Oh, Armond

Awards season was going so well. Oh sure there have been the usual little controversies - Harvey Weinstein's underhanded marketing tactics and grumbles over the state of the Best Foreign Film shortlist again - but it's been a good year overall. There' no shortage of possible contenders, and no real consensus about anyone leading the pack. The various regional critics' circles have been putting forth a variety of different picks. The New York Film Critics Circle picked "American Hustle" for Best Film, but the Best Director award went to Steve McQueen for "12 Years a Slave." And then came the awards ceremony a few days ago, where McQueen's acceptance speech was heckled by one of the critics and his associates. That critic? Armond White.

If you've been around film culture much you already know who Armond White is, the famously contrarian and provocative film critic currently writing for CityArts, and previously for the New York Press. He's chaired the New York Critics Circle multiple times and there have been other abusive outbursts before, most memorably toward documentary filmmaker Michael Moore. I've read several of White's reviews over the years and heard him speak on podcasts and other venues. I don't always agree with him, and I'm pretty sure that some of his positions are designed to be controversial (he claimed 2009's "Precious" was worse than Eddie Murphy's notorious "Norbit," and compared "Jack and Jill" to the Greek classics for example), but he's no slouch as a critic. I agree with many of his points and I like that he keeps the critical conversation interesting.

I'm fully behind White's CityArts review of "12 Years a Slave," for example, where he took McQueen to task for the use of extreme content in his depictions of slavery, which he felt sensationalized and detracted from the portrayal of the African-American experience. There's been overwhelming praise for the film that has positioned it as a major awards contender, and it was important to see a dissenting opinion, especially from an African-American film critic who was perhaps in the best position to deliver it. Were the comparisons to torture porn like "Human Centipede" a bit much? Sure, but it got the point across. And he's certainly not alone is his opinion - Hollywood Reporter critic Kirk Honeycutt, has called "12 Years a Slave" "slavery porn" and Slant magazine's Ed Gonzales accused it of "artistic posturing."

But heckling McQueen at an awards dinner? Throwing F-bombs and comparisons to garbage men around to follow up a great presenter speech by Harry Belafonte? Good grief, it's hard to take Armond White seriously after this. There were other ways of showing disapproval for the society's pick for Best Director. White could have refused to attend the ceremony, refrained from clapping, or stayed seated during the standing ovation that Belafonte received. People would have gotten the message loud and clear. Shouting obscenities makes him look like a spotlight hog and a bully. Moreover, the controversy really does nothing to help his position or the wider discussion of the film. Only the gossip sites are happy about this incident.

What really gets me is that now McQueen is trying to deny he heckled anyone, in spite of a roomful of his colleagues being present at the event. It's not just one source who identified Armond White as the heckler, but a dozen of them, and mostly critics with a lot more credibility than he has. The New York Film Critics Circle has already delivered an apology to McQueen and is taking action to possibly oust White from their ranks - an unprecedented move. I knew an apology from Armond White wasn't likely, but denying his actions really makes me lose a lot of respect for him. We need critics like Armond White around to keep everyone on their toes, but what can his opinion really count for after this?

Part of me wonders if this isn't all an elaborate bit of reverse-psychology, perpetrated by White to improve the Oscar chances of "12 Years a Slave," which is facing a lot of stiff competition. McQueen has a lot of momentum on his side, but he's been a bit awkward in public appearances and the film itself is a notoriously difficult watch. White has now brought more attention to the film and its director, and has set up a great opportunity for Belafonte and McQueen to get a second chance to do things right on a much larger stage.

Anyway, right now matters are still unfolding. Now that he's in the spotlight, Armond White is far from done talking. We're still awaiting a decision from the New York Film Critics Circle regarding disciplinary action. Rumors are still flying about who actually said what, and who actually heard what.

And it's still early in awards season yet.
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What is That Director Up To? Updates

Way back in June, 2011, I did three posts cataloging the upcoming projects of a long list of prominent directors that I was keeping an eye on, "What is That Director Up To? Part I, Part II, and Part III. These were written in lieu of a traditional "Most anticipated movies" list. Two and a half years later, I thought it would be interesting to go back to those lists and look at what projects did get made, what didn't, and if they didn't, then what progress is being made.

Most directors finished the most immediate projects that I wrote about and have moved on to other films. Wes Anderson made "Moorise Kingdom" and Ang Lee made "Life of Pi," which turned out well, Woody Allen made "To Rome With Love," which didn't, and David Cronenberg made "A Dangerous Method" and "Cosmopolis," where your mileage may vary. Alfonso Cuaron's "Gravity" finally made it to screens a few months ago after several delays, and is currently being hailed as one of the year's best. Baz Luhrmann's "The Great Gatsby" looked to be in trouble after missing last year's Oscar season, but it also made a nice splash over the summer as counterprogramming. "The Master," "Byzantium," "Young Adult," "Labor Day," "Django Unchained," "Lay the Favorite" and "Cloud Atlas" also reached theaters as expected.

It's interesting to look at some projects that were only in their earliest conceptual stages back in June of 2011. The Coen Brothers' "Untitled Music Project" became "Inside Llewyn Davis," and managed to reach theaters before the "Gambit" remake (in this country anyway). Paul Greengrass did in fact pick the "Maersk Alabama" film for his next directing gig, which became "Captain Phillips." Of the other projects he was considering, "Fantastic Voyage" and "Cleopatra" are still in development hell, "Rush" ended up being directed by Ron Howard, and "Memphis," about the last days of Martin Luther King Jr. is apparently still on Greengrass's radar, but he's not ready to commit to it yet. Perhaps the biggest surprise was that Terence Malick's "To the Wonder" only took two years to go from the wrap of filming to an actual release date last spring.

A few projects were cancelled entirely. Clint Eastwood tried to get a new version of "A Star is Born" off the ground, potentially starring Beyonce and Leonardo DiCaprio, which fell apart. Instead, he's opted for a big screen version of "The Jersey Boys," coming next year. The secret project from Spike Jones and Charlie Kaufman? That was "Frank or Francis," the Hollywood spoof that sadly never got off the ground. Jones went on the make "Her" and Kaufman is working on the animated short "Anomalisa." The "Logan's Run" remake Nicholas Winding Refn had on his plate for a while was officially declared dead, though a "Wonder Woman" woman may still be a possibility if DC is serious about expanding the DC cinematic universe. Steven Soderbergh dropped "The Man From U.N.C.L.E.," so "Behind the Candelabra" is going to be his last feature, and Steven Spielberg's "Robopocalypse" has been postponed indefinitely - though it may still happen eventually. Maybe.

What else are we still waiting on? Well, Paul Thomas Anderson's "Inherent Vice," Isao Takahata's "Princess Kaguya," and the Jim Jarmusch vampire movie, "Only Lovers Left Alive" are expected next year. Darren Aronofsky did get "Noah" funded, though there's some question as to whether he got to make the movie he really wanted to. Danny Boyle made "Trance," pushing back "28 Months Later." Martin Scorsese made "The Wolf of Wall Street," pushing back "The Irishman" and Japanese period film "The Silence," though the latter delay got him into some legal trouble, so expect it sooner rather than later. Jon Favreau's "Magic Kingdom" movie is still in the works and we've still been getting occasional updates. I'm not sure what's going on with Werner Herzog's adaptation of "The Piano Tuner." And of course, Terry Gilliam is still trying to get "The Man Who Killed Don Quixote" off the ground, though he managed to make "The Zero Theorem" while he was waiting.

Some of the most gratifying projects to see where the ones from directors who didn't seem to have anything on thier plate at the time. Sophia Coppola's "The Bling Ring" was much stronger than I think most critics gave it credit for. Michel Gondry made a few of his typically oddball documentaries and "The We and the I," which wasn't to my taste, but at least signals that he's keeping busy and creative. Todd Haynes and Jane Campion did television projects, "Mildred Pierce" for HBO and "Top of the Lake" for the Sundance Channel respectively. Hayao Miyazaki's latest swan song is "The Wind Rises." And Guillermo Del Toro finally did direct another movie, "Pacific Rim," and nobody has any idea what he'll do next.

All in all, not bad. A director getting attached to a project means that it's pretty far along in the pipeline, especially high profile names like this, so cancellations are rarer. Some films definitely took longer than others, but nearly all the biggest, most exciting ones did reach screens eventually, and they were mostly pretty good movies too. Might be worth writing up a new version of this list in the future.
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Warming Up To "Blue is the Warmest Color"

The original French title of this movie is "The Life of Adèle," which gives the viewer a better idea of what they're in for than the English one. When we meet teenage Adèle, played by Adèle Exarchopoulos, she's attending high school, dates boys, and gossips with her friends. We watch her pursue a relationship with one boy that seems promising, but Adèle has doubts. Then an encounter with a female schoolmate introduces the possibility that Adèle may prefer women, which is confirmed when she goes out to a gay bar one night and meets blue-haired art student Emma (Léa Seydoux).

Let's get the prurient parts out of the way first. "Blue is the Warmest Color" has several scenes of explicit lesbian sex, as well as at least one heterosexual one. I'm honestly not sure what to make of them. They're unrealistically rendered and borderline exploitative to the point where I have to wonder why they made the final cut of the film - and if director Abdellatif Kechiche learned anything from making "Black Venus," the crushing biopic of Sarah Baartman, the "Venus Hottentot." Or maybe he just has a fascination with women's bodies and didn't realize how unrelentlingly the male gaze intrudes on his characters' most intimate moments together. Fortunately it's fairly simple to separate out the sex scenes from the rest of the film, and I don't think that they hurt the final product much.

And the rest of the film is certainly worth watching. Seydoux has proven a dependable actress, and she's wonderful here, but it's Exarchopoulos who carries the film. The story is told from Adèle's point of view, and Exarchopoulos's face frequently dominates the frame, sensitive and vulnerable. We see her at her best and worst, running the full spectrum of emotions and bringing the audience along at every step. The relationship between Adèles and Emma is beset by drama from the very beginning, and Adèle's growing pains and sexual awakening don't go smoothly. Adèle's happiness and heartache are beautifully conveyed, but it's her moments of uncertainty and doubt that are the most memorable.

The film is broken up into two parts, the first showing Adèle at school when she first realizes her attraction to Emma, and the second some time later when they are an established couple, and things begin to go awry. I prefer the first half a little more than the second, but both are highlighted by hair-raising confrontations scenes where Adèle is put on the defensive. The film's running time is over three hours, but it's not a slog. Rather, the time is necessary to get to know the pair in depth. We see them at work, at play, with friends and family, and the differences in how they approach life. This gives the most dramatic moments the necessary context to make the most impact.

"Blue is the Warmest Color" has attracted quite a lot of controversy, not only for the sex scenes and the contentious production, but because of the debate over the portrayal of the relationship. The original author of the graphic novel that the film is based on, Julie Maroh, intended for the relationship to be mundane and ordinary to demystify homosexual relationships. In her view, and those of several prominent critics, Kechiche undermined this by idealizing the heroines, taking care to make them look beautiful and comparing them to classical figures in paintings and sculptures.

While Exarchopoulos and Seydoux are certainly lovely, and the sex scenes are regrettable, I thought the film did make the pair relatable, accessible, and fairly ordinary. Perhaps at first, through Adèle's eyes, Emma is someone mysterious and exotic, but that goes away along with the blue dye in Emma's hair in the second half of the film, where they struggle to cohabitate. After the giddy rush of first love, Adèle and Emma face the same problems that most couple do - mismatched expectations, struggling to fit into each other's lives, and competing demands on their time and attention.

Notably, I like that the film addresses the characters' attitudes toward the lesbian relationship with considerable care. Adèle has a gay friend but is much less sure about being homosexual herself, and is more reluctant than Emma to embrace the lifestyle. The first big confrontation scene is between Adèle and a group of her school friends, who are curious about Emma. There's a mix of reactions, only one of which could be interpreted as homophobic, and it's Adèle's unwillingness to out herself that escalates the situation.

No broad political statements, and no grand messages. In the end the story is about Adèle and Emma and their relationship, shaped by their personal feelings and issues, strengths and flaws. I suspect it's not a particularly good adaptation of its source material, but it stands perfectly well as a film about two young women in love.
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Finding "The Selfish Giant"

I'd never heard of Oscar Wilde's fable about "The Selfish Giant," so I admit that I spent a good portion of Clio Barnard's new film trying to work out how the title was applicable to the story. There are no literal giants in sight. Instead, we meet two boys from a poor neighborhood in Northern England, Arbor (Conner Chapman) and Swifty (Shaun Thomas). Was one of these two the metaphorical Giant?

Arbor is the more noticeably troubled of the pair, who has behavioral problems that require medication, is contemptuous of authority, and uncontrollable by his harried mother. Early on in the film, he gets himself permanently expelled from school for going too far when he defends Swifty from bullies. Arbor is happy about the development, because it gives him more time to earn money by collecting or stealing metal objects around town to sell for scrap. But Arbor is a scrawny kid and it's hard to call his actions selfish when they're frequently the result of good, if misguided, intentions. What about Swifty, his larger, more hulking friend? He's even less likely as a candidate for the role of the Selfish Giant. Swifty helps Arbor go scrapping, but he has a much gentler temperament and frequently serves as the voice of reason. He also has a brighter outlook for the future, with a particular knack for handling horses.

Maybe the Selfish Giant is Kitten (Sean Gilder), the owner of the local scrap yard who pays the boys for the collected metal and rents out his horse and trap to them to bring in bigger hauls. He's a mean old cheat who none-too-subtly encourages the boys to steal and vandalize, because they'll receive lesser punishments than an adult if they're caught. However, he's clearly a secondary character to the two boys, one antagonist among dozens who they have to contend with. Arbor and Swifty both come from dysfunctional homes run by exhausted mothers and hostile fathers. Everyone is poor, everyone is desperate, and there are no visible alternatives to living this way. Violence is a constant in their lives, where adults don't hesitate to get physical to show their disapproval, accompanied by streams of verbal abuse. As terrible as Arbor's behavior is, it's hard to blame him when you look at his role models and environment.

Stories of children surviving on the brink have been a mainstay of cinema for decades. Often the kids are idealized little saints, so it was nice to have a protagonist like Arbor, whose mean-spirited antics and bald-faced greed would test the patience of any adult. For the majority of the film's running time it seemed inevitable that he would grow up to become another crook Kitten or another disinterested father. Though I sympathized with him I found it difficult to root for him, because Arbor getting his way would almost certainly lead to trouble for both himself and everyone around him. The best thing in his life is clearly Swifty, but is the friendship really beneficial for either of the boys? Nearly all the adults in the film name Arbor as a bad influence. Even Swifty himself admits as much. So why are they friends?

This is Clio Barnard's first narrative feature after she rose to prominence with the innovative documentary "The Arbor." She both wrote and directed. Her stark images of poverty and avoidance of artifice are reminiscent of similar coming-of-age features by Andrea Arnold and Ken Loach. However, there are also the placid transitional shots of cooling towers and power transformers, of animals peacefully grazing in the fields that the boys traverse. We see that their world isn't entirely miserable and unpleasant, and though the characters are often awful to each other, there are moments of humanity and redemption too. Friendship and sacrifice are the major themes film, as they were the major themes of "The Selfish Giant" fairy tale, which inspired it. And the longer I thought about it, after reading up on Oscar Wilde's original, the more I was sure that the Giant wasn't any of the characters in the film, but rather something bigger and less defined. Something spiritual, perhaps.

Make no mistake that "The Selfish Giant" is an unrelentingly harsh and bleak film. Though some of the characters do find a measure of redemption, the audience isn't likely to take much comfort in it. However, I was surprised at how moving I found the film, thanks in large part to the performances of the two young actors, and the candidness of the filmmaking. The story is strong, with unexpected twists and turns, including an intense illegal racing scene with the horses on a public rode that would have come at the end of a more conventional project. But most vitally, "The Selfish Giant" does a wonderful job of capturing a particularly brutal time and place and culture that gives its simple story so much power.

I can't wait to see what Clio Barnard does next.
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Time for "The Spectacular Now"

Sutter Keeley (Miles Teller) doesn't seem to have the problems that usually plague teenage boys in coming-of-age films. He's a charismatic and charming high school senior who has no trouble with the opposite sex, works a job he likes, and doesn't lack for self-confidence. Sure, he's getting over a bad break-up with longtime girlfriend Cassidy (Brie Larson) and he's in danger of failing trigonometry, but soon enough he's getting into the good graces of another classmate, Aimee (Shailene Woodley). He gets her to tutor him and romance blossoms, but Aimee isn't like the girls Sutter usually dates, who just want to have a good time. The possibility of a real commitment forces him to examine his own life and choices, and he doesn't like what he finds.

Shailene Woodley is rightly getting a lot of praise for her performance as Aimee, a sweet girl who lets Sutter coak her out of her shell, and then bravely tries to weather the ups and downs of a tumultuous first relationship. She delivers exactly the right kind of unaffected, genuine performance that the film needs to work as intended. However, it was Miles Teller I came out of this film really impressed with. I'd seen him in a few films before this, but never with the material available to him to really show what he was capable of. Teller looks a little like Shia LaBeouf, but has a far more appealing presence and nuanced delivery. There aren't many young actors in stories like this who can manage to make me forget that I'm watching an actor, and Teller managed that effortlessly within a few minutes of screen time.

It helps that this is a very well-written character piece about a teenage boy that probes deeper than you might expect. James Ponsoldt's last film was the underseen "Smashed," about a pair of young alcoholics in crisis. Sutter likewise has a serious drinking problem, the extent of which is slowly revealed as the film progresses. However, the drinking doesn't define the character and the addiction narrative doesn't define the film. There's a whole mess of other issues that are fueling Sutter's troubles, the most fundamental of which is that he's romanticized the idea of living in the now and has rejected any ambitions for a future that's any different. There are also long-simmering issues with his estranged parents (Jennifer Jason-Leigh, Kyle Chandler) and sister (Mary Elizabeth Winstead) in play. On top of that, he hasn't really come to terms with his breakup with Cassidy.

It's been a pretty good year for movies about teenage boys making the bumpy transition into adulthood, with "The Kings of Summer" and "The Way, Way Back." But despite the familiar trappings of young romance, alcoholism, and dysfunctional families, this one felt the least contrived and the most mature. The scenes of Sutter and Aimee's relationship progressing, from tentative flirtation through the emotional fireworks of arguments and fights, are all fantastic. And I love how the story doesn't get hung up on sexual intimacy or disapproving friends or other typical sources of conflict. Instead the conflict comes straight from Sutter himself, from his flaws and self-delusions. The buildup is so nicely handled too - a seemingly inconsequential beer bottle in the opening shot, Sutter telling a friend that dating Aimee is out of charity - and it really makes the more dramatic developments feel earned.

In addition to Teller and Woodley, there are several other performances that should be singled out for praise here. Brie Larson has only a few scenes as Cassidy, but uses them to convey so much about the relationship her character had with Sutter, refuting the dismissive version of events he presents at the beginning of the film. There's potentially an entire other film about the relationship and breakup from her point of view. And then there's the brief appearance by Kyle Chandler in some of the film's most devastating scenes. He may not be onscreen for very long, but the impact is immense. I also liked Mary Elizabeth Winstead as Sutter's sister Holly, who in her own way is as responsible as her parents for the state of Sutter's home life.

"The Spectacular Now" is one of the year's best, but because of its subject matter and its relatively modest pedigree, it's one of those films that's in the greatest danger of falling through the cracks and being overlooked. It would be far too easy to lump it in with all the other indie dramas about substance addiction or privileged, photogenic male teenagers struggling to overcome personal adversity. This one is different, both for the quality of its storytelling and the strength of its message. It doesn't say anything that we haven't heard before, but says it in terms that are uniquely personal, heartfelt, and affecting.

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My Least Anticipated Films of 2014

Here we are at the start of a brand new year with a big list of upcoming films to look forward to. Right now, the possibilities are wide open, and there's a lot to be optimistic about. Others have been helpfully writing up lists of the films they're anticipating or they intend to keep an eye out for. I plan to write my own soon enough, but as with most things movie-related, I tend to lag a bit behind the crowd. However, I've already got a pretty good idea of which major movies I want to avoid.

I know that nobody sets out to make a bad movie and a bad premise and mediocre talent can sometimes result in something great, but there are more than a few upcoming titles that I can't imagine being worth anyone's time. So here's the list of my least anticipated films of 2014, and if 2013's list was any indication, it will be the last time you see discussion of any of them on this blog.

Michael Bay Muddles On - This summer will welcome not one, but two new Michael Bay franchise films. He's directing the fourth "Transformers" movie, "Age of Extinction," and producing the "Teenage Mutant Ninja Turtles" live action reboot in August. Even with the replacement of Shia LeBeouf with Mark Wahlberg, I don't have much hope for "Transformers" as long as Michael Bay and screenwriter Ehren Kreuger still retain creative control. As for "Ninja Turtles," I'm appalled that this project even exists, though I'm no great far of the Turtles. Director Jonathan Liebesman has a resume full of disappointing horror and action films that demonstrate no discernible talent, and do I even need to mention that Megan Fox has somehow landed herself the female lead role?

Bad Reboot Redux - This year's crop of questionable modern takes on familiar characters includes a hunky Frankenstein's monster played by Aaron Eckhart in "I, Frankenstein," a black-armored new "RoboCop" who looks like an extra from the '90s era "Power Rangers," a new "Dracula" with Luke Evans, and two different "Hercules" movies. One is directed by Renny Harlin and stars Kellan Lutz. The other is directed by Brett Ratner and stars The Rock. The one with the Rock that comes out in the summer has a better shot at turning out decently, but does anyone really expect that Brett Ratner can pull off a large-scale fantasy-action film? The last time he tried, we ended up with "X-men: The Last Stand." And no, I still haven't forgiven him for that one.

The Usual Suspects - Paul W.S. Anderson is somehow still at it. This year he's putting out his own swords and sandals epic, "Pompeii," because "The Three Musketeers" apparently didn't dissuade him from period films. Eli Roth too, who's back with cannibal horror film "The Green Inferno." Jason Friedberg and Aaron Seltzer have their next spoof in the works, a "The Fast and the Furious" parody called "Superfast." Horror comedy "A Haunted House" apparently did well enough to warrant "A Haunted House 2." We're also getting two "Paranormal Activity" movies this year, one in January, delayed from last year, and one in October, just in time fro Halloween. Speaking of horrible horror movies, do you think "The Purge 2" is actually going to do anything with the concept of the Purge this time around?

Pity the Parents - This looks like another bad year for kids' movies. If the aforementioned Michael Bay's films weren't enough, also on their way are a slew of sequels to crummy films, including "Rio 2," "Planes 2: Fire and Rescue" (yes, already), and "Step Up: All In." Then there are the ones that may come out decently, but nobody is really clamoring for like "Dolphin Tale 2" and "Night at the Museum 3." And, I really hope that Dreamworks' "Mr. Peabody and Sherman" is better than its trailers, but I'm not expecting much. When you've somehow made Jay Ward characters look less appealing than talking Lego figures, you're in trouble.

Wishful Thinking - Perhaps foolishly, I'm holding out hope that the latest Adam Sandler movie "Blended"/"The Familymoon" won't be awful, because his collaborations with Drew Barrymore tend to be more tolerable than the ones where he's just goofing off with his friends. Seth Rogen and Evan Goldberg have established a perfectly awful track record (yes, I still hate "This is the End"), but their next project, "The Interview," has a promising premise at least: two idiots get mixed up in a plot to assassinate the prime minister of north Korea. Finally, there's "Sin City: A Dame to Kill For." Conventional wisdom says that a massive delay like the one this movie had is a very bad sign, and Robert Rodriguez's output lately has been dire.

But you never know. Maybe this one will buck the trend.
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The Top Ten Classics I Saw in 2013

I don't have a Top Ten List of my favorite 2013 films yet, but I do have a list of the best movie classics that I saw for the first time in 2013. Enjoy.

Breaking the Waves (1996) - The film that marked the emergence of Lars von Trier as the provocateur that we know him as today. Featuring a performance by Emily Watson that should be counted among the all-time greats, the film follows the now-familiar pattern of a noble Von Trier heroine's decline and degradation in the name of love. In this film, however, transcendence and redemption are not illusory things, and the ending is one of the most beautiful in all of cinema history.

Olympia (1938) - For all the Nazi propaganda that finds its way into Len Riefenstahl's coverage of the 1936 Summer Olympics held in Berlin, "Olympia" is a great sports documentary. It effortlessly captures the highlights of the big events, including several of Jesse Owens' most celebrated wins, using pioneering filmmaking techniques. Compare "Olympia" to the blundering coverage of the most recent summer Olympics by the American media, and Riefenstalhl's brilliance couldn't be plainer.

The Big City (1963) - Satyajit's Ray's social drama initially comes off as didactic, but it also includes a warm portrait of a middle-class family that learns to embrace the changing times. The heroine, a housewife who decides to take the unusual step of working at a job outside the home, has a wonderful arc that follows her transformation into an independent, assertive contributor to society. It's well matched by her loving husband's own journey in coming to terms with their new partnership.

Edvard Munch (1974) - Initially created by documentarian Peter Watkins as a miniseries for Swedish television, “Edvard Munch” was later released as a three-and-a-half hour film that combines dramatizations of Munch’s life and career with contemporary interviews and critical discussions of his work. Watkins narrates the film, and draws fascinating connections between the artist’s background and his approach to art, often using filmmaking techniques that mirror what Munch did with his paintings.

Raise the Red Lantern (1991) - I struggled with the choice between this film and Zhang Yimou’s lovely “Ju Dou” for a spot on this list. “Raise the Red Lantern” won out because the visuals remain so iconic and so stunning. Gong Li, his longtime muse, gives one of her best performances as the youngest of a rich man’s four wives, who vie for power and position in his household, which is dictated by unbreakable rules and restrictions. Even in Zhang’s later, more elaborate epics, you never saw such dazzling imagery.

Oasis (2002) - Cemented Lee Chang-dong as my favorite of the modern Korean auteurs. The film’s premise seems cringeworthy at first. A mentally challenged young man becomes involved with a severely disabled young woman in secret. “Oasis” is painful to watch at times because it is so honest and unflinching in its portrayal of these characters and their afflictions, but it is also extraordinarily moving. Despite its occasional sensationalist touches, the love story avoids sentimentality and easy answers.

Exotica (1994) - Atom Egoyan’s film unfolds from a series of loosely connected stories revolving around an exotic dance club into a lovely, sad exploration on the nature of grief and loss. I don’t think that the film’s stars, Elias Koteas, Bruce Greenwood, and Mia Kirshner, have had roles nearly as rich and wonderful since. I’m not entirely on board with the film’s portrayal of nightclub life, but for this one, particular story and this particular grouping of characters I’m willing to suspend disbelief for a while.

Black Girl (1966) - Perhaps the birth of meaningful African cinema came in 1963, when Ousmane Sembène of Senegal made his feature film debut with “Borom Sarret.” However, his first masterpiece came three years later with “Black Girl,” which charts the descent of a Diouana, a young nanny who works for a rich white family. When her employers move back to France, she goes with them, resulting in social and spiritual difficulties. It’s a stark look at the clashing of cultures from the African POV.

Boy (1969) - Young Toshio is the elder son in a family of con-artists, who scam people out of their money by faking car accidents. Director Nagisa Oshima worked with a shoestring budget and a minimal crew to film the story of this dysfunctional family on their travels through Japan, always struggling to stay a step ahead of the law and their own worst impulses. It’s one of the most wrenching portrayals of childhood that I’ve ever seen, anchored by a guileless young actor as the titular “Boy.”

La Belle Noiseuse (1991) - I usually find the films of Jacques Rivette confounding, but here he’s telling a simple, straightforward story about an elderly painter, a reluctant model, and the creation of a masterpiece. Running nearly four hours in length, the film is a mesmerizing look at the act of creating art, the struggle for inspiration, and the price that often comes with truth and perception. Some of the most absorbing shots are the simplest - of the artist laboriously drawing sketches or putting paint to canvas.

And Honorable Mentions go to "Orlando," "The Long Day Closes," "A Moment of Innocence," "El," "The Baby of Mâcon," "Cairo Station," "Sugar Cane Alley," "Ju Dou," "O Lucky Man!" "The Devil's Envoys," "Stella Dallas," "The Emperor's Naked Army Marches On," "Destiny" (1921), "Late Chrysanthemums," "The Match Factory Girl," "Way Down East," "The Saragossa Manuscript," "The New World," "Possession" (1980), "Welcome to the Dollhouse," "The Canterbury Tales," "Bloody Sunday," "Strictly Ballroom," "Chop Shop," "Rosetta," "Secret Sunshine," "You Only Live Once," "Dersu Uzala," "Syndromes and a Century," and "Seconds."
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