shocking are the revelations about the degree to which cult leader Anne Hamilton-Byrne was able to infiltrate legal, medical and political institutions throughout the decades.

Thomas Caldwell, 2017

Films I loved in January 2017

25 January 2017
Natalie Portman as Jacqueline Kennedy in Jackie.

Natalie Portman as Jacqueline Kennedy in Jackie

Jackie is set after the assassination of United States President John F Kennedy as the former First Lady, Jacqueline Kennedy Onassis, speaks to a reporter about her time in the White House and the aftermath of her husband’s death. Far from the trappings of conventional biopics, this is a dreamlike film about mythology, memory, living in the public eye, grief and dignity. Filmmaker Pablo Larraín’s camera and composition at times evokes Yasujirō Ozu; at other times Stanley Kubrick and Terrence Malick. Natalie Portman delivers the best performance of her career in this deeply moving and poetic film.

moonlight

Alex Hibbert as Little (Child Chiron) and Mahershala Ali as Juan in Moonlight

On paper, Moonlight covers a lot of familiar ground in its snapshot of a gay black man, who is played by three different actors (Alex Hibbert, Ashton Sanders and Trevante Rhodes) during three defining periods of his life. However, Barry Jenkins’s film presents the subject matter in a way that makes it feel fresh and vibrant. From the music choices to the unexpected ways the cinematography is used to change perspectives to the use of stillness, this is exciting cinema. And while Moonlight is specifically about black identity and queer identity, it also captures broader themes about how the male psyche is constructed. But most of all, it’s a film about the prevalence of hope and love.

lion

Sunny Pawar as Young Saroo in Lion

Lion is based on the true story of Saroo Brierley, who as a 5-year-old boy was accidentally separated from his Indian family, sent to an orphanage and adopted by an Australian couple. After 25 years of growing up in Australia, Saroo set about trying to find his birth family back in India. This is a beautiful film that is confronting and heartbreaking. It touches on themes such as the vulnerability of children, the responsibility adults have to children, what family means and how we form our identity. Lion is a deeply humane film and watching it is an incredibly rewarding experience.

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Hailee Steinfeld as Nadine Franklin and Woody Harrelson as Mr Bruner in The Edge of Seventeen

I’m a fan of any film that treats the experience of being a teenager with respect, so I was very impressed with  The Edge of Seventeen. Filmmaker Kelly Fremon Craig captures the loneliness and awkwardness of being an unpopular teenager with sincerity and humour, and without the angst or twee whimsey that often creeps into teen films. The entire cast is excellent, but Hailee Steinfeld especially stands-out in the lead role as Nadine, a young woman learning how to juggle responsibility and asserting her own individuality, while navigating friendship, family, love, sexuality, grief and happiness.

split

James McAvoy as Kevin in Split

It’s been a long time since I’ve seen an M Night Shyamalan film and even longer since I’ve seen one I’ve enjoyed, so I was very pleasantly surprised by how much fun I had with Split. It’s a B grade exploitation film made to look far more respectable than it is and filled with disarming stylistic choices that are used to alternate point-of-view and create unease. The concept of the villain being a collection of Jekyll and Hyde type identities residing in the mind of a man with dissociative identity disorder is taken to such an extreme that it’s impossible to take seriously, not unlike the way Lucy in 2014 took its premise to such preposterous lengths. I had a ball with this well-crafted and ridiculous film.

Thomas Caldwell, 2017

Favourite Films of 2016

20 December 2016

These are the films that I not only think are great and will stand the test of time, but they are films that got under my skin, made me want to see them again, continued to linger in my mind and reminded me why I love cinema.

My top ten films

Released in Melbourne, Australia, in 2016

ROOM_DAY8-0044 (3) (1)1. Room (Lenny Abrahamson, 2015)
Released January

92. Son of Saul (Saul fia, László Nemes, 2015)
Released February

elle_03_rgb3. Elle (Paul Verhoeven, 2016)
Released October

the-arrival4. Arrival (Denis Villeneuve, 2016)
Released November

i-daniel-blake-still-45. I, Daniel Blake (Ken Loach, 2016)
Released November

KUBO AND THE TWO STRINGS6. Kubo and the Two Strings (Travis Knight, 2016)
Released August

_DSC3602 Aaron Pedersen and Alex Russell with Guns7. Goldstone (Ivan Sen, 2016)
Released July

NOCTURNAL ANIMALS8. Nocturnal Animals (Tom Ford, 2016)
Released November

CAROL9. Carol (Todd Haynes, 2015)
Released January

Spear10. Spear (Stephen Page, 2015)
Released March

 

Honourable mentions

Fifteen more films I loved this year, listed alphabetically:

BROOKLYNBrooklyn (John Crowley, 2015)
Released February

Embrace of the SerpentEmbrace of the Serpent (El abrazo de la serpiente, Ciro Guerra, 2015)
Released July

girl-asleepGirl Asleep (Rosemary Myers, 2015)
Released September

Hunt for the WilderpeopleHunt for the Wilderpeople (Taika Waititi, 2016)
Released May

nullLa La Land (Damien Chazelle, 2016)
Released December

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The Measure of a Man, (La loi du marché, Stéphane Brizé, 2015)
Released June

still_307692Mustang (Deniz Gamze Ergüven, 2015)
Released June

still_478533Paterson (Jim Jarmusch, 2016)
Released December

DCIM101GOPROSherpa (Jennifer Peedom, 2015)
Released March

Day 25 21Sing Street (John Carney, 2016)
Released July

SpotlightPic#11Spotlight (Tom McCarthy, 2015)
Released January

sullySully (Clint Eastwood, 2016)
Released September

sunset-songSunset Song (Terence Davies, 2015)
Released September

TNG-14668rThe Nice Guys (Shane Black, 2016)
Released May

weinerWeiner (Josh Kriegman and Elyse Steinberg, 2016)
Released September

Special mention

Most of the other notable films I saw this year will be released in Melbourne in 2017, so I’ll include them on next year’s list rather than here, but I do want to give a special mention to the following films screened at festivals that to my knowledge are not currently scheduled for release in Australia.

144507_24882_certain_w_stillCertain Women (Kelly Reichardt, 2016)

144231_24831_kate_play_stillKate Plays Christine (Robert Greene, 2016)

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Kedi
(Ceyda Torun, 2016)

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My Life as a Zucchini
(Ma vie de Courgette, Claude Barnes, 2016)

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Notes on Blindness
(Pete Middleton and James Spinney, 2016)

This list was compiled for the upcoming Senses of Cinema 2016 World Poll

Thomas Caldwell 2016