These are the lists that our collaborators sent, many of them not necessarily 2018 premieres. They show the need to revisit authors and continue to discover new worlds and voices from both independent and experimental cinema. We feel that this 2018 went too fast and that we still have a lot to see.
Thanks to everyone who participated in these lists!
Nicole Brenez, film critic, film Scholar, curator, programmer, producer (France)
(Alphabetic order by authors)
Amaranta César, Maré (Brazil, 2018)
Aminatou Echard, Djamilia (France, Kirghizstan, 2018)
Jean-Luc Godard, Ji.hlava International Documentary Film Festival Trailer, 2018
Yann Gonzalez, A Knife in the Heart / Un couteau dans le cœur (France, Mexico, 2018)
Paul Grivas, Film Catastrophe (France, 2018)
Nicolas Klotz and Elisabeth Perceval, The Heroic Moor. The border is burning (2017)
L’Héroïque Lande. La Frontière brûle , 2017 (release 2018)
Daniel Nehm, Skinnings / Mues, (France, 2018)
Manon Ott, Ash and Ember / De cendres et de braises (France, 2018)
Moira Tierney, Down Claiborne (Ireland, USA 2018)
Yorgos Zois, 8th Continent (Greece, 2017)
Best exhibition: Jacques Kebadian, The Ghosts of May, 1500 photograms, Photo Doc. Gallery, December 2018
Best screening ever: « Avec les GM&S, Bordel! » Lech Kowalski, Écran de Saint-Denis, February 10, 2018
Best press conference ever: Jean-Luc Godard, Cannes Film Festival, May 12, 2018
Most unforgettable introduction to a film: Valérie Massadian introducing Chantal Akerman’s D’est, Cinéma du Réel, March 30, 2018
Most moving constructive conversation about a film: Boris Pollet, Dominique Païni, Yannick Haenel, Jean Narboni, Jean-Paul Fargier, around Jean-Daniel Pollet, Méditerranée/Bassae (published by Les Editions de l’Œil), Potemkine Bookshop, November 17, 2018
Pablo Gamba, film critic, film scholar (Venezuela/Argentina)
1.Dead souls, by Wang Bing (China, 2018)
2.24 frames, by Abbas Kiarostami (France, 2017)
3.La casa lobo, by Cristóbal León y Joaquín Cociña (Chile, 2018)
4.The image book, by Jean-Luc Godard (Switzerland, France, 2018)
5. L. Cohen, by James Benning (USA, 2018)
6.Trilogía de lago helado, by Gustavo Fontán (Argentina, 2017)
7.Drift by Helena Wittmann (Germany, 2017)
8.Taming the Horse, by Tao Gu (Canada, China, 2017)
9.Le lion est mort ce soir, by Nobuhiro Suwa (France, 2018)
10.Segunda vez, by Dora García (Spain, 2018)
José Sarmiento Hinojosa, film critic, programmer and Desistfilm.com director (Peru)
Orson Welles: The Other Side of the Wind (USA, 2018)
Jean-Luc Godard: Le livre d’image (Switzerland, France, 2018)
Gan Bi: Long Day’s Journey Into Night (China, 2018)
Alice Rohrwacher: Happy as Lazzaro (Itlay, 2018)
Albertina Carri: Las Hijas del Fuego (Argentina, 2018)
Khalik Allah: Black Mother (USA, 2018)
Lee Chang-Dong: Burning (Korea, 2018)
Wang Bing: Dead Souls (China, 2018)
Nuri Bilge Ceylan: The Wild Pear Tree (Turkey, 2018)
Panos Cosmatos: Mandy (USA, 2018)
Raul Perrone: Expiación (Argentina, 2018)
Yann Gonzalez: Knife + Heart (France, México, 2018)
Donal Foreman: The Image you Missed (Ireland, USA, 2018)
Dennis Cooper, Zac Farley: Permanent Green Light (USA, 20918)
Penny Lane: The Pain of Others + Chloè Galibert-Laine “Watching the Pain of Others” (USA, 2018)
Raul Perrone: Corsario (Argentina, 2018)
Paul Grivas: Film Catastrophe (France, 2018)
Sergei Loznitsa: The Trial (Ukraine, 2018)
Ari Aster: Hereditary (USA, 2018)
Claudia Priscilla, Kiko Goifman: Bixa Travesti (Brazil, 2018)
Ruth Beckermann: The Waldheim Waltz (Austria, 2018)
Svitlana Shymko: The Fall of Lenin (Ukraine, 2017)
Clarisse Hahn: Mescaline (France, 2018)
Experimental (2017 & 2018):
Stephen Broomer: Tondal’s Vision (Canada, 2018)
Manuel Knapp, Takashi Makino: At the Horizon (Japan, Austria, 2017)
Rhayne Vermette: DOMUS (Canada, 2017)
Malena Szlam: Altiplano (Chile, Canada, 2018)
Manuel Knapp: Momentum 142310 (Austria, 2018)
Siegfried A. Fruhauf: Phantom Ride Phantom (Austria, 2017)
Jacques Perconte: Or/or, Hawick, May 18 (France, 2018)
Apichatpong Weerasethakul: Blue (Thailand, 2018)
Ajla Odobasic: Passage (Canada, 2018)
Helena Girón, Samuel M. Delgado: Plus Ultra (Spain, 2017)
Mary Helena Clark: The Glass Note (USA, 2018)
Daniel Nehm: Skinnings (2017)
Laida Lertxundi: Words, Planets (Spain, USA, 2018)
Jessica Sarah Rinland: Black Pond (UK, 2018)
Guli Silberstein: Never Twice the Same Color (UK, 2018)
Janie Geiser: Valeria Street (USA, 2018)
Chris Kennedy: Watching the Detectives (Canada, 2017)
Christoph Girardet, Matthias Müller: Screen (Austria, 2018)
Hiwa K: View from Above (Germany, 2018)
Antoni Pinent: QR Code/Film (#2) (Spain, 2018)
Leandro Listorti: La Película Infinita (Argentina, 2018)
Didn’t quite hit the spot:
Paul Schrader: First Reformed (USA, 2018)
Hirokazo Koree-eda: Shoplifters (Japan, 2018)
Crushed expectations:
Bruno Dumont: Coincoin and the Extra-Humans (France, 2018)
Josephine Decker: Madeline’s Madeline (USA, 2018)
Pawel Pawlikowski: Cold War (Poland, 2018)
Ben Russell: Good Luck (USA, 2017)
Serge Bozon: Mrs. Hyde (France, 2017)
Claire Denis: Let the Sunshine in (France, 2017)
Aldo Padilla, film critic (Chile/Bolivia)
Top 10 2018
An elephant sitting still (2018, Bo Hu, China)
Dovlatov (2018, Aleksei German Jr., Rusia)
Bixa travesty (2018, Claudia Priscilla y Kiko Goifman, Brasil)
Manta Ray (2018, Phuttipong Aroonpheng, Tailandia)
Star Ferry (2018, Simon Liu, Hong Kong)
Los que desean (2018, Elena Lopez Riera, España)
Lazzaro felice (2018, Alice Rohrwacher, Italia)
Sobre las cosas que me han pasado (2018, José Luis Torres Leiva, Chile)
Dogman (2018, Mateo Garrone, Italia)
Wildlife (2018, Paul Dano, Estados Unidos)
Top 5 Films de 2017 vistos en 2018
Drift (2017, Helena Wittmann, Alemania)
The Rider (2017, Chloe Zhao, Estados Unidos)
Phantom Thread (2017, Paul Thomas Anderson, Estados Unidos)
Homogeneous, empty time (2017, Thunska Pansittivorakul y Harit Srikhao, Tailandia)
Jusqu’à la garde (2017, Xavier Legrand, Francia)
Top 10 Avant-Garde 2018
Casanovagen (2018, Luise Donschen, Alemania)
Season of the devil (2018, Lav Diaz, Filipinas)
Black Mother (2018, Khalik Allah, Estados Unidos)
Les indes galantes (2018, Clement Cogitore, Francia)
Die tomorrow (2018, Nawapol Thamrongrattanarit, Tailandia)
Notes of an appearance (2018, Ricky D'Ambrose, Estados Unidos)
Words, planets (2018, Laida Lertxundi, España)
Drvo (2018, Andrd Gil Mata, Portugal)
Mountain Plain Mountain (2018, Yu Araki, Japón)
Ada Kaleh (2018, Helena Wittmann, Alemania)
Top 10 Cine Latino 2018
Buenos Aires al Pacífico (2018, Mariano Donoso, Argentina)
La película infinita (2018, Lisandro Listorti, Argentina)
Las fuerzas (2018, Paola Buontempo, Argentina)
Los sueños del castillo (2018, René Ballesteros, Chile)
O Processo (2018, Maria Augusta Ramos, Brasil)
Las cruces (2018, Teresa Arredondo y Carlos Vásquez, Chile)
La vida suspendida de Harley Prosper (2018, Juan Manuel Sepúlveda, México)
Algo quema (2018, Mauricio Ovando, Bolivia)
La casa lobo (2018, Cristóbal León y Joaquín Cociña, Chile)
Las Herederas (2018, Marcelo Martinessi, Paraguay)
Claudia Siefen-Leitich, film critic, programmer, filmmaker (Austria)
1948 – ÖSTERREICH ZWISCHEN GESTERN UND MORGEN (1948 – AUSTRIA BETWEEN YESTERDAY AND TOMORROW). Probably the least present key year of the 20th century. A retrospective of 21 programmes at the “Filmarchiv Austria”, Vienna, curated by Olaf Möller.
IN PERSON: GOH HARADA. A selection of Goh Harada’s 16mm works, curated by me for JAPANNUAL 2018 in the city of Vienna (in cooperation with the “Austrian-Japanese Society”.)
INVEST IN FAILURE (NOTES ON FILM 06-C, MONOLOGUE 03). The latest film by Norbert Pfaffenbichler, an enthusiastic tragedy dedicated to actor James Mason.
SHADOW IN THE CUBE! – COLLAGE IV – ROOM: KLAUS PAMMINGER. Austrian artist Klaus Pamminger transfers his photographic, video and collage works to the exhibition frame, thus simultaneously thematizing also its physicality.
OLIVIA KAISER: IN DEN FLÜSSEN NÖRDLICH DER ZUKUNFT (OLIVIA KAISER: IN THE RIVERS NORTH OF THE FUTURE) The latest works of painteress Olivia Kaiser. On timelessness and existence of painting in relation to the viewer’s historicizing gaze.
CALL ME BY YOUR NAME by Luca Guadagnino. For me the initial spark, via the scenario of James Ivory back to his production company “Merchant Ivory”, from there led to E.M. Forster, one of my favorite authors. Dedicated to a better world!
MY RE-READING (alphabetical order): Gertrude Bell, Herrmann Broch, Winston Churchill, T.S. Eliot, E.M. Forster, Michel Foucault, Thomas Mann, Golo Mann, Katherine Mansfield, Nancy Mitford, ?e Kenzabur?, Sei Sh?nagon, Lytton Strachey, Gabriele Tergit, Giorgio Vasari, Ludwig Wittgenstein, Yoshida Tetsur?.
Nicolás Carrasco, film critic, filmmaker, producer, programmer (Peru)
The Other Side of the Wind, by Orson Welles (USA, 2018)
El silencio es un cuerpo que cae, by Agustina Comedi (Argentina, 2017)
Highview by Simon Liu (Hong Kong, United Kingdom, 2017)
Lazzaro felice, by Alice Rohrwacher (Italy, 2018)
The Image You Missed, by Donal Foreman (Ireland, 2018)
Burning, by Lee Chang-dong (Korea, 2018)
24 Frames (Abbas Kiarostami (France, 2017)
Grass, by Hong Sang-soo (Korea, 2018)
La casa lobo, by Cristóbal León, Joaquín Cociña (Chile, 2018)
The Waldheim Waltz, by Ruth Beckermann (Austria, 2018)
Last Flag Flying, by Richard Linklater (USA, 2017)
The Florida Project (Sean Baker, 2017)
Phantom Thread (Paul Thomas Anderson, 2017)
Hereditary (Ari Aster, 2018)
In Fabric (Peter Strickland, 2018)
Mandy (Panos Cosmatos, 2018)
Hotel by the river (Hong Sang-soo, 2018)
The Rider (Chloé Zhao, 2017)
Transit (Christian Petzold, 2018)
Long Day’s Journey into Night (Bi Gan, 2018)
Winter Brothers (Hlynur Pálmason, 2017)
Shoplifters (Hirokazu Koreeda, 2018)
First Reformed, byPaul Schrader, USA, 2018)
Classical Period, by Ted Fendt (USA, 2018)
Black Mother, by Khalik Allah (USA, 2018)
Isle of Dogs, by Wes Anderson (USA, Germany, 2018)
Que le diable nous emporte (Jean-Claude Brisseau, 2016-2018)
As boas maneiras (Juliana Rojas & Marco Dutra, 2017)
Era uma vez Brasilia, by Adirley Queirós (Brazil, 2017)
Roma, by Alfonso Cuarón (Mexico, 2018)
Relaxer, Joel Potrykus, (USA, 2018)
Tesnota (Kantemir Balagov, 2017)
Les Garçons sauvages, by Bertrand Mandico (France, 2017)
Algo quema, by Mauricio Ovando (Bolivia, 2018)
Star, by Johann Lurf (Austria, 2017)
Call Me by Your Name, Luca Guadagnino (Italy, USA, 2017)
Lean on Pete, by Andrew Haigh (USA, 2017)
idizwadidiz, by Isiah Medina (Canada, 2017)
What You Gonna Do When the World’s on Fire?, by Roberto Minervini (USA, 2018)
Terra Franca, by Leonor Teles (Portugal, 2018)
Teatro de guerra, by Lola Arias, (Argentina, 2018)
Mónica Delgado, film critic, journalist, director of Desistfilm.com (Peru)
My favourites films of 2018
The Other Side of the Wind, by Orson Welles (USA, 2018)
Le livre d’image by Jean-Luc Godard (France, 2018)
Long Day’s Journey into Night, by Bi Gan, (China, 2018)
Trinta Lumes by Diana Toucedo (Spain, 2018)
First Reformed, by Paul Schrader (USA, 2018)
3 faces, by Jafar Panahi (Iran, 2018)
The Image You Missed, by Donal Foreman (Ireland, 2018)
La casa lobo, by Cristóbal León, Joaquín Cociña (Chile, 2018)
Border, by Ali Abbasi (Sweden, 2018)
The Waldheim Waltz, by Ruth Beckermann (Austria, 2018)
Donbass by Sergei Loznitsa (Ukraine, 2018)
El laberinto, by Laura Huertas Millán (Colombia, 2018)
Burning, by Lee Chang-dong (Korea, 2018)
Leave no trace, by Debra Granik (USA, 2018)
Isle of Dogs, by Wes Anderson (USA, Germany, 2018)
Black Mother by Khalik Allah, (USA, 2018)
Dead Souls by Wang Bing (China, 2018)
The Wild Pear Tree by Nuri Bilge Ceylan (Turkey, 2018)
Expiation, by Raúl Perrone (Argentina, 2018)
Hereditary, by Ari Aster (USA, 2018)
The load, by Ognjen Glavonic (Serbia, 2018)
Climax, by Gaspar Noé (France, 2018)
My best experimental films:
Altiplano by Malena Szlam (Chile, Canada, 2018)
At the Horizon by Manuel Knapp, Takashi Makino (Japan, Austria, 2017)
Valeria Street by Janie Geiser (USA, 2018)
Blue by Apichatpong Weerasethakul (Thailand, 2018)
Comfort Stations, by Anja Dornieden, Juan David González Monroy (Germany, 2018)
My hightlights
Speechless, by Scott Stark (16mm film and digital video, 2008) at S8 Mostra de Cinema Periferico
Vladimir Seput, film critic (UK)
In no particular order:
Casanovagen by Luise Donschen (Germany, 2018)
Lazzaro Felice by Alice Rohrwacher (Italy, 2018)
Star by Johann Lurf (Austria, 2017)
The Glass Note by Mary Helena Clark, (USA, 2018)
Chamisso’s Shadow by Ulrike Ottinger (Germany, 2016)
The Grand Bizzare by Jodie Mack (USA, 2018)
Cocote by Nelson Carlo De Los Santos Arias (Dominican Republic, 2017)
Black Mother by Khalik Allah, (USA, 2018)
Phantasiesätze by Dane Komljen (Germany, Denmark, 2017)
Zama by Lucrecia Martel (Argentina, 2017)
+
Masterclass and screenings of Rose Lowder’s films at LUX, London
Forensic Architecture exhibition at the Institute of Contemporary Arts, London
Ericka Beckman exhibition at Zabludowicz Collection, London
Alonso Castro, film critic (Peru)
Lean on Pete, by Andrew Haigh (USA, 2017)
La villa, de Robert Guédiguian (France, 2017)
Les Garçons sauvages, by Bertrand Mandico (France, 2017)
Long Day’s Journey into Night, by Bi Gan (China, 2018)
Sweet country, by Warwick Thornton (USA, 2017)
I, Tonya, by Craig Gillespie (USA, 2017)
Becoming animal, by Emma Davie and Peter Mettler (Switzerland / United Kingdom, 2018)
Almost nothing: so continues the night, by Davor Sanvincenti (Croatia, 2017)
Meteorlar, by Gürcan Keltek (Turkey, Netherlands, 2017)
Distant constellation, by Shevaun Mizrahi (United States, Turkey, Netherlands, 2017)
Phantom thread, by Paul Thomas Anderson (USA, 2017)
Spring night, summer night, by Joseph L. Anderson (USA, 1967)
Mariangela Sansone. Film Critic at Cineforum, Uzak, Filmparlato and Programmer at Festival Cinéma du monde. (Italy)
This is my list of favourite films I watched in 2018. I saw some of them in Festivals or in retrospectives.
Le livre d’image by Jean-Luc Godard (France, 2018)
Suspiria by Luca Guadagnino (Italy, EE.UU, 2018)
Dogman by Matteo Garrone (Italy, 2018)
Still recording by Ghiath Ayoub, Saeed Al Batal (Syria, Libanon, 2018)
Ultra Rêve/Ultra Pulpe by Caroline Poggi/Jonathan Vinel, Bertrand Mandico (France, 2018)
First Reformed by Paul Schrader (EE.UU., 2017)
Favola by Sebastiano Mauri (Italy, 2017)
Robhot by Donato Sansone (Italy, 2017)
Phantom Islands by Rouzbeh Rashidi, (Ireland, 2018)
Lazzaro felice by Alice Rohrwacher (Italy, 2018)
Braguino by Clément Cogitore, (France, 2017)
On My Skin: The Last Seven Days of Stefano Cucchi, Alessio Cremonini (Italy, 2018)
Climax by Gaspar Noé (France, 2018)
Revenge by Coralie Fargeat (France, 2017)
Obscuro Barroco by Evangelia Kranioti (Greece, France, 2018)
BlacKkKlansman by Spike Lee (EE.UU., 2018)
Based On a True Story de Roman Polanski (France, Italy, Poland, 2017)
Nicholas Bell, IONCINEMA.com’s Chief Film Critic (USA)
#20. Roma – Dir. Alfonso Cuaron
#19. Can You Ever Forgive Me? – Dir. Marielle Heller
#18. Angels Wear White – Dir. Vivian Qu
#17. If Beale Street Could Talk – Dir. Barry Jenkins
#16. Mrs. Hyde – Dir. Serge Bozon
#15. Mandy – Dir. Panos Cosmatos
#14. Suspiria – Dir. Luca Guadagnino
#13. Let the Sunshine In – Dir. Claire Denis
#12. Hereditary – Dir. Ari Aster
#11. Burning – Dir. Lee Chang-dong
#10. The House That Jack Built – Dir. Lars Von Trier
#9. Support the Girls – Dir. Andrew Bujalski
#8. Good Manners – Dir. Marco Dutra & Juliana Rojas
#7. Where is Kyra? – Dir. Andrew Dosunmu
#6. Destroyer – Dir. Karyn Kusama
#5. You Were Never Really Here – Lynne Ramsay
#4. Hannah – Dir. Andrea Pallaoro
#3. Zama – Dir. Lucrecia Martel
#2. Vox Lux – Dir. Brady Corbet
#1. First Reformed – Dir. Paul Schrader
James Lattimer, programmer and critic (Berlin)
Casanovagen, by Luise Donschen (Germany, 2018)
Classical Period, by Ted Fendt (USA, 2018)
High Life, by Claire Denis (France, 2018)
Infinite Football / Fotbal Infinit, by Corneliu Porumboiu (Romania, 2018)
I Remember the Crows / Lembro mais dos corvos, by Gustavo Vinagre( Brazil, 2018)
Julio Iglesias’s House / La casa de Julio Iglesias, by Natalia Marín (Spain, 2018)
Out of the Present, by Andrei Ujica (Germany, 1995)
The Little Girl Who Sold the Sun / La Petite Vendeuse de Soleil + Le Franc, by Djibril Diop Mambéty (Senegal, 1999)
Transit, by Christian Petzold(Germany, 2018)
What You Gonna Do When the World’s On Fire?, by Roberto Minervini (USA, 2018)
Rafael Parrode, programmer of Fronteira Film Festival in Goiania (Brazil)
Balaginga – Howling Wilderness, Khavn de la Cruz (2018)
Tremor – Es Ist Immer Krieg, Annik Leroy (2017)
Sol Alegria, Tavinho Teixeira (2018)
Wishing Well, Sylvia Schedelbauer (2018)
Noirblue, Ana Pi (2018)
Turista no Espelho, Lourival Belém Jr. (2018)
Los Perros de Amundsen, Rafael Ramírez Pupo (2017)
Hengyoro, Takamine Go (2017)
Si Loin, Si Proche, Jean-Claude Rousseau (2016)
Did You Wonder Who Fired the Gun, Travis Wilkerson (2017)
Conte isso àqueles que dizem que fomos Derrotados, Aiano Bemfica, Camila Bastos, Cristiano Araújo e Pedro Maia de Brito
Le livre de l’image, Jean Luc Godard (2018)
Comfort Stations/The Skin is Good, Anja Dornieden and Juan David González Monroy
Os Sonâmbulos, Thiago Matta Machado (2018)
Gamelan (1981, 12′)
Un enano en el jardín (1981, 13′)
Vadi-Samvadi (1981, 7′)
La escena circular (1982, 8′)
A través de las ruínas (1982, 9′)
Templo cerrado (1982, 3′)
S/T (2007, 3′)
Peter Tscherkassky, filmmaker, author (Austria)
Living and working most of the time in the countryside I don’t go to the movies too often, so I am sure that I missed many excellent films in 2018, and I would never dare to call my list a “Best of 2018”-list! What I can offer is a list of 12 newly produced films (in alphabetical order) which entertained and fascinated me the most in 2018:
Aquarela, by Victor Kossakovsky, (GB/D/DK/USA 2018)
Blaze, by Ethan Hawke (USA 2017)
Film Catastrophe, by Paul Grivas, (F 2018)
Diane, by Kent Jones (USA 2018)
The Favourite, by Yorgos Lanthimos, (GB/IRL/USA 2018)
In Fabric, by Peter Strickland (GB 2018)
Leave No Trace, by Debra Granik (USA 2018
Le Livre d’Image, by Jean-Luc Godard (CH 2018)
Monrovia, Indiana, byFrederick Wiseman (USA 2018)
Roma, by Alfonso Cuarón (Mexico/USA 2018)
Water and Clearing, by Siegfried A. Fruhauf (Austria, 2018)
What You Gonna Do When the World’s on Fire?, byRoberto Minervini (Italy, 2018)
Dennis Cooper, author, fIlmmaker (USA)
Favorite films of 2018 (in no order)
Michelle Memran THE REST I MAKE UP
Jean Luc Godard THE IMAGE BOOK
Lucrecia Martel ZAMA
Scott Barley SLEEP HAS HER HOUSE
James Benning L. COHEN
Wes Anderson ISLE OF DOGS
Rouzbeh Rashidi PHANTOM ISLANDS
Abbas Kiarostami 24 FRAMES
Ryan Trecartin PERMISSION STREA
Gaspar Noe CLIMAX
Peggy Ahwesh THE FALLING SKY
Tzuan Wu A GIRL’S PRAYER
Frances Stark THE MAGIC FLUTE
Jean-Marie Straub GENS DU LAC
Mikel Guillen INTERMISSION>
Michael Salerno NOTRE MORT
Jaime Grijalba, film critic, programmer, filmmaker (Chile)
La representación de la libertad a través de cuerpxs disidentes:
Dan Browne, filmmaker (Canada)
18 films for 2018
New and recent work
Biidaaban: First Light, by Lisa Jackson (Canada, 2018)
Becoming Animal, by Emma Davie and Peter Mettler (Switzerland / United Kingdom, 2018)
Traje de Luces, by Francisca Duran (Canada, 2018)
Erodium Thunk (2018), Winston Hacking
Terror Nullius, by Soda_Jerk (USA, 2018)
Fainting Spells, by Sky Hopinka (USA, 2018)
Fallen Arches, by Simon Liu (United Kingdom, USA, Hong Kong, 2018)
Please step out of the frame, by Karissa Hahn (USA, 2018)
The Grand Bizarre, by Jodie Mack (USA, 2018)
The Air of the Earth in Your Lungs, by Ross Meckfessel (USA, Japan, 2018)
Instructions on How to Make a Film, by Nazl? Dinçel (USA, 2018)
Dailies From Dumpland, by Michael Woods (USA, 2018)
God Straightens Legs, by Joële Walinga (Canada, 2018)
Saint Bathans Repetitions, by Alexandre Larose (Canada, 2016)
Territorio, by Alexandra Cuesta (Ecuador, 2016)
Second Star, by Scott Fitzpatrick (2015–18)
+ two films that I waited for 15 years to see and exceeded expectations:
- Stan Brakhage’s Scenes From Under Childhood (1967–70) and The Text Of Light (1974)
Francisco Álvarez, programmer of Cámara Lúcida, film critic- Godart (Ecuador)
The image you missed, by Donal Foreman
Trinta Lumes, by Diana Toucedo
Wishing Well, bySylvia Schedelbauer
Blue, by Apichatpong Werasetakul
Polly one, by Kevin Jerome Everson
Hoarders without boarders 1.0, by Jodie Mack
La Libertad, by Laura Huertas Millán
Altiplano, by Malena Szlam
Chaos, by Sara Fattahi
The other side of the wind, by Orson Welles
Le Livre d`ìmage, by Jean-Luc Godard
Black Mother, by Kallik Allah
Tondal`s Vision, by Stephen Broomer
Can Limbo, by Martín Baus
Las cruces, by Teresa Arredondo y Carlos Vásquez
Gustavo Beck, programmer, filmmaker, producer (Brazil, Portugal)
Le Livre D’image (Jean-Luc Godard)
Gli Indesiderati D’europa (Fabrizio Ferraro)
La Flor – Parte 2 (Mariano Llinás)
Lazzaro Felice (Alice Rohrwacher)
L. Cohen (James Benning)
Monrovia, Indiana (Frederick Wiseman)
Si Linghun (Wang Bing)
Gang-Byun Hotel (Hong Sang-Soo)
Beo-Ning (Lee Chang-Dong)
Pul-Lip-Deul (Hong Sang-Soo)
Jiang Hu Er Nü (Jia Zhangke)
A Portuguesa (Rita Azevedo Gomes)
I Diari Di Angela – Noi Due Cineasti (Yervant Gianikian, Angela Ricci Lucchi)
Da Xiang Xi Di Er Zuo (Hu Bo)
Waldheims Walzer (Ruth Beckermann)
Di Qiu Zui Hou De Ye Wan (Bi Gan)
Netemo Sametemo (Ryûsuke Hamaguchi)
Ni De Lian (Tsai Ming-Liang)
Roi Soleil (Albert Serra)
Segunda Vez (Dora Garcia)
Lamaland – Teil I (Pablo Sigg)
Sedução Da Carne (Júlio Bressane)
Transit (Christian Petzold)
Process (Sergei Loznitsa)
Nice Girls Don’t Stay For Breakfast (Bruce Weber)
Zama, by Lucrecia Martel (Argentina, 2017).
The other side of the wind, by Orson Welles (USA, 2018)
Phantom Thread, by Paul Thomas Anderson (USA, 2017).
Cómo matar a tu presidente, by Ernesto Flores (Bolivia, 2018).
La vida suspendida de Harley Prosper, by Juan Manuel Sepúlveda (Canadá, Mexico, 2018)
Iván Pinto, film critic, film scholar, editor of La fuga and El Agente Cine (Chile)
1.- The florida project, by Sean Baker (USA, 2017)
2.- Les garcons sauvages, by Bertrand Mandico, 2017)
3.- The other side of the wind, by Orson Welles (USA, 2018)
4.- La casa lobo, by Joaquín Cociña, Cristóbal León (Chile, 2018)
5.- BlacKkKlansman, by Spike Lee (USA, 2018)
6.- Zama, by Lucrecia Martel (Argentina, 2917)
7.- Il siciliano, by José Luis Sepúlveda, Carolina Adriazola (Chile, 2018)
8.- Maleza, by Ignacio Pavez (Chile, 2017)
9.- La telenovela errante, by Raúl Ruiz, Valeria Sarmiento (Chile, 2017)
10.-The disaster artist, by James Franco (USA, 2018)
11.- Downsizing, by Alexander Payne (USA, 2017)
12.-The ballad of Buster Scruggs, by Joel and Ethan Coen(USA, 2018)
13.- Ready Player one, by Steven Spielberg (USA, 2018)
14.- A quite passion, by Terence Davies (UK, 2017)
15.- El hilo fantasma, by Paul Thomas Anderson (USA, 2017)
16.- Lady Bird, by Greta Gerwig (USA, 2017)
17.- Rey, Niles Atallah (Chile, 2017)
18.- The other side of hope by Aki Kauismäki (Finland, 2017)
19.- L’amant d’un jour, by Philippe Garrel (France, 2017)
20.- Las cruces, by Teresa Arredondo, Carlos Vásquez (Chile, 2018)
21.- Tierra Sola, by Tiziana Panizza (Chile, 2017)
22.- Hereditary, by Ari Aster (USA, 2018)
Herb Shellenberger, programmer, curator
Diamantino, Gabriel Abrantes & Daniel Schmidt (Portugal, 2018)
Terror Nullius, Soda_Jerk (Australia, 2018)
Chained for Life, Aaron Schimberg (USA, 2018)
Consensual Healing, Carolyn Lazard (USA, 2018)
Empty Metal, Adam Khalil & Bayley Sweitzer (USA, 2018)
It’s in the Game, Sondra Perry (USA, 2018)
If Beale Street Could Talk, Barry Jenkins (USA, 2018)
Mandy, Panos Cosmatos (USA, 2018)
Unfriended: Dark Web, Stephen Su (USA, 2018)
Madeline’s Madeline, Josephine Decker (USA, 2018)
One more to mention: The Cat Has Nine Lives, Ula Stöckl (Germany, 1968)
Aaron Cutler, programador, EE.UU. / Brasil
Las diez películas que yo tenía la mayor placer de ver proyectadas este año, de varias fuentes que incluyen el National Film Center, en Tokio:
The Song of Home (1925, cópia en 35 mm)
Oyuki the Virgin (1935, cópia en 35 mm)
Sisters of the Gion (1936, cópia en 35 mm)
The 47 Ronin (1941, cópia en 35mm)
Women of the Night (1948, cópia en 35 mm)
Miss Oyu (1951, cópia en 35 mm)
The Life of Oharu (1952, cópia en 35 mm)
Ugetsu Monogatari (1953, cópia en 35 mm)
The Crucified Lovers (1954, cópia en 35 mm)
Princess Yang Kwei-Fei (1955, cópia en 35 mm)
Y más cinco menciones honorables:
Battling Butler (1926, dir. Buster Keaton, cópia en 35 mm de la Cinémathèque française)
Lamb (1963, dir. Paulin Soumanou Vieyra, cópia en DCP de la Cinémathèque afrique)
Ludwig (1973, dir. Luchino Visconti, cópia en 35 mm del Centro Sperimentale di Cinematografia)
Shoah (1985, dir. Claude Lanzmann, cópia en DCP de la Cineteca di Bologna)
Trás-os-Montes (1976, dir. António Reis & Margarida Cordeiro, cópia en DCP de la Cinemateca Portuguesa)
Mónica Savirón, programmer, curator, filmmaker (USA, Spain)
- Works by trans black artists that did not make the cut.
- Works by non-binary black artists that did not make the cut.
- Works by female black artists that did not make the cut.
- Works by indigenous trans artists that did not make the cut.
- Works by indigenous non-binary artists that did not make the cut.
- Works by indigenous female artists that did not make the cut.
- Works by trans non-black artists of color that did not make the cut.
- Works by non-binary non-black artists of color that did not make the cut.
- Works by female non-black artists of color that did not make the cut.
- Works by trans black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by non-binary black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by female black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by indigenous trans black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by indigenous non-binary black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by indigenous female black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by trans non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by non-binary non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by female non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by indigenous trans non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by indigenous non-binary non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by indigenous female non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income trans black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income non-binary black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income female black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income indigenous trans black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income indigenous non-binary black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income indigenous female black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income trans non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income non-binary non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income female non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income indigenous trans non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income indigenous non-binary non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by low-income indigenous female non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by immigrant low-income trans black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by immigrant low-income non-binary black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by immigrant low-income female black artists with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by immigrant low-income trans non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by immigrant low-income non-binary non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by immigrant low-income female non-black artists of color with cognitive, developmental, intellectual, mental, physical and/or sensory differences that did not make the cut.
- Works by threatened and persecuted artists who still would not be silenced that did not make the cut.
May your choices reflect your hopes, not your fears.
—Nelson Mandela
Sebastian Wiedemann, filmmaker, film scholar, editor of Hambre.com (Colombia, Brazil)
In no particular order:
The Image Book by Jean-Luc Godard (Switserland, France, 2018)
The Other Side of the Wind by Orson Welles (USA, 2018)
Phantom Islands by Rouzbeh Rashidi (Ireland, 2018)
The Rub by Péter Lichter & Bori Máté (Hungary, 2018)
The Sun Quartet by Colectivo Los Ingravidos (Mexico, 2018)
Um filme para Ehuana (A Film for Ehuana) de Louise Botkay (Brazil, 2018)
El Laberinto by Laura Huertas Millán (Colombia, 2017)
The Grand Bizarre by Jodie Mack (USA, 2018)
Altiplano by Malena Szlam (Chile, 2018)
Ante mis ojos by Lina Rodriguez (Colombia, 2018)
TOP 20 (in alphabetical order)
Altiplano, by Malena Szlam.
Ash is purest white, by Jia Zhang-ke
Cassandro de exotico! by Marie Losier
Erased,_ _ ascent of the invisible, by Ghassan Halwani.
Familia sumergida, by María Alché.
Hoarders without borders 1.0, by Jodie Mack.
Hotel by the river, by Hong Sang-soo
I do not care if we go down in history as barbarians, by Radu Jude.
Lazzaro felice, by Alice Rohrwacher.
La casa de Julio Iglesias, by Natalia Marín.
La casa lobo, by Joaquín Cociña y Cristóbal León.
La flor (Parte 2) by Mariano Llinás.
Le livre d´image, by Jean-Luc Godard.
Les garçons sauvages, by Bertrand Mandico.
Season of the devil, by Lav Diaz.
Sobre cosas que me han pasado, by José Luis Torres Leiva.
Still recording, by Saeed Al Batal & Ghiath Ayoub.
The other side of the wind, by Orson Welles.
Una luna de hierro, by Francisco Rodríguez.
What you gonna do when the world’s on fire, by Roberto Minervini.
Carlos Rentería, filmmaker, film critic, programmer of Lima Independiente film festival
Hyemin Kim, Film Scholar, film critic
Arne Sucksdorff retrospective (everything) (at Metrograph, NYC/USA)
The Sky on location (1982) dr. Babette Mangolte (Light Industry, Brooklyn/USA)
Second Time Around/Segunda Vez (2018), dr. Dora García (Film Society of Lincoln Center, NYC/USA)
The Labyrinth / El Laberinto (2018) dr. Laura Huertas Millán (Film Society of Lincoln Center, NYC/USA)
Fainting Spells (2018) dr. Sky Hopinka (Film Society of Lincoln Center, NYC/USA)
Alluvium (2015) dr. Peggy Ahwesh (E-Flux, NYC/USA)
Erie (2010) dr. Kevin Jerome Everson (Harvard Film Archive, Cambridge/USA)
Potamkin (2017) dr. Stephen Broomer (Anthology Film Archives, NYC/USA)
Permanent Green Light, by Dennis Cooper & Zac Farley (Film Society of Lincoln Center, NYC/USA)
Jennifer Reeves: “Girls daydream about Hollywood” (entire show) dr. Jennifer Reeves (Microscope Gallery, Brooklyn/USA, 2018)
Joe-Joe (1993) dr. Cecilia Dougherty (Film Society of Lincoln Center, NYC/USA)
Double Lunar Dogs (1984), dr. Joan Jonas (Bar Laika/E-Flux, NYC/USA)
Katherine Bauer: Cinematic Death Moon Return: Impact Phase (entire show) (Microscope Gallery, NYC/USA)
Betzy Bromberg Retrospective (entire show), (Anthology Film Archives, NYC/USA)
Victor Guimarães, film critic (Cinética) and independent programmer (Brazil)
10 imaginary (sometimes impossible) double bills in 2018
NoirBLUE – Déplacements d’une Danse (Ana Pi, 2018) + Giverny I – Négresse Impériale (Ja’Tovia Gary, 2017)
The other side of beauty is violence.
Something Good – Negro Kiss (Selig Polyscope Company, 1898) + Temporada (André Novais Oliveira, 2018)
The other side of violence is beauty.
Zama (Lucrecia Martel, 2017) + BlacKKKlansman (Spike Lee, 2018)
How to destroy colonialist thought with cinema.
Ilha (Ary Rosa & Glenda Nicácio, 2018) + La Flor (Mariano Llinás, 2018)
A big hurray for the powers of fiction.
Os Sonâmbulos (Tiago Mata Machado, 2018) + Baixo Centro (Ewerton Belico & Samuel Marotta, 2018)
Sur-realism.
Fountains of Paris (Stephen Broomer, 2018) + China not China (Dianna Barrie & Richard Tuohy, 2018)
It’s all about color and texture.
Estamos todos aqui (Chico Santos & Rafael Mellim, 2017) + Conte isso àqueles que dizem que fomos derrotados (Aiano Bemfica, Camila Bastos, Cris Araújo & Pedro Maia de Brito, 2018)
It’s all about energy.
Screen (Matthias Müller & Christoph Girardet, 2018) + Calypso (Rodrigo Lima & Lucas Parente, 2018). The screen is a landscape. The landscape is a screen.
First Reformed (Paul Schrader, 2017) + Hengyoro (Takamine Go, 2017). Two opposite (and both great) experiences of “What the fuck is going on here?”
Tremor – Es ist immer Krieg (Annik Leroy, 2017) + Calypso (Rodrigo Lima & Lucas Parente, 2018). Landscape is where history is happening.
Vent d’Ouest (Jean-Luc Godard (?), 2018) + The Other Side of the Wind (Orson Welles (?), 2018)
F for Fake.
Sol Alegria (Tavinho Teixeira & Mariah Teixeira, 2018) + Inferninho (Guto Parente & Pedro Diógenes, 2018)
Orgasm feels better in a rotten country.
Brais Romero Suárez – film critic, editor of A Cuarta Parede (España)
2. Sorry to bother you de Boots Riley (EE.UU, 2018)
3. Raiva de Sergio Trefaut (Portugal, 2018)
4. Good Time de Safdie Brothers (EE.UU., 2017)
7. Pity de Babis Makridis (Grecia, 2018)
8. Hereditary de Ari Aster (EE.UU, 2018)
9. You were never really here de Lynne Ramsay (UK, EE.UU., 2017)
12. Atlanta (Episodio 6, temporada 2: Teddy Perkins) de Hiro Murai (EE.UU., 2018)
Stephen Broomer , filmmaker, film scholar (Canada)
Daniel Barnett – Science Without Substance
Drayden De Costa – Phantom
Brian Wilson – Lost Summer Sketch
E-Ticket, by Simon Liu (Hong Kong. 2019)
The Grand Bizarre, by Jodie Mack (USA, 2018)
The Green Fog, by Guy Maddin and Evan & Galen Johnson (Canada, 2017)
Exhumation, by Daniel McIntyre (Canada, 2018)
These Ways I Transgress, by Jeremy Moss (USA, 2018)
Passage, by Ajla Odobasic (Canada, 2018)
Wishing Well, by Sylvia Schedelbauer (Germany, 2018)
Jean- Jacques Martinod – Visual artist, filmmaker (Ecuador, EE.UU.)
Les Garçons sauvages de Bertrand Mandico (Francia, 2017)
La Casa Lobo de Cristóbal León and Joaquín Cociña (Chile, 2018)
The Hart of London de Jack Chambers (Canadá, 1970)
El Mar La Mar de J.P. Sniadecki y Joshua Bonnetta (EE.UU.,2017)
O’er The Land de Deborah Stratman (EE.UU., 2009)
Altiplano de Malena Szlam (Chile, Canadá, 2018)
The Numb Spiral de Michael Woods (EE.UU.,2018)
The Sun Quartet por Colectivo Los Ingrávidos (México, 2017)
Still Raining, Still Dreaming de Phil Solomon (EE.UU, 2008)
The Telephone Book de Nelson Lyon (EE. UU.,1971)
Star Spangled to Death de Ken Jacobs (EE.UU., 2004)
Libertad Gils, cineasta, docente y programadora (Ecuador)
Proyección de rostro de Camilo Catrillanca en Santiago, Chile (2018)
O peixe de Jonathas de Andrade (Brazil, 2016)
Jeannette, l’enfance de Jeanne d’Arc de Bruno Dumont (France, 2017)
Can Limbo de Martin Baus (Chile, Spain, 2018)
Milla de Valèrie Massadian (France, 2017)
I Do Not Care If We Go Down In History As Barbarians, by Radu Jude (Romania, 2018)
La Casa Lobo by Joaquín Cociña & Cristóbal León (Chile, 2018)
La Libertad by Laura Huertas Millán (Colombia, 2017)
Something Good Negro Kiss (EE.UU. 1898)
Western by Valeska Grisebach (Alemania, Bulgaria, 2017)
Tierra Sola by Tiziana Panizza (Chile, 2017)
Did You Wonder Who Fired the Gun?, by Travis Wilkerson (USA, 2017)
Le Livre d’Image y la conferencia de prensa en Cannes de JLG (France, Swizertland, 2018)
Alejandro Ávila, film critic – FILMAND (Spain)
1.Viaje al cuarto de una madre (Celia Rico Clavellino)
2. Isle of dogs (Wes Anderson)
3. Quién te cantará (Carlos Vermut)
4. Cold War (Pawel Pawlikowski)
5. Three billboards outside Ebbing (Martin McDonagh)
6. Under the Silver Lake (David Robert Mitchell)
7. Dogman (Mateo Garrone)
8. This Magnificent Cake! (Emma De Swaef, Marc James Roels)
9. The Waldheim Waltz (Ruth Beckermann)
10. El reino (Rodrigo Sorogoyen)
11. Wildlife (Paul Dano)
12. Tu hijo (Miguel Ángel Vivas)
13. Tierras solares (Laura Hojman)
14. La noche de 12 años (Álvaro Brechner)
15. La enfermedad del domingo (Ramón Salazar)
