A list of 2017 releases seen this year across the U.S., Sydney, Bangalore, and occasionally, VOD and mid-air.
If I had to pick a favourite, it’d be a tie between Call Me By Your Name and Toni Erdmann.
Initial tweet-reactions to the “5 star” films included. In alphabetical order, by star rating…
A Ghost Story
How Lowery makes you consider time and evokes sorrow is nothing short of genius. A profound gem, despite that misstep of a monologue.
All These Sleepless Nights
Misplaced, simple, reckless youth in all its glory, one beat/high to the next.
Call Me By Your Name
Hopelessly romantic on so many levels that it made me forget 2017. Love the way the music teases, love *that* monologue I’d heard lots about.
Columbus
Lu Richardson’s character and the writing of it is so brilliantly realised and resonant. How can this be your debut, Kogonada? Also loved the sound editing, and of course, the subject of Architecture doesn’t hurt.
Good Time
A bravura, alternate reality Coen Brothers-esque, moody adventure. The writing and Pattinson are top notch.
I Am Not Your Negro
Apathy and ignorance. This is the world. This is especially America. Baldwin’s truths eviscerate.
Icarus
An astonishing story. Makes you wonder if the truth is really worth it, given the consequences and broader powers at play.
Lucky
Surprise of the year? A remarkable performance that I can’t see anyone else giving. Lovely, affecting writing.
Nocturama
From the near-wordless, precision first 40 min, to that merciless ending, and all the moments of individual madness in between, this is going to stay with me a while.
The Florida Project
Ends as it begins; a perspective from Sean Baker that’s childhood at its best.
The Killing of a Sacred Deer
Lanthimos has perfected cold and off-kilter. The way he twists and twists after that is trauma for the mind.
The Lost City of Z
Epic to behold, in the old-school cinema sense of the word. Surely a labour of careful love. The cinematography is right now my favourite of the year. Hunnam and Pattinson make a damn good adventurous couple.
The Square
Ostlund delightfully and scathingly provokes, especially exploring where we draw the line on inaction as society. Art and masculinity are on the chopping board too. A film for this year.
Thelma
Haunting and evocative, right from that genius of an opening! All the little details come full circle and pay off rewardingly.
Toni Erdmann
An astounding balancing-act in tone. Fearless performances make it the relationship of the year.
War for the Planet of the Apes
We don’t deserve Matt Reeves’ quality & care in predominantly mediocre tentpole times. The score being the clearest example of how it doesn’t settle.
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