Two strangers in Germany deal with their Turkish identity in separate ways but are joined together when they agree to a fake marriage in order to help each other break free. This is a dirty, gritty and heart-wrenching story about culture, love and the violence that unites them. Winner of a Golden Bear and "Best Film" as well as "Audience Award" at the European Film Awards.
Following is the first movie Christopher Nolan ever directed, a mesmerizing low-budget effort that introduced the world to the genius who will later give us Memento, Inception, The Dark Knight, and many other classics. Shot in "extreme" conditions to quote Nolan himself, for just over £3000, it had to be filmed in the span of a year on Saturdays only and in friends' houses. But almost none of that is visible in the sharp camera work, the magnificent acting (most of it was first or second takes), and the twisted script. It tells the story of an unsuccessful writer (The Young Man) who tries to find inspiration in following random people in the street, and doing it via strict rules. One day he follows a man in a suit (Cobb), who catches him and becomes intrigued by him. It turns out that Cobb has his own fascination with people's intimate lives, of criminal nature, which he lets The Young Man into. Using the same non-linear plot technique as in Memento, this movie is halfway between a thriller and a film noir. The inspiration for it came when Nolan's own apartment in London was robbed, and he was fascinated by the act of strangers going through his personal items. If you take into consideration the conditions of its making, this movie is a masterpiece.
An instant essential film in the Jim Jarmusch catalog. In his traditional directing fashion, Paterson disregards plot and instead finds inspiration in deconstructing the seemingly mundane aspects of life. Adam Driver stars as a bus driver and amateur poet who leads a content life staying away from change as much as possible. His girlfriend, Laura (played by Iranian actress Golshifteh Farahani), is the complete opposite: eager to be creative, to explore new paths, and to decorate and design every object in her life. Jarmusch takes these two characters, adds only a few others, and makes a movie that celebrates similar so-called simple lives, reaching surprising levels of beauty. Again, not much happens in terms of plot, and the pace is slow. But if you are interested in the kind of movie that will let you into people's lives, you will love Paterson.
Ever wondered how much your life will change when faced with the reality that death is about to come? That’s normal, and not nearly as life-altering as being told you only have a few more moments to live. Because of a terminal illness, Uxbal (Javier Bardem) is driven to this situation and tries to right his wrongs in the wake of modern Barcelona. This melodrama is supercharged by Bardem’s unearthly performance as the story’s only hero, demonstrating the selfless love of a destroyed and dying father to his children – paired with cinematography unlike any other, this film is exceptionally beautiful. Directed by González Iñárritu' (Babel, Birdman, The Revenant).
Good movies usually aren't lengthy movies, unless we're talking about cases like Toni Erdmann. It's a supremely smart German-Austrian comedy that depicts the story of a Father-Daughter tandem in light of life’s weirdest, most inconvenient moments. Deciding to visit his daughter on a whim after his dog dies, Winfried (Peter Simonischek)—a man known for his outrageous pranks and many a disguise—flies to Bucharest. Ines (Sandra Huller), the daughter, buzzing with work to the brim in a very challenging job, to say the least, isn’t impressed. This leads to even more uncomfortable encounters as the estranged father poses as the title character, life coach to the disapproving daughter’s boss. On top of being a shrewdly observed and relevant movie, the brilliant writing by Maren Ade crafts something thoroughly enjoyable and heartfelt here, highlighting the importance of family bond in an oddly sweet way, and criticizing modern-day work ethic and the toll its taking on us. The beginning is a bit slow, but if you're a bit patient you will be surprised how much this movie will reward you.
Shot in black and white to be the best dialogue-driven, character-study film it can be; Blue Jay stars Sarah Paulson and Mark Duplass in a cozy, slow-burning film. Their characters, respectively Amanda and Jim, are former high-school sweethearts who run into each other in their hometown 20 years later. They talk, they get coffee, and then beer and jelly beans, until they find themselves to Jim’s mother’s house. As they familiarize themselves again, and the movie moves forward, it abandons its romantic chops to become a truly heartfelt and real film. A revelation of a movie.
Monster is a biographical depiction of Aileen Wuornos (Charlize Theron), a prostitute and serial killer who murdered seven men in Florida between 1989 and 1990. The film follows the burgeoning relationship between Wuornos and young Selby Wall (Christina Ricci, in a role based on Wuornos' real-life girlfriend Tyria Moore), as she grows increasingly desperate to provide for her young companion financially. Her desperation and her rage against men, brought on by years of both childhood and adult abuse, leads her down a dark path of murder and theft, even as she struggles to shield Selby from the horror of her crimes. The overwhelming highlight of the film is Theron’s mesmerizing performance as Wuornos—a role that won her a well-deserved Academy Award for Best Actress in 2004. She’s almost unrecognizable and altogether phenomenal as the volatile and increasingly unstable Wuornos, whose ferocity is interwoven with surprising affection for young Selby. This unexpected tenderness lends the film an air of tragic poignancy, and provides a bittersweet portrayal of a severely troubled woman. Very much intended for mature audiences only, Monster is a fascinating recreation of a disturbing yet compelling chapter in the annals of true crime in America.
This is the first film directed by actor Macon Blair (so good in both Blue Ruin and Green Room), and while it is shaggy and tonally all over the place, there is a lot to recommend here. First off, I’m a huge fan of the (underrated) Melanie Lynskey, so I was primed to like this movie from the get-go. After Ruth’s (Lynskey) home is broken into, she seeks revenge against the perpetrators with help from her martial arts obsessed neighbor Tony (Elijah Wood, sporting an impressive rat-tail). What starts out as an empowering journey for Ruth & Tony quickly teeters into dangerous and increasingly violent territory. This movie is probably not for everyone, but if you’re a fan of 90s indie films and don’t mind some violence mixed in with your dark humor, then you will enjoy this small, well-acted film.
The film for which Kristen Stewart became the first American actress to win the César Award. The Twilight star turned indie prodigy plays next to another award favorite, Juliette Binoche, as her assistant. When rehearsing for the play that launched her career many years earlier, Binoche's character, Maria, blurs the line between fiction and reality, her old age and her assistant's young demeanor, and the romance story portrayed in the play and her own life. The movie itself is stylized as a play, adding another interesting layer of artistic creativity to the complex plot line. A film for film lovers.
Written and directed by Kenneth Lonergan (Manchester by the Sea) and featuring the ever-reliable Mark Ruffalo as well as a fantastic performance from Laura Linney, You Can Count on Me is a beautiful and beautifully told story of siblings growing apart and later finding each other again. Sammy (Linney) helped raise her younger brother Terry (Ruffalo) after they were orphaned at an early age. Now a single mother, her life turns around when Terry comes back after a long time of being absent, with the two having become almost completely different people in between. Such an honest, genuine exploration of unconditional love, think of it as much more hopeful The Skeleton Twins.
If you like any of the following: Irish accents, Woody Harrelson, Pulp Fiction, or dark comedy; then this is the movie for you. This mix of violence, mafia, existential talk, and painfully comical situations might not be for everyone, but it has every component to make its target audience very pleased. And given how chaotic and crazy it can get, it should be enjoyed one take at a time, focusing on each delightful scene rather than the overall plot. Directed by Martin McDonagh, Seven Psychopaths makes a perfect comeback after In Bruges, without veering very much from it (consequently if you like this movie make sure you check out In Bruges too).