I bought the January issue of Sight and Sound to read the critic’s film highlights of 2012. The titles that come up frequently are Amour, Beasts of the Southern Wild, The Master, Tabu, and Holy Motors. An eclectic mix but I have yet to see them. My blog represents my taste and it is also eclectic and rather idiosyncratic. Foremost is the fact that I love far eastern films regardless of genre – hell, even musicals these days. Indeed, no matter how much I may tease people who love slow-cinema, I still watch it. My Top Ten Films of the year is a diverse list with titles like the existential (or was I reading too much into it?) Goth – Love of Death at ten, the moving reflection on death that is Vital at nine, great genre stalwarts Skyfall and Prometheus both at six and the gloriously OTT musical Ai to Makoto at two. Japan features strongly but there is also a large British contingent which is best represented with my joint number one.
On a related note, I was at a party for the Japanese class when a friend mentioned how I had too many joint places in my Top Ten Films list. Half-jokingly… I think. Anyway the fact is that this year, more than any other previous year, I have fallen in love with so many films and wrote passionately about them. They moved me to feel something and I enjoyed researching and writing the reviews for them.
Next year I will be tougher.
Two films which could not be more different from one another. Do I really want my number one films of 2012 to be about a sex addict with intimacy issues and a film about children that morph into wolves? What was so good about them?
What was so good was the fact that they both shone a light on aspects of humanity in such original ways.
Shame was the first film I went to see at a cinema this year. My expectations for it were quite non-existent since I knew little about the film other than it starred Michael Fassbender and Carey Mulligan and it was directed by Steve McQueen. I was familiar with the actors, having watched films like Jane Eyre and An Education in previous years but Steve McQueen was an unknown quantity. I knew that he and Fassbender had wowed the critics with their previous film Hunger but I ducked the opportunity to see it in a cinema because the subject matter did not interest me. I came to question my decision when I read all of the critical praise for Hunger. I decided to watch Shame to see if the hype was justified.