Here is the cahiers du cinema top 10, published this morning:
1. Holy motors (Leos Carax)
2. Cosmopolis (David Cronenberg)
3. Twixt (Francis Ford Coppola)
4. 4:44 Last day on earth (Abel Ferrara)
4. In another country (Hong Sang-Soo)
4. Take shelter (Jeff Nichols)
7.Go go tales (Abel Ferrara)
8. Tabu (Miguel Gomes)
9. Faust (Alexander Sokurov)
10. Keep the lights on (Ira Sachs)
Holy Motors is at No.1 in my list this year too. Cosmopolis and Take Shelter are the only other two I have seen and I’m not impressed with both. No love for Amour?
Take shelter at 4? Really?
One of those Ferrara films is from 7 years ago! Intrigued by Holy Motors, Tabu and Faust. Coppola, Ferrara and Cronenberg are mixed bags for me.
And David Cronenberg continues his 35-year streak as the most overrated film director in the world.
Holy Motors is awesome. In all of Carax’s past movies I’ve seen I thought it had great individual scenes but weak overall vision. Holy Motors has the great individual scenes and great overall vision, and a lot of unexpected humor.
Cosmopolis is one I missed.
Wow, did TWIXT and FAUST get commercial release in France this year or does Cahiers du Cinéma use a different criterion for determining release. I saw them both at TIFF 2011. Glad to see both films get some attention, since even though I had some mixed feelings on both I was sad to see them fall off the map of cinephiles.
Cosmopolis and Take Shelter are excellent, though I didn’t care much for 4:44. It wasn’t bad, I just didn’t feel that it accomplished what it set out to do. Melancholia was better.
Also would have put Beasts of the Southern Wild on here, and their #1 is the one film I want to see more than any other, Holy Motors.
Holy Motors is phenomenal! Great top pick by Cahiers. The Master should be there as well.
Take Shelter is a masterpiece.
I heard bad things about Twixt, but maybe something was gained in (French) translation?
Cosmopolis is immensely underrated and deserves a spot near the highest pantheon of world cinema.
Holy Motors is a pure masterpiece
The inclusion of Twixt/exclusion of The Master is a joke.
I can’t wait to see Tabu.
I’m surprised by the absence of both Kiarostami and Reygadas, but Holy Motors is definitely deserving.
Does anyone have the criteria by which they choose? Is there a minimum commercial run? Do festival screenings show? This might explain some of the choices and exclusions.
It’s surely the French release date. The Master comes out in January. That’s why it isn’t included.
Yet again Cahiers doesn’t seem aware of many neglected national cinemas and certain continents. Same old limited outlook
Right. What about Once Upon a Time in Anatolia? I still haven’t seen it but it’s reputation is of a quiet heavyweight.
Good… Holy Motors is by far the best film I’ve seen from this year, along with Amour, but Amour I wasn’t expecting it to be on the list judging by Cahier’s review of the film.
Once Upon A Time In Anatolia got a ton of play on 2011 lists, just most people didn’t get to see it until 2012.
The Master is a good film but I wouldn’t rank it as one of the best of the year. It was very dominated by a one-speed performance and felt psychologically ingenuine.
I adore Anatolia having seen it earlier this year, but I thought it’s a 2011 release?
Now that Leaves mentioned it I go back and check their 2011 list. Anatolia was not selected but they had Habemus Papas at No.1 and even Super 8 was there, two utterly mediocre films IMO.
Yeah, I’m not sure how they come up with their top 10, but there’s always some odd ones in there. Definitely not what I would have expected from such a historic, influential magazine. 2010 included The Fantastic Mr Fox, and 2009 included Gran Torino.
They do put a lot of Gus Van Sant on their lists though, which is pretty cool. They love him so much, they included Gerry in their 2002 AND 2004 lists :)
Once Upon A Time In Anatolia got commercially released in 2011 in France, just like The Turin Horse or Le Havre (two films they violently panned by the way, like they panned Amour and Beyond the Hills this month). As pointed out before, The Master and Post Tenebras Lux will come out next year, but that’s not exactly the kind of films the Cahiers get ecstatic about anyway.
“Yet again Cahiers doesn’t seem aware of many neglected national cinemas and certain continents. Same old limited outlook”
That may be true, but yet again we are talking commercial releases here. Which movies do you have in mind, out of curiosity ? Cahiers included Omirbaev’s Chouga in their Top 10 two years ago for instance, but his new film is not yet scheduled here. Same goes for Raya Martin’s last two ones. I’d say the french distributors are to blame, but I know that 1) it’s probably worse elsewhere and 2) it takes a certain sense of self-sacrifice and a cosy reserve of €/$/£ to buy a movie that you know is going to be seen by 1500 guys max., like it was the case for, say, Martin’s Independencia.
As for the list itself, I won’t comment, having only seen 3 films from it, but at least they don’t seem to have included such abominable white elephants as Melancholia or Tree of Life like they did last year (well, maybe Faust qualifies, but I don’t intend to see it, so…)
Man they love their Abel Ferrara there don’t they? Haven’t seen either of his recent offerings (or for that matter anything since New Rose Hotel).
Holy Motors isn’t as ingenious as Mauvais Sang or Lovers on the Bridge. I liked it the more I thought about it, but it felt cold and removed. Cosmopolis was a disappointment too.
I’m intrigued with their inclusion of Tabu and Keep the Lights On though.
“4. 4:44 Last day on earth (Abel Ferrara)”
WTF!?!?! Faust is 10 times better than that.
I’ve noticed that Cahiers tend to jock 2-3 indie American directors to an absurd degree.
Go Go Tails is also a completely forgettable nothing film.
I haven’t seen Mauvais Sang but I agree there is something immensely ingenious about Lovers on the Bridge that is rare to achieve, like many things in a creative life that one first discovered, experienced and felt. Holy Motors, although perhaps lacking in this aspect, is still a masterwork. After the first viewing I was wondering if something so thrilling like this would feel flat with repeated viewings as the excitement worn off and luckily it didn’t after the second viewing. There are just enough fascinating ideas on a range of themes to think about a little bit more.
About Cosmopolis, I don’t really know what to say. I haven’t read Cosmopolis but I have read White Noise and Underworld. From the discussion here it seems the novel is one of DeLillo’s lesser works and this may account for part of the disappointment. On one hand, the adaptation felt obviously DeLillo-esque (?), on the other hand i have never felt so unbothered. I find the faithful transfer of text into cinematic form this way uninteresting and uninspired. This again raised the question about the adaptability of certain texts into another medium.
Yet Cosmopolis is still an intriguing choice, I don’t even know why Take Shelter got in there.
Holy Motors, good choice. Their snub of Amour is pretty bad, but an interesting list. Faust is very good, Take Shelter as well.
I like that list a lot. Glad the Europeans like Cosmopolis, and 4:44 is unfairly maligned.