As 2012 (the calendar year) nears its close, 2012 the film year has long since finished - at least for critics expected to file their year-end lists and ballots well in advance of December 31. The result is that my own contributions to several best-ofs have been already been published. I once again participated in Slant Magazine's collective top 25, although due to the increasing number of participants, my only contribution (writing-wise) to the piece was my capsule of
Almayer's Folly (number 22 on the list). I also contributed to the
Indiewire,
Village Voice and
Sight & Sound polls, although the individual ballots for the last of these three have not yet been posted online. Below are links to my year-end contributions plus my complete top ten and honorable mentions:
Slant Magazine's 25 Best Films of 2012
My ballot for the Village Voice Film Poll
My ballot for the Indiewire Film Poll
Best Films of 2012:
1. The Turin Horse
2. Oslo, August 31
3. This Is Not a Film
4. Holy Motors
5. Attenberg
6. Moonrise Kingdom
7. Vamps
8. Almayer's Folly
9. Girl Walk//All Day
10. The Pruitt-Igoe Myth
Honorable Mentions:
Las Acacias
Barbara
The Color Wheel
The Day He Arrives
The Deep Blue Sea
The Five-Year Engagement
Keep the Lights On
Looper
Take This Waltz
Tears of Gaza
Another Five:
Booker's Place: A Mississippi Story
Domain
How to Survive a Plague
Silver Linings Playbook
This Must Be the Place
5 comments:
Good list. I'll be putting mine up soon. Need to catch a few more movies.
t is a meditation on Nietzsche who, in Turin in 1889, was said to have seen a horse being thrashed, and protectively threw his arms around the beast, then sobbingly collapsed due to some kind of breakdown, possibly a stroke. Whatever it was, the calamity neither destroyed nor made him stronger, but sent Nietzsche into a long decline that ended with his death in 1900. doctor Tarr's film imagines what happened to that horse, whose suffering triggered the philosopher's collapse. It is being driven by a hard-faced, bearded man back to his farm, where he gives a terse series of orders to a younger woman, evidently his daughter. We are not obviously anywhere near Turin, or Italy, but rather in Tarr's central European wasteland (it is shot in Hungary), ravaged by a continuous gale that finally makes this setting look like a polar icecap. The orchestral score by Tarr's long-time composer Mihály Víg is as incessant as the wind, repeating and repeating like Philip Glass.
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