This was quite a good year for new releases. The best, for me, were as follows: in the order that I saw them:
Selma USA 2014.
A model of what a biopic should be and combining intelligence with mainstream production values.
Mummy Canada 2014
The film’s intensity was increased by the use of an unusual aspect ratio.
Phoenix, Germany 2014
A great combination of noir and Kurt Weill.
Bande de Filles (Girlhood) France 2014
A pleasure to watch, but serious with it.
A Pigeon sat on a Branch and Reflected on Life (En duva satt på en gren och funderade på tillvaron) Sweden, Norway 2014.
The film manages to be both droll and surreal at the same time.
Timbuktu Mauritania 2014
The first intelligent film about jihadists and the best football sequence in years.
45 Years UK 2015
Slow, elegant and very complex: the acting performances of the year.
Taxi (Taxi Teheran) Iran 2015
Subversion was rarely so witty or so much fun.
The Assassin (Nie yin Niang) China, Taiwan, Hong Kong 2015
Slow and with a tricky plot, but visually and aurally stunning.
Carol USA 2015
What other praise than this is as good as the Patricia Highsmith original novel.
Song of the Sea Eire 2014
Beautiful traditional animation: lovely dog.
White God (Fehér isten) Hungary 2014.
The largest and the most impressively led pack of dogs seen in ages.
National Gallery, France, USA, UK 2014
Frederick Wiseman’s typical and completely absorbing portrait of a British artistic institution.
Letter to the Editor of Amateur Photography, UK 2013
The pleasure of watching radical documentary form: unfortunately it has had only a limited screenings.
Best wedding on film:
Wild Tales (Relatos salvaje) Argentina 2014
The best portmanteau film of the year and my most hilarious moments in cinema.
Most impressive silent film, by a narrow margin:
Les Misérables France 1928
This screened at Le Giornate del Cinema Muto in a fine restoration, which ran for six hours: about the time you needed to read part one of the book.
Best film accompaniment:
This was the Benshi, Ichiro Kataoka, who accompanied Chuji Tabinikki / A Diary of Chuji’s Travels (Japan, 1928) along with the Otawasa Ensemble. This was another fine restoration also screened at Il Giornate del Cinema Muto.
Best early sound film:
Tell England UK 1931 screened at the British Silent Film Festival and demonstrated that how well some filmmaker used the new technology.
The film most worth waiting for:
The Promised Land (Ziemia obiecana) Poland 1975.
Director Andrzej Wajda’s epic of C19th capitalism in Łódź. And the series of Polish classics, partly organised by Martin Scorsese, was excellent.
The worst films that I sat through this year – a tie between,
Eisenstein in Guanajuato, Netherlands, Mexico, Belgium, Finland, France 2015
Steve Jobs USA 2015.
Both films had proficient technical aspects but both were idiosyncratic biopics, which showed little interest in the situation of the subject.
I thought the year was less productive and interesting than 2013: however I had a lay-off of nearly two months and missed a number of new releases. The ones that really impressed me this year were:
Winter Sleep / Kis uykusa Turkey / France / Germany, 2014.
For me not just the best new film this year, but the best for several years. Nuri Bilge Ceylan and his team have produced a long, but richly complex film. One that reflects on the personal and the social. Despite comments by some critics this is a splendidly cinematic film.
Ida, Poland, Denmark / France / UK, 2013.
An absolute pleasure in black and white academy ratio. Director Pawel Pawlikowski and cinematographers Lukasz Zai and Ryszard Lenczewski have produced a visually stunning film. The cast are excellent. What also impressed me is that the film not only achieves the look 1960s Poland but also of the Polish cinema of the period.
The Patience Stone, France / Germany / UK / Afghanistan, 2012.
This film had one of the outstanding performances of the year from Golshifteh Farahani. The screenplay, from the director Ayiq Rahini’s own novel, by Jean-Claude Carriére suggests he is still the finest writer in European cinema.
Concerning Violence, Sweden / Denmark / Finland / US / Norway / Germany.
This was an outstanding documentary, which showed proper respect for the archive material that it used: something that many films do not. The structure and editing of the film by Göran Hugo Olsson and his team was exemplary. The treatment of the writings of Frantz Fanon was somewhat partial, the most serious failing in the film.
The Missing Picture, France / Kingdom of Cambodia, 2013.
This was another exceptional documentary though its politics were less fully developed than in Concerning Violence. Rithy Panh’s direction and design was powerfully evocative: and the use of models and dioramas gave the film a very distinctive form.
Set Fire to the Stars, UK.
A last minute addition: 2013 ended with a film about a sculptor, 2014 with one about a poet. Beautiful wide-screen black and white cinematography and a fine sound design and music score, (director Andy Godard, Cinematography Chris Seager, Music Gruff Rhys). It also rescues the poetry of Dylan Thomas from its rather facile treatment in Interstellar.
The 20th (and possibly the last) Bradford International Film Festival gave me the discovery of the year – a retrospective of the films of Japanese director Nomura Yoshitarō based on the writings of Kobayashi Mosahiro. I especially liked the 1958 Stakeout (Harikomi) with my favourite Takamine Hideko in a leading role.
The Festival also provided a welcome retrospective of British director Sally Potter.
The 28th Leeds International Film Festival provided the best UK retrospective of the year – five films by the Swedish director Ingmar Bergman in 35mm prints. Included were his masterpiece Persona (1966) and the equally fine Through a Glass Darkly / Såsom I en spegel, 1961.
The Festival also provided the most challenging screening of the year – an immaculate print from the Netherlands Film Museum of Max Ophuls’ 1936 The Trouble With Money. Unfortunately the print had no English subtitles: it says something for Ophuls skill as a director that I could follow most of the plot.
Il Cinema Ritrovato 28th edition offered a film that I have waited long to see in its full format. As part of The Golden 50s: India’s Endangered Classics the Festival screened, in a black and white 35mm CinemaScope print, Kaagaz Ke Phool / Paper Flowers, 1959. One of Guru Dutt’s memorable melodramas with very fine cinematography by V. K. Murthy and music by S. ED. Burman.
The Festival also screened the best digital restoration and screening I saw this year, a 4K version of John Ford’s classic My Darling Clementine, 1946. The ample Arlecchino cinema was packed for the occasion.
The best offering from the silent era was at [predictably] the 33rd Le Giornate del Cinema Muto – The Silent Comedies of Yakov Protazanov unfortunately listed as Russian Laughter rather than the correct Soviet Laughter. I especially enjoyed The Trial Concerning Three Million / Protsess o Trekh Millionakh, 1926.
The nadir of 2014 was February, which saw the release of The Wolf of Wall Street, US. I can understand it being the most plagiarised film of the year but found it unaccountable that it was in the Sight & Sound ‘top listings’. There have been recurring traces of misogyny in the films of Martin Scorsese and this seems to me to be the worse example.
Then it was joined by The Book Thief, US / UK, 2013. Markus Zusak’s novel is an exhilarating and formally audacious piece of writing. The film version reduced it to the worse sort of mainstream conventions.
Finally, notable centenaries. The Hyde Park Picture House passed one hundred years – November 1914. The team still manages a pretty varied programme of films and also we enjoy fairly frequent 35mm screenings.
And then this was the anniversary year of Charlie Chaplin, first appearing in February 1914. I saw a considerable number of Chaplin films during the year, the one I most enjoyed revisiting was Modern Times, 1936. The screening at the National Media Museum was enhanced by a clip from the delightful Cuban film For the First Time / Por primera vez, 1967.