Melhores do Ano – Sight and Sound

Como já fez ano passado, a Sight and Sound disponibilizou no seu site um longo arquivo pdf (76 paginas!) onde vários críticos escolhem e comentam seus cinco filmes favoritos do ano, selecionei alguns:


Filmmuseum, Austria
Horas de Verão (Olivier Assayas, France)
Summer Hours is the best film of 2008 and the best Chekhov production since 1904, to my knowledge – the only film to focus so fully and graciously on the very real life of things.
Gomorra (Matteo Garrone, Italy)
Because, as a second and third viewing made clear, its greatness in matters of art and heart wasn’t diluted by its surprising success with so many critics and non-critics (surprising only because I feared that cinephiles would give it an easy anti-realist bashing).
Aquele Querido Mês de Agosto (Miguel Gomes, Portugal/France)
Because its closest filmic competitors in the field of real independence and fantastical freedom – Wakamatsu Koji’s United Red Army and Guy Maddin’s My Winnipeg – premiered in 2007.
Wendy and Lucy (Kelly Reichardt, USA)
Homem de Ferro (Jon Favreau, USA)
Whatever their faults, and whatever history will say about the USA between November 2000 and November 2008, it was still the place with the richest, most varied film-making on Earth.
Revanche (Götz Spielmann, Austria)
New proof that Austria, from John Cook’s Slow Summer (1976) to Norbert Pfaffenbichler’s Mosaik Mécanique (2008, short), produces strong, untypical strands of film-making that should stand shoulder to shoulder internationally with so-called nationally typical ones.

Film Comment, Lincoln Center, USA
The Curious Case of Benjamin Button (David Fincher, USA)
“It’s about time passing, just like Zodiac,” said my son, quite rightly. It’s a movie for any moment, but speaks to this specific one with great eloquence because its particular reflection on time carries both mourning and hope. Benjamin Button is so moving and so frank (about mortality) yet so wondrous that you might almost forget that it also happens to be a technical feat of the highest order.
Other films that meant a great deal to me this year were:
RR (James Benning, USA/Germany)
His rapturously concentrated and exciting new ‘train movie’.
A Mulher Sem Cabeça (Lucrecia Martel, Argentina/France/Italy/Spain)
An even more refined, mysterious and troubling film than The Holy Girl.
Generation Kill (HBO television series, USA)
This terrific exploration of soldiering as a blue-collar profession is a very intelligent look at the war in Iraq from the people who brought us The Wire.
Tokyo Sonata (Kurosawa Kiyoshi, Japan/Netherlands/Hong Kong)
A hair-raising and emotionally bracing account of a family’s disintegration and tentative reconstitution.
Horas de Verão (Olivier Assayas, France)
Um Conto Natal (Arnaud Desplechin, France)
Two very different family films set in two different keys, from two great French film-makers.

Critic, Australia
Aquele Querido Mês de Agosto (Miguel Gomes, Portugal/France)
This Portuguese film is the revelation of the year – an idiosyncratic, very funny and moving blend of documentary, fiction and popular music.
O Silêncio de Lorna (Luc Dardenne/Jean-Pierre Dardenne, Belgium/France/Italy/Germany)
The Belgian brothers’ best film since Rosetta shows, once and for all, how their supposed ‘social realism’ has much more do with Bresson and philosophy.
Os Donos da Noite (James Gray, USA)
Gray is the new Jerry Lewis: the French love him and Americans hate him. Ignore complaints about his ‘tin ear’ and predilection for loony melodrama; this is far better than The Departed, Miami Vice and There Will Be Blood combined.
L’Aimée (Arnaud Desplechin, France)
A Christmas Tale is the one that has hooked audiences, but this smaller, more personal piece about family and memory reveals Desplechin’s skill at weaving lyrical, poetic mystery into seemingly documentary material.
Good Cats (Ying Liang, China)
There is now a rather proper ‘Jia Zhangke school’ in Chinese cinema, but this film breaks free of it. A withering look at economic changes and their consequences in everyday life, it has a perverse sense of fun and a soundtrack to match its youthful energy.

Critic, UK
A Viagem do Balão Vermelho (Hou Hsaio-hsien, Taiwan/France)
This sublime example of humanist cinema reinforces Hou’s status as one of the world’s greatest film-makers.
Chelsea on the Rocks (Abel Ferrara, USA)
Any year with both a new Hou and a new Ferrara must be a good one. Amid the bombast and pompousness of many of today’s acclaimed films, the dismissal of Ferrara’s latest as a minor work suggests the nature of its importance.
A Questão Humana (Nicolas Klotz, France)
The year’s biggest surprise: a masterpiece that uncompromisingly examines the ideological connections between fascism and contemporary corporate culture. Klotz is clearly a director to watch.
O Romance de Astrea e Celadon (Eric Rohmer, France)
Rohmer’s probable farewell to cinema is a typical late work, its surface simplicity concealing inner complexity.
La Terza madre (Dario Argento, Italy/USA)
Another late work, though of a very different kind. Argento’s conclusion to his Three Mothers trilogy has appalled many former admirers, but this relentlessly illogical dream text, with its outbursts of savage misogyny, confirms the director as a genuine surrealist.

3 Comentários

Arquivado em Filmes

3 Respostas para “Melhores do Ano – Sight and Sound

  1. Editorial Mistake Alert: In my list, it is (of course) meant to be: James Gray is the new JERRY LEWIS, not Jerry Lee Lewis! The magazine has apologised profusely to me for this!!

  2. Tiago

    Hahaha. Mas ficou engraçado esse erro.

  3. Filipe

    Adrian, I already edit it. You should tell Sight and Sound that they can actually correct a pdf file. I thought it was odd, but didn’t felt sure enough to edit it myself.

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