This week on IFC News:
Our much agonized-over top ten lists have been posted! Matt Singer introduces things and presents his list here; from there you can find the lists of Michael Atkinson, special guest Thom Bennett (from the IFC programming department); Aaron Hillis; Michelle Orange; R. Emmet Sweeney â€” also our own, which we’ll be reposting here with more comments later today or tomorrow. We also discuss our lists in the week’s podcast. Not a lot of agreement â€” as Matt writes:
Consensus like last year’s can be fun (mostly because it gives critics the false sense that they are objectively "right" about something), but it’s limiting as well. And when it comes to movies, arguing about them is always more fun than agreeing about them.
It’s deep, I don’t know myself. I love the smell of Berlin, it’s one of the major reasons why I moved there. I think it’s difficult about cities in general. You could also blindfold me, send me to New York, and I would know immediately I was in New York. It’s a combination of the food, the way cars are built here, and I think the subway has a very particular smell.
"The Conformist" is both a bludgeoning indictment of fascistic follow-the-leader and an orgasm of coolness, ravishing compositions, camera gymnastics (the frame virtually squirms around, like Marcello) and atmospheric resonance. The actors vogue, Vittorio Storaro‘s magical lens transforms every street and room into a catalytic baroque-ness, the clothes grip the characters like iconic mantles, the leaves blow with the roving camera across Marcello’s mother’s seedy estate. What a movie for a young man (only 29 at the time) to have made.
Directed by Alfonso CuarÃ³n and shot by cinematographer Emmanuel Lubezki, "Children of Men" is at once one of the most technically complex and emotionally charged movies in recent memory. Rather than subverting character or story to the whims of his effects team or resigning himself to a talky, unimaginative intellectual exercise, CuarÃ³n and his four co-screenwriters fashion a complete world, both of action and of thought. Their chillingly relevant future world contains the one crucial ingredient necessary to all effective dystopia: an air of inevitability which suggests that we’re already on the road to the damnation depicted but we don’t yet know it.