This year I thought of three lists for the best film. That really is the inevitable Top15 of the best films “outputs in Italy”, basically movies that seem most memorable of this vintage among those who received a distribution. The other two are a top 10 instead of the titles best seen around festivals or various events (reviewed or not) but have never been released and it is unclear if it ever come out in Italy and another that contains a number of films released in Italy who for one reason or another can not rival those of this Top15, because maybe they do not have the ambition or size but in their small are amazing and more than succeeded, we called it the “top 10 movies gender “because it contains romantic comedies, movies of beating, action movies, thrillers and fear.
So the only good movies to stay out of all the ones we have already seen and reviewed, but we know that will come out in 2016 (from The son of Saul They called Jeeg to Steve Jobs, Anomalisa and Case Spotlight , all the protagonists announced the ranking that we will do at the end of 2016).
15. Where were we?
On a very basic canvas Diablo Cody writes memorable characters led by Meryl Streep and framed, mounted and commissioned on stage with enviable sentimentality from Jonathan Demme . With minimum and maximum ambitions mastery film of mothers and daughters of families who gather for a wedding with dance and background music, as if we were in Bollywood moves and moves. Where were we move the characters from the area of the banal and makes him put one foot in the first ever to hit the spectator points by less than expected. At the end it is also one of the best uses of a Springsteen song on record.
14. Fury
David Ayer war is a massacre that makes no sense. Is not the only filmmaker to see her so but Fury is so radical in this regard to go where others have gone. So embittered by the events to be recorded without surprise even a piece of soldier’s face remained on the ground after an explosion.
A platoon to end war is still forced to slaughter and be slaughtered even though everyone knows that the end of hostilities is only a few days to come, there is a strong sense of futility in the air. With no regard for the impermanence of life, Fury shows men arrived at the end of the race, delusional that end up diving head hell of mangled bodies and ended with an inferno of red lights and death wish.
13. The visit
Shyamalan came back and made a small sampling of voltage. His found footage is a small triumph of techniques of staging combined with winks and dialogues that suggest what to say. Mixing humor, an unthinkable lightness and great tension The visit is the film of a great director who for decades had been lost but is now back among us. Squartiamo the fatted calf.
12. Blackhat
He did not go at all well blackhat , has been a failure for Mann . Totally idealized, and founded on the radical end of heroism and thus its celebration, it seems that his characters try to free themselves from the status of the protagonists of the action cinema and seek for himself a place and a better tomorrow. Yet they are forced into the cage of modern noir, in the spiral of destruction, in these towns who take more and more the role of protagonists. blackhat has a vocation almost spiritual as it is imbued with a sense of perdition largest of simple characters, such as the soundtrack creates environments instead of stirring scenes. It’s not even the most action movies, borders directly to another category by himself founded, made of epic dry (an oxymoron that only Mann stages really) and pure modernity.
11. The Babadook
Rather than staying in the ranking of the genre is here The Babadook because it is a small revolution. Directed by a woman, Jennifer Kent , and thought to tell a woman, the protagonist, this film of pure fear, made with some of the most frightening sequences year closes mother and son at home and at play cat and mouse with the repressed, the back of the brain and the more ancestral influences.
The Babadook shows his cards at least the second half but it actually reveals only one of the greatest finals that cinema of fear know, one of the few to go beyond the simple juxtaposition of a protagonist to a presence.
10. Star Wars – The awakening of strength
Calibrated standards of cinema gold Spielberg designed to be exactly the world of the first trilogy erasing any visual reference or weft the new, the enterprise of building a new Star Wars is the masterpiece of Abrams . Commercial cinema at the highest levels found in the technical and in the pleasure of the action its reason for being. Founded on a female protagonist tries to push beyond what they do with the new blockbuster contemporary strong women, strong works on the internal assembly and thus achieves some of the best action sequences of the year.
9. Do not be evil
The latest film Claudio Caligari was the surprise Italian year. At the height of the films he created several decades ago, this tale of crime charmless but full of humanism manages to keep one foot in realism that rejects the rhetoric and another in a poetic look. As rarely happens this film differs from all the others to look like his characters, the sincerity of which is capable of and understanding of where want to be full.
8. Whiplash
Damien Chazelle has made a film full of humor and tension, a Rocky with the jazz drums instead of boxing but also something more. Behind the veneer of cinema sport where an individual seeks to win their physical limits through the will, hides a movie that beats Badlands, able to charge the vein of the brain with a voltage to the result that does not belong to the usual American cinema . Willing to sacrifice everything, from family to love no repentance (indeed! Proving that he had done well), the protagonist of Whiplash aims to reach the peaks and folds the music in blood, only to join those who until yesterday (for film) were opposed, or jazz big band and a life lived to the fullest.
7. Mustang
This small film turkish was a discovery. Six sisters are held captive by a family bigoted, each in his own way to free yourself, together dream of being independent but perhaps only one will succeed. The real injustice of the oldest legacies that clashes with the modern youth rebellion is a story that we have heard it in Mustang is enriched wish more concrete, thighs and hair, impulses and excitation. The six protagonists, all imagined with long hair blacks as the horses of the title, are not teenagers but impatient complete human beings, contradictory and armed with the strength of will that animates the movie stubborn.
6. Louisiana
There is a vast and unexplored territory of cinema, one where you can see a lone figure ahead of all, with your feet in the stranger who looks forward and not backward. It Roberto Minervini . His documentary film full of fiction films leads to the observation that everything is true and yet nothing is the way, the characters depicted in their everyday life to a level of intimacy almost awesome and then assembled together because their lives are firmly against scan film rather than to that of natural life. Minervini change the whole process of filmmaking, from the subject to work on the “set”, and alone transforms the documentary purest and best shot (amazing images that pulls out without being able to prepare) in cinema fiction with the only weapon of the assembly. Tuttto thereof at Louisiana is put at the service of stories that exist to the extent possible, individuals and communities that nobody talks about and that Minervini not staged but penetrates deeply with a close and a truth that only the injection of fiction in reality allows.
5. The story of stories
If the Roberto Minervini explores virgin territory alone movie Matteo Garrone performs the same fusion of true and false in fiction films. The story of stories from the highest part of the false (fables) to search for concrete, the real, the real giants like real castles, the most tangible and concrete taken to appear in computer graphics and vice versa . To date Garrone is the only Italian filmmaker with an eye able to find the movie in reality not sweetened, the only location from which creates environments that speak, that the bodies not usual for him screen creates sensations, everything until you get to backgrounds that are challengers of the characters, as if he had studied film in Russia.
4. Fireworks in the day
Although Asia is no longer the source of exciting news that was until a few years ago the same is still able to bring the best examples of clash violent with modernity. China in particular is still able to make films like this, detective that extend in length to several decades to describe the change and contaminate this with a despair and a loss of identity strong. Fireworks in the day tells of an investigation that has to do with a coal mine but uses this as an excuse to act in a terrible world, where the human oppression seems that of the world animal. Not the plot to strike as humanity testifying.
3. Mad Max – Fury Road
George Miller has set a new standard. Making a film that is built on two chases and nothing else, leads to the extreme not only his film and his saga but also the route taken by the action film, a genre has always been based on the movement but in recent decades intent on marry the inside into the scene with that of the frame itself. Dolly, drones and vehicles armed with cameras move between trucks and cars actually running, bringing upon himself the real actors and their stunt. The staging of a mythological world with its rules only partially mentioned merges with the exact mix that today we expect between analog and digital, real stunts and retouching painting. The result is the best plan of modern cinema, intent on telling gut feelings rather than the usual stories.
Mad Max: Fury Road movie is pure animalistic cry of madness and scream junkie testosterone, in a triumph of sublime technique and mounting millimeter, film of a disarming precision in the service of representation of fury. Like the painting of a ship on a stormy sea Miller creates a work of art that slams on the screen the most animal of the human race without telling but by beaming anger.
2. Inside out
Finally Pixar back to the top of the charts year-end and does so with what is probably his final masterpiece. It seems difficult (although it remains desirable) that the study animated can overcome the complexity and sophistication of this film that represents the maximum human (mind and feelings) with the ultimate technology, imagining the mind as a startup, a company of US-style, a factory and then a production studio, thinking on the aesthetics of video games and use it to serve the human inner world. The maximum fusion Enlightenment pixariano (for which the true feelings are understood just by looking ever recorded images from reality and balls memories are no exception) passes through the greatest love for modernity and its possibilities, through the metaphor of the mind of a young girl.
The effort of this study raise in each viewer emotions simpler, rejecting the complexity of use (and succeeding with a job, that yes, complex) has led to the most natural of travel in which recognize , as in a mirror, his own nature and that of his fellow men.
1. Runs in the form
Only Paul Thomas Anderson and its columns overlapping sound, its wide colored boxes in which photography fights for holding people who do not want it, he could tell a story like that of Formal defect . Intricate and unclear as typical of the tradition of the Los Angeles-noir, the survey of Doc Sportello is only his trip down memory and loss, in the nostalgia of their own feelings and a life that will not live. It Runs in the form is a new film that revolves around the regret, as Magnolia , one that affects only how this is carried over into the vortex of drives that can not curb by a woman, pure sexual body, and as you try to stay alive in a series of discoveries in the chain between the hilarious and the crowds, that they can not seem to ever stop if there was a film-maker to close the shooting.
adapting a novel by Pynchon , Paul Thomas Anderson is her most accomplished film, a moving work of art modern fiction, which stages its made any concessions to ‘classical approach but using all the tools of storytelling contemporary audiovisual. Doc awaiting their fate in a summer evening lying between blue and purple, with a breeze that accompanies the woman who will bring in the events or even Doc reminiscent of that rainy day when, drogatissimi and abstinence, wandered looking for a dose and immediately after take of the same places in the present, there are countless moments of It Runs in the form in which the complicated fusion of narrative, photography, interpretation or even the sound of the human skin against skin sofa scoperchiano universes carnal desires and sentimental together, a world of neglect and lack. It Runs in the form sets the scene in a word the madeleine of a life that the public has not experienced.
https://www.youtube.com/watch?v=pjZ85hZ2iTI
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