1. Upstream Color
2. A Touch Of Sin
(Then alphabetical)
The Act Of Killing
Bastards
Emperor Visits The Hell
No
Passion
Spring Breakers
12 Years A Slave
Wadjda

Nathan Lee
(Contributing Editor to Film Comment)

1. Le Pont du Nord
2. "Slumber Party Alien Abduction"
(from V/H/S/2)
3. Gravity
4. Faust
5. Spring Breakers
6. The Lords Of Salem
7. Stranger By The Lake
8. The Grandmaster
9. Passion
10. Dark Skies

Previously: 'PASSION' - 2013 YEAR-END LISTS AND MENTIONS

See also: 'PASSION' ON MORE TOP 10 LISTS FROM 2013

Hewitt states that "Carrie features Spacek's peerlessly sad/scary performance as the title character, a bullied high school student who lashes back after she's pranked at prom. Spacek, 25 when she shot it, has no problem convincing us she's a teenager. Director Brian De Palma's movie is a stylish, bizarrely successful experiment in tone. Piper Laurie, as Carrie's violently fundamentalist mom, behaves as if she's in a comedy, which somehow makes her even more frightening. It launched many a movie career, including Nancy Allen's, Amy Irving's and John Travolta's. But the reason it all hangs together is that you can't take your eyes off Spacek's timid-but-all-powerful Carrie, a victim who declines to be victimized."

Shaviro continues, "But Jonze does sort of (inadvertently?) display the hollowness of the aching sincerity that has come to prominence in our recent (white, liberal, well-meaning) culture as an impotent reaction formation against the hyper-cynicism of official Capitalist Realism. I vastly prefer the 'post-irony' of films like Joseph Kahn’s Detention to the non-ironic sincerity of Her; but they are both reactions against the same thing, the way that hip irony, or what Sloterdijk long ago called 'cynical reason', is the 'official' affect, as it were, of 'there-is-no-alternative' neoliberal capitalism."

Shaviro concludes, "Ultimately, Her is the exact inverse, or the flip side, of a much better film — Brian De Palma’s recent masterpiece Passion. De Palma shows the actuality of neoliberal subjectivity, in which everything is vicious competition in the service of self-entrepreneurship, with female sexuality as the linchpin of the whole structure. In contrast, Jonze shows neoliberal subjectivity’s self-deluding idealization of itself as total sincerity, maintaing this emotional nakedness and yearning within the parameters of a world in which 'sincerity' can itself only be a commodity, or a form of human capital to bring on the market. And the punchline is that even this self-congratulatory idealization is a weak and unsustainable facade. It is ultimately too hollow and sad to serve even its ideological function. Most self-delusions are self-congratulatory and even megalomaniacal; but Theodore’s self-delusion, which is also that of all the other human beings he meets (or for whom he works, writing 'handwritten' personal letters for other people) is lame, vapid, and devoid of true imaginativeness. Her — rather than The Matrix — is really the film whose motto should be, 'welcome to the desert of the real.'”

"Buirski opens and closes her film with excerpts from the titular Debussy pas de deux, choreographed by Robbins and featuring Le Clercq and partner Jacques d’Amboise. The soft-focus kinescope footage, shot from a particularly felicitous camera angle, highlights the elegant, articulated movement, coltish grace and gestural wit that distinguished the incredibly long-legged Le Clercq from the petite, compact ballerinas that preceded her, inspiring choreographers to experiment with moves they had never before envisioned. Balanchine 'discovered' her at his School of American Ballet when she was 14 and soon shaped many of his seminal ballets around her unique talents...

"Le Clercq became Balanchine’s third wife in 1952, the revered ballet master winning out over her best friend and confidant, Robbins, whose impassioned letters to her fill the soundtrack and whose choreography for her often fills the screen. The docu’s final irony finds a tired Le Clercq postponing her Salk polio vaccine before setting off on the troupe’s European tour, fearing it might further debilitate her, then succumbing to the disease weeks later in Copenhagen."

Below is the BIFF trailer for the film, followed by a video of Buirski discussing the film on stage at the NYFF last year.
(Thanks to Rado!)

"One of the main reactions I heard from people who dismissed Casualties Of War during its theatrical run in August of 1989 was that they didn't want to watch Michael J. Fox in a Vietnam film, that they simply didn't believe he was right to be a soldier. Even then, I didn't buy that as a legitimate gripe. First, Fox is a good actor, and always has been. Second, Vietnam wasn't a particularly picky war in terms of who the Army was willing to send over, and if a guy like Fox had enlisted or been drafted, they would have sent him happily. I think De Palma and Rabe get the racial balance right in the film, and beyond that, I think it's a nice cross-section of types so that when things go south… and they do… it's not just an either/or situation between Eriksson and Meserve. The acting styles of Sean Penn circa-1989 and Michael J. Fox circa ever couldn't be more different, and I like that friction that seems to exist between them. There's this huge macho swinging dick energy that Penn gives off where he basically tries to annihilate Fox through sheer force of personality alone. The Fox casting not only is not a problem for me, it's one of the things I love about the film the most. I was thrilled that he decided to try and stretch and ended up working with one of my favorite filmmakers at the time, and I thought it paid off in a genuine tension onscreen."

McWeeny doesn't seem to be a fan of the "director's cut" version of the film, for which De Palma restored the scenes he'd reluctantly cut from Casualties for its initial release, and also doesn't think the ending works. "The rest of the movie feels anti-climactic, honestly," McWeeny writes, "including an interrogation scene with two guys questioning Eriksson exhaustively, trying to pick holes in his story that was added to the director's cut of the film that is the only DVD currently available. The courtroom scenes at the end are necessary, but it's the least interesting stretch of the film. The one great beat is watching the four of them march out of the court martial, and Meserve leans in to whisper something to Eriksson and then --

"--- and then comes the unfortunate coda, where De Palma reaches for some profound beat between Eriksson waking up on the train and following the girl out to return a scarf to her. It's supposed to offer him some sort of closure, but it doesn't work as a moment at all. I think sometimes an ending like this can deflate a film, and in the case of Casualties, it's hard to deny that things end with a fizzle. There's something very odd about the way De Palma dubbed Amy Irving's voice over the English dialogue by Thuy Thu Le, and the dialogue she has is corn of an almost preposterous degree."

"So I stumbled on this picture where you saw a masked wrestler, sitting at a zinc bar in a typically Parisian bistro, sipping his red wine with a straw, and it blew me away. It looked like something out of a superhero movie directed by Jean Pierre Melville. As if a comic book character had ended up in a film noir. And that's it; I knew there was a film, so I started writing the script."