Daily Archives: November 9, 2024

My Five Best List for Sight and Sound (2018)

Published in Sight and Sound, January/February 2019. Alas, this list was put together before I saw A Bread Factory, playing in Chicago at the Gene Siskel Film Center this coming weekend. I’ll be introducing the Saturday screening at 2 pm and interviewing Patrick Wang afterwards.  — J.R.

In alphabetical order:

Cold War (Pawel Pawlikowski)

COLDWAR

Did You Wonder Who Fired the Gun? (Travis Wilkerson)

Did-You-Wonder-Who-Fired-the-Gun

The Other Side of the Wind (Orson Welles)

The-Other-Side-of-the-Wind

Ray Meets Helen (Alan Rudolph)

raymeetshelen1

Roma (Alfonso Cuarón)

Roma

If ties are permitted, I would add The Image Book(best experimental film, Jean-Luc Godard) and First Reformed (best love story, Paul Schrader).

TheImageBook

 

first-reformed Read more

My 2018 List for Con Los Ojos Abiertos

Just posted on the website Con Los Ojos Abiertos (which literally means With the Eyes Open), Christmas 2018. (https://www.conlosojosabiertos.com/la-internacional-cinefila-2018-las-mejores-peliculas-del-ano/)

If I’d sent this in a bit later, I would have somehow managed to include A Bread Factory (Patrick Wang). — J.R. 

a-bread-factory-part-2-un-petit-coin-de-paradis_2

Best Films:

The Other Side of the Wind (Orson Welles)

other-side

The Image Book/Le Livre d’image (Jean-Luc Godard)

LE-LIVRE-DIMAGE__JEAN-LUC-GODARD__TRAILER_VO

Do You Wonder Who Fired the Gun? (Travis Wilkerson)

did-you-wonder-who-fired-the-gun-photo

Roma (Alfonso Cuarón)

roma_0

The eye was in the tomb and stared at Daney/L’oeil était dans la tombe et regardait Daney (Chloé Galibert-Laîné)

To varying degrees and in different ways, all 0f

of these films or videos are experimental,

which is also true of the two films found below.

Best debut feature: The Chaotic Life of

Nada Kadić (Marta Hernaiz Pidal, Mexico)

CHAOTIC_MARTAHERNAIZ_STILL_005-1280x640

Best commercial film from the U.S.: A Simple

Favor (Paul Feig)

a-simple-favor Read more

I Missed It at the Movies: Objections to “Raising KANE”

From the Spring 1972 issue of Film Comment; this is also reprinted, with a lot of contextual material, in my 2007 collection Discovering Orson Welles (where I’ve also retained my original title — not used by Film Comment, who ran it as an untitled review). I’m still hugely embarrassed by the assertion early in this piece that “[Kael’s] basic contention, that the script of KANE is almost solely the work of Herman J. Mankiewicz, seems well-supported and convincing” — a howler if there ever was one. I’m not sure if this would qualify as a valid excuse, but this was the first lengthy essay about film that I ever published. My joint audio commentary with Jim Naremore on Criterion’s new KANE box set addresses some of Kael’s more dubious factual and critical assumptions.

Recently I‘ve been reading Brian Kellow’s biography of Pauline Kael, and I’m very pleased that he’s up front about the serious flaws of “Raising KANE,” factual and otherwise — but also disappointed that Kellow is unaware that “The Kane Mutiny” — signed by Peter Bogdanovich, and the best riposte to Kael’s essay ever published by anyone — was mainly written by Welles himself. (See This is Orson Welles and Discovering Orson Welles for more about this extraordinary act of impersonation.) Read more