Les films de 2011 que j'ai vus

balthazar claes a écrit:Par ordre de sortie :

thor
planète des singes les origines
L'appolonide
Ryomaden (série)


note globale : faible

Annual Critics Survey 2011 »

Best Film »
1) A Brighter Summer Day
2) Poetry
3) Le Quattro Volte
4) Mysteries of Lisbon
5) A Dangerous Method
6) Terri
7) Road to Nowhere
8. The Skin I Live In
9) Putty Hill
10) Hugo

Best Documentary »
1) Nostalgia for the Light

Best First Feature »
1) My Perestroika

Best Undistributed Film »
1) The Hunter
2) Unforgivable (Impardonnables)
3) The Forgotten Space
4) Disorder
5) Father
6) The River Used to Be a Man
7) Sodankyla Forever Parts 1-4
8. Splinters
9) Silver Tongues
10) The Deep Blue Sea

Comment
I've been flooded with end-of-the-year screeners, but sadly some of the films I want to see most weren't among them (most notably, Jafar Panahi's This is Not a Film).

Annual Critics Survey 2011 »
Best Film »
1) A Separation
2) Shame
3) The Tree of Life
4) Hugo
5) Take Shelter
6) Kinyarwanda
7) Drive
8. Midnight in Paris
9) Le Havre
10) Terri

Annual Critics Survey 2011 »

Best Film »

1) A Dangerous Method
2) Melancholia
3) Mysteries of Lisbon
4) Aurora
5) To Die Like a Man
6) Uncle Boonmee Who Can Recall His Past Lives
7) Hugo
8. J. Edgar
9) United Red Army
10) Certified Copy

Best Documentary »
1) The Autobiography of Nicolae Ceausescu

Best First Feature »
1) Martha Marcy May Marlene

Best Undistributed Film »
1) Policeman
2) Las Acacias
3) Artificial Paradises

1. Habemus Papam
2. L'Etrange Affaire Angelica
The Tree Of Life
4. Hors Satan
Essential Killing
6. Melancholia
Un été brûlant
8. Super 8
L'Apollonide
La Dernière Piste (Meek's cutoff)

Michel Ciment
Positif, France

Melancholia
Lars von Trier, Denmark/Sweden/France/Germany/Italy

Once Upon a Time in Anatolia (Bir Zamanlar Anadolu’da)
Nuri Bilge Ceylan, Turkey/Bosnia-Herzegovina

Shame
Steve McQueen, UK

The Strange Case of Angelica (O Estranho Caso de Angélica)
Manoel de Oliveira, Portugal/Spain/France/Brazil

The Tree of Life
Terrence Malick, USA


Highlights
At the 2011 Cannes film festival, most of the films were screened in digital. We have to admit we enter a new area. We'll miss the grain of 35mm and nothing will be better than the first print of a film coming out of the lab and being shown in the grand auditorium Lumière but the movie goers will certainly have a better average experience when looking at an old or new film in their neighbourhood theatre.

I was also struck by the high quality of a handful of British films, Shame, Wuthering Heights, The Deep Blue Sea and We Need to Talk About Kevin. And I don't make this statement because I'm writing in Sight & Sound!

My third lasting impression was discussing with Jeff Nichols, the best independent American filmmaker to have appeared in years with two great films: Shotgun Stories and Take Shelter. I would like also to recommend L'exercice de l'état which seems to have been overlooked by the foreign press in Cannes. Pierre Schöller has made one the great french political films I have seen for a long time. Finally, Alain Bonfand's book Le cinéma d'Akira Kurosawa seems to me one of the most stimulating

Nicole Brenez
Critic, France

Abel Ferrara in Lucca, Gérard Courant, France/Italy
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.

The Autobiography of Nicolae Ceaucescu (Autobiografia lui Nicolae Ceausescu)
Andrei Ujica, Romania
How propaganda reverses itself into a devastating critique of any political power.

Far from Afghanistan, John Gianvito, Jon Jost, Minda Martin, Travis Wilkerson, Soon-mi Yoo, Rob Todd, Pacho Velez, USA, in progress
To commemorate the tenth year of the invasion in Afghanistan, a collaborative work analysing the logics and consequences of American imperialism.

Impressions, Jacques Perconte, France
Digital fresco about Normandy landscapes that renews the forms of editing.

Video Letter, Masao Adachi, Japan
Adachi, still a political prisoner in Japan in the sense that he can not travel abroad, sends a video-letter to his audience to explain his ideals, fights and questions.

Highlights:
Book: Radical Light: Alternative Film & Video in the San Francisco Bay Aera, 1945-2000 (Steve Anker, Kathy Geritz, Steve Seid, eds), a scientifically and visually magnificent survey.

Film/Exhibition: ‘Correspondence(s)/The Completed Letters’, curated by Jordi Ballo for the CCCB (Barcelona, Spain): five video-letters exchanges between filmmakers from different parts of the world, including José Luis Guerín and Jonas Mekas, Albert Serra and Lisandro Alonso, Isaki Lacuesta and Noami Kawase, Jaime Rosales and Wang Bing, Fernando Eimbcke and So Yong Kim.

Retrospective: ‘Minding the Gap: The Films of Dick Fontaine’, curated by Michael Chaiken at the Anthology Film Archives, New York. A great British stylist and fighter with a knack for working exactly where the wind of history begins to blow.

Screening: On September 28th, the quality of the screening of John Gianvito’s My Heart Swims in Blood through Vimeo, during the World Cinema Now! Conference in Melbourne, was so excellent we could count the feathers on the Hegelian owl.

Website: livestream.com/globalrevolution. Livestream of the occupation movements all over the world, covered by independent journalists and filmmakers.

Jonathan Rosenbaum
Critic, USA

Now that I prefer home viewing to shopping malls, I miss a lot of current fare. But here are five special items:

Cave of Forgotten Dreams, Werner Herzog, Canada/USA/France/UK/Germany
Herzog’s uncanny self-promotion skills often exceed his filmmaking talent, but this finally broaches a topic that he can’t overpower, even when he tries, meanwhile fully justifying the use of 3D.

Disorder, Huang Weikai, China
This 58-minute film is a memorable Guangzhou city symphony culled from street footage by many hands and a major example of recent Chinese independent cinema.

Impardonnables (Unforgivable), André Téchiné, France
Conceivably Téchiné’s best film in 15 years, since Les voleurs, once again about characters irreparably screwed up, all of them loved equally by their attentive director-cowriter; I was especially moved by Adriana Asti’s troubled detective.

Mysteries of Lisbon (Mistérios de Lisboa), Raúl Ruiz, Portugal
Ruiz virtually ended his illustrious career with one of his major works.

The Turin Horse (A Torinói ló), Béla Tarr, Hungary/France/Germany/Switzerland/US
This doesn’t measure up to Tarr’s Sátántangó (what does?) but held my gripped attention over three successive viewings while aptly and cogently refusing to explain why.

Ce sont des films qui sont complétement vers le spectateur, où il n'y a à la fois rien sur l'écran, mais rien derrière la caméra si vous voulez ; ça ne veut pas dire que le spectateur n'est rien mais ce sont des films faits, et c'est le spectateur qui les fait, ils sont faits de telle manière que le spectateur est là pour les faire. Il peut les faire dans un sens ou dans un autre et en fait, vu la vie qu'il vit, et comment il travaille, et comment il aime, il est content de les voir comme ça, comme certains présidents. Il y a d'autres films au contraire, comme certains films que j'ai faits, qui n'arrivent pas à établir le rapport avec le spectateur, qui sont uniquement faits derrière la caméra et puis il y a ceux qu'on peut appeler des films plus intéressants..."

Jonathan Rosenbaum
Critic, USA

Disorder, Huang Weikai, China
This 58-minute film is a memorable Guangzhou city symphony culled from street footage by many hands and a major example of recent Chinese independent cinema.

Adeline a écrit:The Prize (non distribué)

Jerzy a écrit: Transformers 1 (Bay)

Eyquem a écrit:

Jerzy a écrit: Transformers 1 (Bay)

Tu mens. C'est pas possible que t'aies aimé ça.

Tu mens. C'est pas possible que t'aies aimé ça.

Invité a écrit: Ce qui rappelle aussi que la photographie, c'est encore et toujours une question de graphisme, une production d'icones, de cadres, de schèmes synthétiques comme dirait Kant.