So we come to the end of 2018. A good year for new releases though there are worrying trends in distribution and exhibition. Getting to see rare films can involve extensive travel on public transport. Apart from the Netflix problem there were other films that I failed to catch this year. And there were parallel problems in production; really good titles with the longest list of supporting territories that I can remember.
Of the new releases the ones that stood out for me were;
Dogman, Italy / France
Jupitor’s Moon / Jupiter holdja, (Hungary / Germany / France, 2017)
Leave No Trace, (USA)
Shoplifters / Manbiki kazoku (Japan)
Sweet Country, (Australia, 2017)
The Wild Pear Tree / Ahlat Agaci, (Turkey/ Republic of Macedonia/ France / Germany / Bosnia and Herzegovina/ Bulgaria/Sweden)
The Young Karl Marx / Le jeune Karl Marx (France / Belgium / Germany, 2017)
Zama, (Argentina / Brazil / Spain / Dominican Republic / France / Netherlands / Mexico / Switzerland / USA / Portugal / Lebanon, 2017)
Two fine documentaries:
The Rape of Recy Taylor, (USA, 2017)
Faces Places / Visages villages (France, 2017)
Among the classics I was fortunate to see on 35mm were;
Brüder Brothers, Germany 1929 [Berlinale with accompaniment by Stephen Horne].
Man of Aran, Britain 1934 [on nitrate as well, George Eastman Museum].
Imitation of Life, USA 1934 (John Stahl retrospective at Cinema Ritrovato].
La cousine Bette, France 1928, [A Balzac programme at Giornate del Cinema Muto with accompaniment by Günter Buchwald).
Turksib, USSR 1929. [The Kennington Bioscope 4th Silent Weekend with accompaniment by Costas Fotopoulis].