6. “Personal Shopper”
There is a sequence in Olivier Assayas’ thriller that is simply remarkable. Our heroine Maureen (Kristen Stewart) is living and Paris, but needs to travel to London for the day to pick up some wardrobe for her Euro-celebrity boss. Along the way an unknown person messages her and seems to know a disturbing amount about her. By the time Maureen is on the return leg of her journey the entire conversation has pushed her to an emotional breaking point. The only dialogue is between Mauren and the staff she meets in London, but through graphics and Stewart’s compelling non-verbal performance you are simply on the edge of your seat. And it’s just one example of how Assayas’ supernatural hybrid drama sucks you in even when, in theory, it shouldn’t.
5. “Elle”
In a year of remarkable performances by female actors, Isabelle Huppert’s work in Paul Verhoeven’s thriller is beyond noteworthy. A film that begins with its main character getting raped and then deciding not to report it could easily go off the rails in minutes. Instead, Huppert gives the film more nuance than Verhoeven probably ever dreamed of and lets you see the scenario unfold through her confident and compassionate eyes.
4. “Hell or High Water”
When Taylor Sheridan first began working on the script for ‘Hell’ two years ago he had no idea he’d be making a film so relevant to the political conversation of 2016. Along with director David Mackenzie, the two have collaborated on a snapshot of a struggling segment of America that helped fuel Trump’s rise and masked it in the genre of a contemporary bank robbing Western. ‘Hell’ not only has important points to make about class disparity but on socially acceptable racism and contemporary ethics. It doesn’t hurt that the filmmakers are assisted by a superb ensemble highlighted the legendary Jeff Bridges and the best performance of Chris Pine’s career.
3. “Jackie”
Director Pablo Larrain has taken Noel Oppenheim’s spotlight on a pivotal moment in American history and, simply, turned it into an expressionistic work of art. The life of Jackie Kennedy was filled with tragedy, but her decisions following the assassination of her husband, President John F. Kennedy, have never been given a portrait such as this. Larrain and cinematographer Stéphane Fontaine masterfully use super 16 mm film to give the film an atmosphere that captures a feeling of despair in every frame. And, at the center, is Natalie Portman’s performance that is simply shattering. With the camera breaking the walls of traditional cinematic intimacy Portman delivers a ferocious and heartbreaking turn that is simply one for the ages.
2. “Toni Erdmann”
There is a moment in Maren Ade’s superb, bizarre comedy-drama that simply shouldn’t work. A thirtysomething corporate consultant from Germany (Sandra Hüller) is trying to put up with her more freewheeling father (Peter Simonischek), who has decided to extend his trip to visit her in Bucharest over his concerns for her overall well-being. Much to her initial amusement (and surprise), he throws on a wig and some fake teeth and takes on the identity of the title character, a businessman and coach who her colleagues and friends strangely take seriously. After a number of tense encounters, she’s pretty much lost her patience with him when he brings her to a local diplomat’s modest home, crashing their Easter-egg painting party. In this decidedly awkward situation he tries to convince her to sing an iconic song from the ’80s, a song she likely loved as a young girl. In any other film, Hüller’s character Ines, a stiff, ambitious corporate exec, would refuse and the confrontation would lead to a dramatic turn of events. Instead, she musters the courage up to sing the song and knocks it out of the park. It’s a symbolic moment for her, a freeing moment, and it’s resulted in spontaneous applause in every screening any of us have attended. When a movie can do that to different audiences around the world, it’s truly worthy of your attention
1. “Moonlight”
I’m not sure why, but the gay aspect of Barry Jenkins’ masterpiece seems to have gotten slightly lost over the past few months. It’s not written about. It’s not acknowledged when the film is referred to or discussed. Maybe in the small world of cinematic discourse that aspect seems secondary. Maybe we all think we’re beyond needing to recognize that. Frankly, it shouldn’t. “Moonlight” is a true wonder, a piece of art that opens a window to a world that is not depicted on screen enough. But, it’s primarily a tale about the everyday circumstances that compel a gay, African-American man hides his true feelings for so long. From my Telluride review: “Like ‘Brokeback Mountain’ a decade ago, ‘Moonlight’ is a piece of art that will transform lives long after it leaves theaters. Those who will be changed by the picture may not see it on the big screen. They may even have to see it in secret. But when they do. When they watch Chiron have that first kiss, when he can be himself for just an instance in a world that oppresses him? It will be everything.” It has been, it will be and let’s not forget it either.
For more from Gregory Ellwood follow him on twitter @TheGregoryE