Get Out (2017): a cutting social thriller uncovering the horror of liberal racism

Half a century ago, still in the middle of America’s Civil Right’s movement and in the same year interracial marriage became legal in a historic court case Loving v. Virginia (recently brought to screen by Jeff Nichols in his last feature film Loving), Sidney Poitier gets introduced to his girlfriend’s white, liberal parents in Stanley Kramer’s Guess Who’s Coming to Dinner. Not expecting their daughter’s boyfriend would be black, they try to keep their cool and be supportive, but are clearly uncomfortable by the fact that a black man is about to become a part of their family. This makes the film escalate into an inter-generational battle of him trying to justify his cultivation and education that would, despite his race, make him worthy of inclusion into their white nuclear family. And while the plot of Get Out, Jordan Peele’s brilliant debut feature, might at first remind us of Kramer’s classic, the times has changed, and so did the ways in which racism still pervades in our society, casually emerging in everyday encounters even when least expected. Which is why Get Out ends up being a very different movie, albeit no less relevant than Guess Who’s Coming To Dinner proved to be back in 1967.

More The Stepford’s Wives meeting Rosemary’s Baby than Poitier’s racial melodrama, Get Out explores and in many ways subverts the horror genre, all while delivering a scathing social commentary on contemporary racism. It flirts with a social satire, but nonetheless remains serious and horrifying in its accurate portrayal and dissection of race relations and subtle, hidden, almost invisible racism of white liberals who, by admiring black culture and treating every black person as a fascinating, exotic Other (while at the same time pretending they don’t even notice their skin colour, because “they don’t see race”), may be equally harmful as far-right alt-right groups and white supremacists whose racism is always straightforward and therefore easier to detect, condemn and argue against. But where Peele’s subversion of a horror/slasher genre really excels is in how it places a final guy in a position that is usually reserved for a woman – an innocent, virginal final girl. Few men have been in this position, and even fewer have been minorities such as Get Out‘s protagonist, Chris (Daniel Kaluuya) – and it is this switch of gender and race that makes this movie that much more outstanding.

There is quite a few correlations between Peele’s debut and The Stepford Wives, but each film deals with a different type of social subjugation: if one dealt with a critique of patriarchal society and sexism in the highlight of second-wave feminism, this one delves deep into the core of America’s racism and systematic oppression of racial minorities. And even though it focuses on contemporary racial problems that people, disillusioned by Obama’s presidency and what it meant for racial relations in the country, tried to ignore until things completely escalated in Ferguson, Get Out isn’t afraid to look in the past and leave small hints linking modern-day reality to a time when slavery was still a reality to most African-Americans. Post-racism – a word that was widely thrown around after Obama’s first win, which was also when Peele started to work on the script – is not really a thing, and it never was. But it may have became harder to detect among certain groups of people – namely among white liberals, whose racism became more subtle and sophisticated, undergoing a makeover of political correctness that makes it ever more impossible to talk about race and racial issues in a way these issues should be talked about.

When Chris agrees to go to his girlfriend’s parents house over the weekend, we instantly know that nothing good will come of this. By what Rose (Allison Williams, no less white and privileged than in the role of Marnie in Lena Dunham’s series Girls) tells him, his parents are not racist – and indeed they seem extremely casual and cool by the fact that their daughter is dating someone who’s black. And yet casually (and in most instances, unknowingly) racist comments start to creep into the conversations after some time – especially when Chris finds himself in a company of Rose’s brother and her family’s friends. Some seem to be fascinated by his “genetic makeup”, his potential physical strength, muscles and supposed endowment, others feel like they have to mention at least one famous black person while carrying a conversation (“I know Tiger Woods!”), stating that they would vote for Obama one more time if they could, or simply state that “black is in fashion these days”. Even though each of them carefully avoids acknowledging Chris’s race, they are throwing out comments they would never even think of saying to a white person. Why? They simply see him as Rose’s black boyfriend, a generic black man, instead of as a person – Chris, a photographer that he is.

But things get even weirder when Chris realises that his girlfriend’s supposed liberal white parents who voted for Obama and pride themselves in being open-minded and enjoy to experience new and different cultures through their travels, have a black gardener and a maid; two characters that, at first, seem as the archetypes of old Hollywood’s representation of African-Americans. Walter, physically strong but somewhat creepy and potentially violent is a perfect representation of what was once known as “a savage”, and Georgina comes across as a classic mammy who seems to enjoy nothing more but to serve her white employers and swipe dust off drawers. But Peele’s mind-blowing twist shows that nothing is as it seems – not only is Rose’s family not what they present themselves to be, but Walter and Georgina also turn out being two entirely different people. As does Rose.

SPOILERS AHEAD! 

The entire film is permeated with symbolism and smartly coined phrases that only once you see the film all the way through – or revisit it for the second time – reveal their double meaning. It starts with the intro, where a seemingly unconnected story of a black guy’s abduction unfolds. A white car that creepily slows down and hunts down the man who got lost in the suburbs is reversing the symbolism of the colour white that usually represents something pure and innocent – in contrast to the colour black that tends to be associated with death and evil. Subtle symbolism such as this re-appropriation of the meaning of a certain colour (that in reality all too often gets extended to the understanding of a certain race; white as pure, black as deviant and evil, as portrayed from D. W. Griffith’s 1915 The Birth of a Nation forward) is to be found throughout the entire film – from Rose’s mother wearing white when she first hypnotises Chris, sending him into the Sunken Place, to Rose wearing white in the final, most brutal act where she goes full on psycho and her drinking white milk in a real A Clockwork Orange fashion while her boyfriend is supposedly getting lobotomised in the basement. On the other hand we have the colour black which is continuously re-appearing in relation to something dangerous and bad – as Rose’s dad quite early on explains, there’s “black mold” in the basement which makes it off limits, not to mention there’s people arriving in black attire and limousines that have more resemblance to the funeral than to an annual family meeting (that is, as it is later revealed, a modern-day slave auction disguised as a game of bingo).

But the symbolism hardly stops at colours that Peele smartly incorporates in certain scenes. On a way to Rose’s family estate, far out from the city, the couple hits a deer – and while the accident has a strong connection to Chris’s personal hit and run story, to the way his mother died, the dying deer is first and foremost meant to represent him. Not only is Rose the one who is behind the wheel, causing the accident (as she is also behind the wheel of a racist scheme her family is planning) – she is also the one that initially hunted him down like game and is just waiting to hang his picture up on a bedroom wall among her other trophies, in the same way taxidermied deer is exhibited on the wall where Chris is later held captive. That the deer is supposed to represent Chris who is walking into a trap no one could have ever predicted becomes even more apparent after they tell her parents about the accident. Her father’s response about hating deer and how eradicating them would be a service to their community has a double meaning if we pay close attention to the words he uses. When he casually slips the word “buck” into his argument about deer overpopulating the area, it is hard to say if he is really still talking about animals, since the word “black buck” was once widely used as a racial slur to describe black men who refused to bend down to the authority of white men.

Casually incorporated racial slurs that are mostly long forgotten, games of bingo that end up being slave auctions, a throwback to old Hollywood’s stereotypical portrayal of African-Americans and a helmet resembling a Ku Klux Klan’s hat that Jeremy wears when abducting black victims in his ironically white car (an image that gives a whole new meaning to a “knight in shining armour”) is just a few of Peele’s reminders to tragic history of African-Americans. But although we overcame the portrayal of black women as devoted housemaids and men as savages, representation of black people still hasn’t broke free of stereotypes such as gang members, funny sidekick best friends and sassy girlfriends. White supremacists are also alive and well, maybe more than ever now that Trump’s presidency gave a big thumbs up to openly expressing one’s racism. But where I find Peele’s horror-satire most successful is in how it subtly incorporates the question of slavery into the film. Slave auction may seem horrific and somewhat archaic from today’s point of view, but modern-day slavery is a reality that we need to stop ignoring. An auction selling Chris’s body to the highest bidder represents just about any young black man who finds himself in front of a white jury and judges who have the power of holding his whole life in their hands. Chris’s captivity therefore directly correlates with a devastating number of black people currently incarcerated (and used as a free working force; which is nothing else but slavery transferred from plantations to private prisons), while disappearance of his conscience into the Sunken Place represents black people’s feeling of paralysis and helplessness for living in a system that was set out against them from the very beginning. And it is of course no coincidence that the only thing that makes them break free from the Sunken Place is a use of a mobile phone – as phones have been an important part of bringing the reality of police brutality and unjustifiable murders of black people to the public and made discussions about systemic racism, racial inequality and racial profiling possible.

Fifty Shades Darker (2017): a love letter to capitalism and patriarchy

Fifty Shades Darker is without a doubt one of the worst films I have ever seen. But if I struggled to understand how such a film could ever be released and embraced by the audiences two years ago when its predecessor, Fifty Shades of Grey, hit the theatres, this second edition to the series hardly left me in any such disbelief. I left the cinema utterly disgusted and shocked about just how bad a film can be, but surprised that this is what brings people to the cinema, that this is what women are willing to spend their money on? No, not anymore. We are living in a Trump-era after all, and it is hard not to see some parallels between Grey’s disturbing treatment of women and Trump’s own sexual assault accusations and disgusting remarks about him being entitled to grabbing women’s genitalia whenever he feels like it. If we are living in an era where the worst kind of misogyny can get you into the White House, should we still be surprised that this kind of film not only gets released without worldwide protests against it, but even makes hundreds of millions of dollars of profit? I guess not.

Grey’s luxurious penthouse could easily be mistaken for the top floor of Trump’s Tower (minus all the gold, although there is a Red Room to make up for that; or should I say REDRUM? Because let’s be honest, it’s only a matter of time when Grey goes full-on Jack Nicholson in The Shining), and his naive, if not just plain stupid, young girl undoubtedly bears some resemblance to Trump’s damsel in distress as she, although not from a foreign country, continuously acts like she just fell from another planet. Having been reading 19th century novels by Jane Austen and  Brontë sisters for most of her adolescent and adult life, she seems to have overlooked the fact that two hundred years and three waves of feminism have passed between now and then, leaving Western civilization thoroughly changed in the process. Women not only got the right to vote and semi-equal opportunities in the professional world, but we also witnessed to a sexual revolution that gave us the right to form and claim our own sexual identity. But this all seems foreign to Anastasia who, at 27, is still a virgin. Which makes her a perfect victim for our modern-day Mr. Rochester who manages to win this clueless and inexperienced girl over with his pockets full of money – as well as with (or maybe despite?) his disturbing and creepy possessiveness that gets alarmingly romanticized in what should be a fictional (#FreeMelania inspired) caution tale about domestic abuse.

At the end of the last film we parted our ways with this troubled couple just as Anastasia, disturbed by discovery of Grey’s appetite for “kinky fuckery” (if anyone wondered whether dialogues get any better this time around, I hope this term alone answers your question: fuck no), dumped his rich stalkery ass and went to live her life on her own terms. But just as she starts working at her new job, Dorian Grey bursts back into her life – and he doesn’t need to do much more but to sweet-talk her over one really expensive dinner before she ends up right back in his arms. This time without the contract. But wait, just an hour and a couple of boring vanilla sex scenes later (seriously, for an erotic movie this film did not even manage to get this part right) he romantically proposes to her just as he wakes from a terrible nightmare (because this is how every woman wants to be proposed: during a nightmare that is quite possible a metaphor for a marriage that is yet to come). She says yes, of course – because how could she not if this is exactly what it takes for her to once and for all waltz into the world of the 1%? The contract is therefore hardly  ever mentioned throughout the film – but then again, isn’t a marriage licence (at least for a person such as Grey) exactly the same piece of paper? Won’t this certificate give him the ultimate control and possession of her? Won’t she simply become his property, obliged to do exactly as he pleases? This is, after all, what she is already doing – only to always putting up a bit of a fight before doing as she is told, like this will fool any of us about her supposed strong will and independence. He already has a file on her, has a hold of her bank account, is tracking her phone and even forbids her to go on an important business trip – which she dutifully obliges. So, what’s next? I’d say her getting locked in his Trump Tower (sorry, my mistake, I obviously meant Grey’s penthouse) where sexual assault will become just one of many ways for Grey to unleash his inner demons (but, as Trump would say, no sexual intercourse can be interpreted as rape inside of a marriage, so all is good, right?).

As I have already established in my previous review: this is a love story about capitalism (as well as patriarchy; the two go hand in hand after all), but this movie is quite less ashamed to admit that compared to the last one. A particularly laughable sex scene that follows their reconciliation is therefore not even trying to be erotic, as if the real turn-on for the audience is actually yet to come a few moments later: by Grey telling Anastasia that he makes 45.000$ every fifteen minutes. And because glamorizing the life of the 1% is all this film is actually about, the list of such ridiculous scenes just goes on: Anastasia getting to choose from custom design lingerie and costumes for the ball at the sight of which she looks more aroused than half of the time she and Christian are actually intimate; her learning about his place in Aspen, to which he smugly replies “I have a lot of places” (and off they go, to have sex, because what’s sexier than a guy you’re dating, even though possessing no personality whatsoever but a sadistic need to cause women pain, telling you that he has real estates all over the country?) and her learning how to drive his enormous sailing boat (one of the most ridiculous scenes in this film where I didn’t know if the whole movie crew was just absolutely fascinated by the fact that boats can drive on water or they just really wanted to sell this particular boat to us as the film seemed to have ended there for a second and jumped to a commercial).

There is absolutely nothing that is not to hate here – from awful dialogues and awkward and stiff performances (with the exception of Dakota Johnson who at times looks like she is actually making fun of her own role, which is really the only right way to approach her ridiculously pathetic character), to guest performance of Kim Basigner who probably got paid a nice sum of money to get a drink spilled in her face and then slapped just a moment later in the most fabulous Mexican telenovela fashion. But her presence mostly just reminded us of how much steamier erotic dramas could (and should) be, since her 80’s film Nine 1/2 Weeks, despite its obvious flaws, managed to do the genre justice that this trilogy can only dream of. Because to be honest, despite the misleading Darker in the title, there isn’t one erotic scene that I would not find laugh out funny – including the one in the big finale when Anastasia finally asks if they could make love in the Red Room. S&M, something that is supposed to be the biggest marketing niche of the franchise, is here once again reduced to using a satin blindfold and handcuffs (oh the kinkiness of it!) which eventually leads to sex in – wait for it – good old missionary position. Instead of normalizing the fact that some people indeed practice S&M and that there’s nothing wrong with that (as long as it happens in a safe environment and with consent of everyone involved), this film tries to normalize and romanticize stalking and possessiveness of a man; of him trying to dominate and control the woman’s life completely, in every sphere of her private and professional life, as if thousands of women aren’t endangered every second of the day by men who act just like that. As for the fetishes that should be at the center of this utterly awful story – the only fetish I managed to detect throughout the film was ultimately the one that both Grey and Anastasia share: money.

The Edge of Seventeen (2016): teenage angst movie of the decade

The Edge of Seventeen seemed to have appeared out of nowhere when it premièred at last year’s TIFF, but it wasn’t long before it won over both critics and regular audiences alike. Still, with years of disappointment under the belt when it came to teen movies, I remained sceptical. These past years were overflown with either problematic, body shaming teen comedies such as The Duff, Glee spin-offs (Pitch Perfect) or adolescent dramas filled with overly eloquent and grown up characters (Paper Towns) that were nowhere near to what real teenagers are supposed to sound like, let alone go through. It was clear – the golden days of John Hughes’s teen movies were over and while there were some films over the years that somehow did the genre justice, none of them ever managed to reach the greatness and timelessness of the ultimate teen classic, The Breakfast Club (1985). The genre seemed exhausted and uninspired, with one film after another falling into a trap of good girl vs. bad girl logic, vicious catfights and “who is dating who” premises. And then along came The Edge of Seventeen – a fascinating directorial debut of Kelly Fremon Craig who depicts teenage angst and overall agony of adolescence with such accuracy that it instantly catapulted me back to my dreadful high school experience – even though it’s been almost a decade since I left those horrible, painful and confusing years behind.

Nadine (portrayed by Hailee Steinfeld who excels in the role) is a tomboyish, unpopular and self-absorbed seventeen-year-old who doesn’t quite belong and is yet to find her place under the sun. She doesn’t get along with her peers, nor does she find any refuge at home where she stubbornly fights with her widowed mother whenever she’s not shamelessly hating on her perfect and popular brother. The only person who gets to see the insecure, imperfect but charming Nadine that hides under the carefully constructed façade of uncompromising sarcasm and biting humour with which she keeps everyone else at bay, is her best (and only) friend Krista. That is at least until Krista starts to date Nadine’s brother. Already feeling misunderstood by the entire generation of “mouth-breathers who get a seizure if you take their phone away” and her family, she now starts to isolate herself even more, using sharp sarcasm to protect herself from the world around and self-sabotagingly hurting everyone around  – only to end up getting hurt the most herself.

Where this film really hits the right note is that it avoids going into a direction of high-school hardships and injustices. Nadine’s classmates are not treating her badly and she is never a victim of any kind of social exclusion. It is she herself that isolates her by rejecting the company of everyone around, looking down on her peers and on all they are supposed to represent. She feels like an old soul, wiser and maturer than anyone else around, but it is all just an act and it is sometimes hard to say if even she herself believes in her supposed superiority. She is simply arrogant (as most teenagers are) and deeply insecure, battling her own demons every step of the way. There hasn’t been quite enough films that would effectively explore the idea of how the biggest enemy of an adolescent girl is usually no one else but herself – but The Edge of Seventeen does just that. No matter what is her external situation, whether she runs with the cool crowd or is completely unknown to people at her school, being a teenage girl is exhausting and horrifying, which makes it quite easy for us to sometimes get overwhelmed by our mere existence. Self-doubt and self-questioning are with us every second of the day, no matter how we pretend to look like we have it all figured out, and while this may be what every youngster goes through, there is also constant observation, evaluation and judgement of others that is mostly reserved for girls – and that we at some point start to project onto ourselves. Or as John Berger smartly put it: “A woman is always accompanied, even when quite alone, by her own image of herself. From earliest childhood she is taught and persuaded to survey herself continually.” And indeed this is exactly what Nadine goes through and what causes her so much pain, even though she uses her brother dating her best friend as a catalyst for her angsty outbursts:

You know, ever since we were little, I would get this feeling like… Like I’m floating outside of my body, looking down at myself… And I hate what I see… How I’m acting, the way I sound. And I don’t know how to change it. And I’m so scared… That the feeling is never gonna go away.

What makes this character so authentic and relatable is her constant distress and inherent loneliness. Most of us went through a time when we felt completely and utterly alone, when we believed that nobody could possibly understand what we are feeling, what we are going through. And no party, no amount of alcohol, no sleepover with our best friend could make us feel better and fill the utter emptiness and despair that was slowly taking control of our body. Indeed, Nadine is sinking into a depression (just another thing that hit close to home for me, having been battling depression for a better part of high school myself), but the film smartly avoids lingering on her sad, distressed face or focusing on melancholy afternoons of her sinking into self-hating and damaging thoughts. The direction instead remains vibrant throughout the entire film, bringing to light just how invisible depression is to the world and people around us and how hard it sometimes is for us to get to terms with it; admitting to ourselves that it is really our negative mindset and outlook on life that is the cause of our problems and not our sibling dating the “wrong” person.

But even though there is a lot of depth and sadness running through the film, The Edge of Seventeen ultimately comes across as a thoroughly enjoyable and funny cinematic experience. This is mostly due to fantastic comedic chemistry between Nadine and her grumpy history teacher (Woody Harrelson) who seems to be the only one capable of decent comebacks to her sarcastic attacks and who ultimately becomes the only person she trusts and whom she seeks out when in need.

Although it can’t quite compare to the provocative brilliance of last year’s teen indie, The Diary of a Teenage Girl, The Edge of Seventeen, despite being a mainstream film, ends up being the best teenage angst movie that the past decade had to offer. And why it will probably appeal to generations to come with its timeless wisdom and relatability, is probably most evident in an emotional and cathartic ending when during final confrontation between Nadine and her brother, she finally realizes that she is far from being the only person whose life is filled with problems and who sometimes doesn’t know how to cope with everything that life throws at her. It is a definable moment – one that everyone of us had to go through – when she has to let go of her egotism, realizing that she is just one of many people in the world who feels trapped, burdened and inadequate. And indeed, this feeling may never go away, but as Nadine’s mother would say: “Everyone’s just as miserable and empty, they’re just better at pretending.”

The Basics:
Directed by: Kelly Fremon Craig
Written by: Kelly Fremon Craig
Starring: Hailee Steinfeld, Haley Lu Richardson, Blake Jenner, Woody Harrelson
Running Time: 104 minutes
Year: 2016
Rating: 8

Valentine’s Day: fifty shades greyer, darker and freer

With Valentine’s Day almost around the corner and with Fifty Shades Darker about to hit the theatres, I decided to make an alternative list of films for all of us who don’t celebrate this annual “holiday” that is, let’s face it, the embodiment of everything that is wrong with contemporary consumerist society.

Before you start jumping to conclusions – no, I don’t have anything against a holiday that celebrates love. But I do have everything against a holiday that makes corporations earn billions by selling meaningless greeting cards, chocolates and flowers, that makes disastrous films such as Fifty Shades of Grey break records and that makes all single people feel like they are somehow failing at life.

If you’re here for films such as Nicolas Sparks’s clichéd romantic dramas, young adult love stories such as The Spectacular Now or Paper Towns, British tear-jerkers such as Me Before Youultimate crying out loud classics such as Titanic or feminist (but not really) films about “female empowerment” such as Trainwreck, this list probably won’t be for you. But if you’re up for something different, real, at times depressing and edgy… then there’s no doubt that you’ll find something perfect for February 14th below.

And for all of you who would like to explore cinematic world of unusual, messed up and/or not meant to be romantic relationships even further, there’s an extended Letterboxd list that I made just for the occasion.

The classics

  1. Brief Encounter (David Lean, 1945)
  2. Amour (Michael Haneke, 2012)
  3. City Lights (Charles Chaplin, 1931)
  4. Vertigo (Alfred Hitchcock, 1958)
  5. Scenes from a Marriage (Ingmar Bergman, 1973)
  6. Casablanca (Michael Curtiz, 1942)
  7. L’eclisse (Michelangelo Antonioni)
  8. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
  9. Wings of Desire (Wim Wenders, 1987)
  10. Beauty and the Beast (Jean Cocteau, 1946)
  11. Last Year at Marienbad (Alain Resnais, 1961)
  12. The Shop Around the Corner (Ernst Lubitsch, 1940)
  13. Love in the Afternoon (Eric Rohmer, 1972)
  14. Chungking Express (Wong Kar-Wai, 1994)
  15. Before Sunrise/Sunset/Midnight (Richard Linklater, 1995/04/13)
  16. Open Hearts (Susanne Bier, 2002)
  17. Contempt (Jean-Luc Godard, 1963)
  18. Loves of a Blonde (Miloš Forman, 1965)
  19. Manhattan (Woody Allen, 1979)
  20. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
  21. A Matter of Life and Death (Michael Powell & Emeric Pressburger, 1946)
  22. It Happened One Night (Frank Capra, 1934)
  23. The Graduate (Mike Nichols, 1967)
  24. Design for Living (Ernst Lubitsch, 1933)
  25. The Philadelphia Story (George Cukor, 1940)

Let’s get weird

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  1. Belle de jour (Luis Buñuel, 1967)
  2. That Obscure Object of Desire (Luis Buñuel, 1977)
  3. Blue Velvet (David Lynch, 1986)
  4. Teorema (Pier Paolo Pasolini, 1968)
  5. Woman in the Dunes (Hiroshi Teshigahara, 1964)
  6. Virgin Stripped Bare by Her Bachelors (Sang-soo Hong, 2000)
  7. The Cook, the Thief, His Wife & Her Lover (Peter Greenaway, 1989)
  8. Eyes Wide Shut (Stanley Kubrick, 1999)
  9. The Dreamers (Bernardo Bertolucci, 2003)
  10. Last Tango in Paris (Bernardo Bertolucci, 1972)
  11. Wild at Heart (David Lynch, 1990)
  12. Maškarada (Boštjan Hladnik, 1971)

Only for the bravest

  1. The Piano Teacher (Michael Haneke, 2001)
  2. In the Realm of the Senses (Nagisa Oshima, 1976) – one of the most controversial films in the history of cinema; don’t say I didn’t warn you!
  3. Nymphomaniac (Lars von Trier, 2013)

Not happily ever afters

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  1. In the Mood for Love (Wong Kar-Wai, 2000)
  2. Pierrot le fou (Jean-Luc Godard, 1965)
  3. Jules and Jim (François Truffaut, 1962)
  4. Love Affair or the Case of the Missing Switchboard Operator (Dušan Makavejev, 1967)
  5. Chocolat (Claire Denis, 1988)
  6. Le bonheur (Agnes Varda, 1965)
  7. Deep End (Jerzy Skolimowski, 1970)
  8. Amour fou (Jessica Hausner, 2014)
  9. Annie Hall (Woody Allen, 1977)
  10. A Short Film About Love (Krzysztof Kieslowski, 1988)

Outlaw love

  1. Breathless (Jean-Luc Godard, 1960)
  2. Badlands (Terrence Malick, 1973)
  3. Bonnie and Clyde (Arthur Penn, 1967)

LGBTQ

  1. Blue is the Warmest Color (Abdellatif Kechiche, 2013)
  2. Handmaiden (Chan-wook Park, 2016)
  3. Carol (Todd Haynes, 2015)
  4. Weekend (Andrew Haigh, 2011)
  5. The Duke of Burgundy (Peter Strickland, 2014)
  6. Maurice (James Ivory, 1987)
  7. Love is Strange (Ira Sachs, 2014)
  8. Happy Together (Wong Kar-Wai, 1997)
  9. Stranger by the Lake (Alain Guiraudie, 2013)
  10. Show Me Love (Lukas Moodysson, 1998)

Anti-Valentine’s 

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  1. 45 Years (Andrew Haigh, 2015)
  2. The Lobster (Yorgos Lanthimos, 2015)
  3. Who’s Afraid of Virginia Woolf? (Mike Nichols, 1966)
  4. Breaking the Waves (Lars von Trier, 1996)
  5. Shame (Steve McQueen, 2011)
  6. Appropriate Behavior (Desiree Akhavan, 2014)

I’m having my own Oscars: 2016

Best Films

  1. Toni Erdmann (directed by Maren Ade)
  2. Cemetery of Splendour (directed by Apichatpong Weerasethakul)
  3. Certain Women (directed by Kelly Reichardt)
  4. Moonlight (directed by Barry Jenkins)
  5. Graduation (directed by Cristian Mungiu)
  6. Captain Fantastic (directed by Matt Ross)
  7. I, Daniel Blake (directed by Ken Loach)
  8. Paterson (directed by Jim Jarmusch)
  9. The Handmaiden (directed by Park Chan-wook)
  10. Our Little Sister (directed by Hirokazu Koreeda)
  11. Sweet Bean (directed by Naomi Kawase)
  12. I, Olga Hepnarova (directed by Tomáš Weinreb and Petr Kazda)
  13. Mina Walking (directed by Yosef Baraki)
  14. Aquarius (directed by Kleber Mendonça Filho)
  15. In the Shadow of Women (directed by Philippe Garrel)
  16. Mellow Mud (directed by Renārs Vimba)
  17. Chevalier (directed by Athina Rachel Tsangari)
  18. 24 Weeks (directed by Anne Zohra Berrached)
  19. Mountain (directed by  Yaelle Kayam)
  20. Family Film (directed by Olmo Omerzu)
  21. Home Care (directed by Slávek Horák)
  22. Our Everyday Life (directed by Ines Tanović)
  23. Death in Sarajevo (directed by Danis Tanović)
  24. Arrival (directed by Denis Villeneuve)
  25. Nightlife (directed by Damjan Kozole)

I am quite happy about the fact that films listed above come from no less than 16 different countries: United States (5), Czech Republic (3), Japan (2), Germany (2), , Bosnia and Herzegovina (2), Slovenia (1), Romania (1), France (1), United Kingdom (1), Greece (1), Latvia (1), Thailand (1), South Korea (1), Brazil (1), Afghanistan (1), Israel (1).

Best Woman-Directed Films

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  1. Toni Erdmann (directed by Maren Ade)
  2. Certain Women (directed by Kelly Reichardt)
  3. No Home Movie (directed by Chantal Akerman)
  4. Sweet Bean (directed by Naomi Kawase)
  5. 24 Weeks (directed by Anne Zohra Berached)
  6. Chevalier (directed by Athina Rachel Tsangari)
  7. Mountain (directed by Yaelle Kayam)
  8. Our Everyday Life (directed by Ines Tanović)
  9. Body (directed by Małgorzata Szumowska)
  10. Maggie’s Plan (directed by Rebecca Miller)
  11. Things to Come (Mia Hansen-Løve)
  12. A Good Wife (directed by Mirjana Karanović)
  13. The Fits (directed by Anna Rose Holmer)
  14. The Edge of Seventeen (directed by Kelly Fremon Craig)
  15. The Invitation (directed by Karyn Kusama)
  16. California (directed by Marina Person)
  17. The Love Witch (directed by Anna Biller)
  18. As I Open My Eyes (directed by Leyla Bouzid)
  19. American Honey (directed by Andrea Arnold)
  20. Into the Forest (directed by Patricia Rozema)

Most underrated films

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“I’m just a scared, ugly, useless person.”

“But maybe everyone’s a little bit ugly. Maybe we’re all just dying sacks of shit, and maybe all it’ll take is one person to just be okay with that, and then the whole world will be dancing and singing and farting, and everyone will feel a little bit less alone.” (Swiss Army Man)

  1. James White (directed by Josh Mond)
  2. Swiss Army Man (directed by Dan Kwan and Daniel Scheinert) – I get that this film might be a bit over the top and gross for some people, but in all its weirdness it is one of the sweetest, humane films about friendship, partnership and love. It’s about how hard it is for us to connect due to restrictiveness of numerous social norms that trap our true selves and make us ashamed of who we really are beneath the mask that we present to the outer world. It’s sweet and heartbreaking – with some truly laughing out loud moments. Not to mention terrific acting by Paul Dano and Daniel Radcliffe.
  3. 10 Cloverfield Lane (directed by Dan Trachtenberg)
  4. Green Room (directed by Jeremy Saulnier)
  5. Born to be Blue (directed by Robert Budreau) – one of the best but least talked about biopics of the past year. Also one of Ethan Hawke’s best performances to date.
  6. My Revolution (directed by Ramzi Ben Sliman)
  7. Morris in America (directed by Chad Hartigan)
  8. Ghostbusters (directed by Paul Feig) – this film just does not deserve the crap it got this past year. At all. Far from being perfect; but hey, so was the original.

Best Documentaries

  1. No Home Movie (directed by Chantal Akerman)
  2. Life on the Border (directed by the refugee children)
  3. 13th (directed by Ava DuVernay)
  4. Free to Run (directed by Pierre Morath)
  5. Houston, We Have a Problem! (directed by Žiga Virc)
  6. O.J.: Made in America (directed by Ezra Edelman)
  7. Fire at Sea (directed by Gianfranco Rosi)
  8. Weiner (directed by Josh Kriegman and Elyse Steinberg)
  9. The Witness (directed by James Solomon)
  10. Janis: Little Girl Blue (directed by Amy Berg)

Best animated films

  1. My Life as a Courgette (directed by Claude Barras)
  2. The Red Turtle (directed by Michael Dudok de Wit)
  3. April and the Extraordinary World (directed by Christian Desmares and Franck Ekinci)
  4. Long Way North (directed by Rémi Chayé)

Biggest disappointments

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  1. Everybody Wants Some!! (directed by Richard Linklater) – ode to masculinity, machoism and yes, even misogyny. I had high hopes for this one (I am a huge fan of Linklater after all) and while I get the time capsule concept of the movie, I cannot watch college guys bashing over girls for two straight hours.
  2. Miss Peregrine’s Home for Peculiar Children (directed by Tim Burton)
  3. Nina (directed by Cynthia Mort)
  4. By the Sea (directed by Angelina Jolie) – this film looks gorgeous, but it is oh so very boring. It definitely had potential, but Jolie’s writing skills are too poor to keep a viewer engaged for two whole hours.
  5. Suicide Squad (directed by David Ayer)

Worst films of the year

  1. Yoga Hosers (directed by Kevin Smith) – I was never really a fan of Smith, but some of his old films – especially Clerks and Chasing Amy – are actually not all that bad. This one, however, is horrendous. The worst film I saw this year.
  2. Sisters (directed by Jason Moore) – as much as I like Tina Fey and Amy Poehler, their comedic attempts don’t translate well to film. This film is awful and simply unwatchable.
  3. Mike and Dave Need Wedding Dates (directed by Jake Szymanski) – stupid impro jokes aside, this film tries so hard to come off as progressive… but it ends up being just another comedy that promotes hetero-normativity, monogamy and marriage as a solution to our every problem.
  4. Bad Moms (written and directed by Jon Lucas and Scott Moore) – because these two guys know so much about motherhood they decided to make a film about it. It’s like Mean Girls, but with grown women, you know? Because women sure can’t function any other way but by forming cliques and competing against each other.
  5. Neighbors 2: Sorority Rising (directed by Nicholas Stoller) – the first part was stupid. So is the second one.
  6. Me Before You (directed by Thea Sharrock)