86th Academy Award Predictions

I'm lucky to have some wonderful friends and when it comes to talking about films and Hollywood and how the industry and pop culture intersect I know Kendra (@halifaxfilmgal on Twitter). She is the ultimate film fan and while her primary means of online interaction is via Twitter, the 140 character limitation means that you don't get to have more extended snarky discussions of films. So before the Academy Awards this year you'll get to read through some of her picks and mine and we'll see how accurate they are. But it's all meant in fun and hopefully it will provide you with a bit of entertainment too.

The Academy Awards are a strange thing and in a perfect world they would not be around. The whole thing is a bit strange, but the great part and what I love about it is how it enables a conversation about films to begin. But usually the conversation revolves around the people that we see on the screen and the actors are a very important part of the whole process. But most of it isn't concerned with actors, but with stars, so it's not really about films most of the time. It's part of the marketing campaign for films where subtlety and craft are not always recognized. The bigger things seem to stand out with major physical transformations of actors being highlighted more than a performance with a solid emotional core. The same seems to occur with direction and many of the technical categories. While the names of the categories include "Best", it's a very subjective thing, so it's really "What Most of the People Voting Agree Upon". That is why predicting what will win can be a bit of a challenge, and probably one of the reasons people enjoy watching the show.

The Independent Spirit Awards nominations are overall more to my taste in terms of films, but they're not as popular as the Academy Awards. But that niche is much more suited to my sensibilities. It's also where a lot of the categories are filled with films that make sense to me for being recognized. But the Oscars have a longer history and are wildly popular and a lot more people have an opinion about them, which is why so many people share their opinions about what the Academy chooses.

Over time people usually don't remember a lot of the winners. Maybe the nominees, but not so much the winners. Just looking through who won last year made me realize how I forgot about some films and didn't remember ones that won. When you look back 5 or 10 years some of the films are completely forgotten, while others that were nominated seem to be much better. It's fascinating how some films seem dated rather quickly, but other films seem a bit too early.

Ten years ago the big winner was The Lord of the Rings: The Return of the King which won in many categories including Best Picture, Directing, and Editing. It's a running joke about the length of the ending of the final film in the trilogy, and I wouldn't hold it up as an example of a film that wisely cut things in the right way. For Actor it was Johnny Depp in Pirates of the Caribbean, Ben Kingsley in House of Sand and Fog, Jude Law in Cold Mountain, Bill Murray in Lost in Translation, and Sean Penn in Mystic River. Over time I would say that Bill Murray should have won, but it was Sean Penn who took home the award. Goodfellas lost out to Dances With Wolves for Best Picture, Director, Editing, and Adapted Screenplay in 1991. People like Dances With Wolves and it's easy to understand why something that is more challenging to watch like Goodfellas wouldn't be chosen. But with the benefit of hindsight, it's clear that Goodfellas is one of the top films out of Hollywood and by Scorsese. Here are the picks we have for the major categories for the 86th Oscars:

Best Picture

Kendra

Will Win: Gravity

Should Win:12 Years a Slave

A year in which it's legitimately difficult to choose a clear winner from three films doesn't happen very often. Gravity, 12 Years a Slave and American Hustle are all acceptable winners in a weaker year but I think the Academy will side with the majesty of Gravity over the heavier subject of the devastation of slavery.

Chris

Will Win: 12 Years a Slave

Should Win: 12 Years a Slave

I may be overly optimistic, but there is a real opportunity for the Academy to make a statement with Best Picture this year as a partial corrective to the somewhat embarrassing history of cinema with pro-slavery films forming a major part of it. If past patterns hold, something absent of politics like Gravity should win, or a flashy, but mediocre film like American Hustle could be the compromise. Over time I think that Her may be seen as the most significant achievement of the year though.

Best Director

Kendra

Will Win: Alfonso Cuarón

Should Win: Steve McQueen

Cuarón has the momentum and the DGA, this usually translates into the Director Oscar. However, nothing would make me happier to see McQueen win. A small part of me still wishes Scorsese could have this Oscar because Wolf of Wall Street is actually a better film than The Departed.

Chris

Will Win: Alfonso Cuarón

Should Win: Steve McQueen

The consensus is that Cuarón will win and while Gravity is an amazing technical achievement, the film itself left me cold. Steve McQueen took a challenging topic and infused it with humanity and created memorable scenes and performances of power and permanence. Scorsese and Payne are also two directors operating at the height of their powers with films that expand their oeuvre in interesting ways.

Best Actor

Kendra

Will Win: Matthew McConaughey

Should Win: Chiwetel Ejiofor, Leonardo DiCaprio

One word - McConaissance

If I was the Academy, I'd have a three way tie and give them each the Oscar. Ejiofor broke my heart. Leo was his manic best in the most fun performance of the year. McConaughey has the momentum, the 40lb weightloss and the prevailing winds in Hollywood really like to hand an Oscar to an actor that successfully reinvented himself. Call it the "Travolta Factor."

Chris

Will Win: Matthew McConaughey

Should Win: Chiwetel Ejiofor

The key to winning an Oscar for acting isn't subtlety, so physical transformations and more extravagant performances tend to be rewarded. Matthew McConaughey was solid in Dallas Buyers Club, but he was also solid in Magic Mike and many other films so he deserves an award. But Chiwetel Ejiofor has been turning in great lead and supporting performances in indies and dramas for over a decade with little recognition. With 12 Years a Slave he's starting to get the recognition he deserves, but I'm afraid he won't be taking home a little golden statue.

Best Actress

Kendra

Will Win: Cate Blanchett

Should Win: Amy Adams

It's all about Cate this year, no matter that Amy Adams was the heart of American Hustle and of Blue Jasmine's lowly three nominations, this one would be the most deserved. The only question that remains is whether or not Woody Allen's name will actually be mentioned out loud.

Chris

Will and Should Win: Cate Blanchett

Cate Blanchett is utterly compelling in Blue Jasmine and formed a fierce core to a film that could have been much less than it was without her.

Best Supporting Actor

Kendra

Will Win: Jared Leto

Should Win: Michael Fassbender

Fassbender's vitriol personified slave owner might stay with you forever but Leto's feisty Rayon is everything one could require of a supporting actor. He made McConaughey better just by being there.

Chris

Will Win: Jared Leto

Should Win: Michael Fassbender

Fassbender forms the core of Steve McQueen's two previous features and like Hunger, he appears later in the story, but is vital to the way it all unfolds and opposite Ejiofor it makes for some compelling and unforgettable scenes. Jared Leto was solid with a physical transformation thrown in as well, so that provides an edge for him.

Best Supporting Actress

Kendra

Will Win: Lupita Nyong'o

Should Win: Julia Roberts

If I were an Academy member, I would have voted for Roberts for an absolutely fierce turn in August: Osage County even when all the attention was on Meryl Streep but in this category Oscar voters love the new and beautiful giving tragic, heartbreaking performances.

Chris

Will Win: Lupita Nyong'o

Should Win: Sally Hawkins

The Academy seems to like rewarding great work from younger actors in the supporting categories and Lupita Nyong'o is amazing and will deserve her award. But a fantastic and often overlooked component in the success of Blue Jasmine is Sally Hawkins' performance opposite Cate Blanchett. She's the anchor that provides the counterpoint and springboard for the heights that Blanchett reaches.

Best Original Screenplay

Kendra

Will Win: Her, Spike Jonze

Should Win: Her

Jonze created a riveting fairy tale of a future we're not that far away from where technology is invisible and you can fall in love with software. How could we not want to honour a screenplay for that? Her has the best chance here since it's missing from Director and Actor and has too much competition in Production Design.

Chris

Will and Should Win: Her

Her is a deceptively clever film by Spike Jonze that is kind of set in the future, but is very much in the present, summing up the zeitgeist of the time in a way to tell a simple story about moving on. As I've said before I think that as time goes by the recognition of Her will grow. While it should be recognized in more categories, the Screenplay category is often where more innovative work is recognized.

Best Adapted Screenplay

Kendra

Will Win: 12 Years a Slave

Should Win: 12 Years a Slave

It's hard to choose between Captain Phillips and 12 Years a Slave here but since I still think Gravity is the likely Best Picture winner, Adapted Screenplay might be an official apology statue given to 12 Years a Slave since Captain Phillips, while admired seems to have a better chance in Film Editing.

Chris

Will Win: Philomena

Should Win: 12 Years a Slave

In another year Philomena would probably receive more recognition, but it's a fascinating story that makes you feel good, and if 12 Years a Slave receives a lot of other awards, this is a category that could provide a nod to a more traditional film that deals with issues in a human way.

Film Editing

Kendra

Will Win: Captain Phillips

Should Win: Captain Phillips

There's great work to be admired in all nominees in editing this year but keeping the story tight and tense in Captain Phillips gives it the edge.

Chris

Will Win: Captain Phillips

Should Win: 12 Years a Slave

Captain Phillips constructs a tight, tense story that keeps you on the edge of your seat and that's why it will probably win. But with 12 Years a Slave the structure and varying rhythms manage to make the journey bearable and powerful in an often subtle way.

Production Design

Kendra

Will Win: American Hustle

Should Win: Her or American Hustle

I hope the old white guys don't pick Great Gatsby. I can live with American Hustle but would prefer the more subtle but brilliant Her.

Chris

Will Win: The Great Gatsby

Should Win: Her

The old white guys are going to pick The Great Gatsby or maybe American Hustle. Subtle production design that contributes in an essential way to the story in the way that it does in Her becomes invisible when Academy members cast their ballots.

Foreign Language Film

Kendra

Will Win: Great Beauty, Italy

Should Win: The Hunt, Denmark

As always a lot of great foreign films didn't make it to the final five, but I can live with either win here with slight preference given to the quietly devastating Hunt. Go Mads!

Chris

Will Win: The Great Beauty, Italy

Should Win: The Hunt, Denmark

I've only seen The Hunt, but it was one of the best films of the year with a performance from Mads Mikkelsen that really should have been also recognized with a Best Actor nomination.

Original Score

Kendra

Will Win: Gravity or Philomena

Should Win: Her

Her is the only nominated score that impressed me out of these five. I'm guessing it won't win.

Chris

Will Win: The Book Thief

Should Win: Her

I'm guessing here since the scores didn't stay with me that much except for 12 Years a Slave and Her, but I'm not one of the people voting, so I'm thinking that there may be some recognition for John Williams again.

Original Song

Kendra

Will Win: Let it Go, Frozen

Should Win: Let it Go

Happy from Despicable Me 2 comes close in the cute factor but no song was better than Let it Go from Frozen. Plus who doesn't want to see Robert Lopez be only the 12th person in history to win an EGOT Grand Slam of show business (EmmyGrammyOscarTony).

Chris

Will Win: Let it Go

Should Win: The Moon Song

I'm going with the crowd here again in a category that is a remnant of the days were every film had a song or two in them to provide a break for folks when they watched the film. The Moon Song is actually the only song I've actually heard of the nominees and I like it, but it's a perplexing category to me.

Documentary Feature

Kendra

Will Win: The Act of Killing

Should Win: The Act of Killing

If the Academy is in "feel good" mode then we'll see 20 Feet From Stardom here, leaving the more interesting and devastating Act of Killing out in the cold. Someday in a perfect world, AMPAS will fix the Documentary category and force members to actually watch all the nominees.

Chris

Will Win: 20 Feet From Stardom

Should Win: The Act of Killing

It was a good year for documentaries and for the first time I was able to watch all of them before the awards. While I hope that The Act of Killing is recognized for telling a powerful story in a unique way, 20 Feet From Stardom is easy and fun and I don't think that the Academy enjoys too many challenges in one year.

Cinematography

Kendra

Will Win: Gravity

Should Win: Gravity

I have yet to see Philippe Le Sourd's work in Grandmaster, said to be the closest competition for Emmanuel Lubezki here but since Lubezki's already won the ASC Award as well as a pile of others for his work on Gravity it's hard to see how he could lose. ...Besides, have you seen Gravity!?

Chris

Will Win: Gravity

Should Win: Inside Llewyn Davis

With last year's winner being Life of Pi, I don't hold out much hope for the skillful capturing of light and performances to evoke a mood as opposed to computer-enhanced motion capture, so until the category is divided between actual cinematography and computer-enhanced, it's a cold technical achievement that will take home the award.

Visual Effects

Kendra

Will Win: Gravity

Should Win: Gravity

Gravity might as well have been nominated 5 times in the FX category, all others are irrelevant except for Pacific Rim which isn't even here. ...Besides, have you seen Gravity!?

Chris

Will Win: Gravity

Should Have Been Nominated: Pacific Rim

Without the effects there isn't really anything there when you look at Gravity. The best combination of effects and visual storytelling to me was the unnominated, but oh-so-fun Pacific Rim.

Animated Feature

Kendra

Will Win: Frozen

Should Win: Frozen

In the absence of Pixar, it's all about Frozen. I'll eat a snowman if Frozen doesn't win.

Chris

Will Win: Frozen

Should Win: Gravity

The smoothest, best animation of the year was in Gravity, but Frozen is the film that everyone loves for this, so that's what I'll go with too.

That's all we've got and now all that is left is to watch the show, eat the snacks and share some snark on Twitter.

Top Ten Films of 2013

2013 was a good year for films. While not much really blew me away as some of the films last year did (Rust and Bone, and Holy Motors to name two), there were great films to see. The year saw solid films from established filmmakers like Joel and Ethan Coen, Martin Scorsese, and Woody Allen. There were great second features from Shane Carruth, Richard Ayoade, and Derek Cianfrance along with distinctive films from Noah Baumbach, Park Chan-wook, Steve McQueen, and Claire Denis. The films I narrowed down to ten are ones that made an impression on me and that I'd see again (or have already watched multiple times). The fascinating thing is that my appreciation of the films grew over time and with second viewings. Sometimes a film seems great when you see it and then it fades quickly. Others stick with you, and you admire the subtlety of the performances and filmmaking.

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This past year was the year that I saw the most films I've ever seen in a year. My goal was to see an average of a feature film a day and I reached the goal. You can see a more detailed breakdown of the film at my Letterboxd 2013 Year in Review. So many films make the lesser ones disappear from memory rather quickly. One other thing we can check due to obsessive tracking is how many films have been rewatched. So looking at that gives a slightly different picture. If you look at the films I've watched multiple times the list of top recent films looks like this: three viewings of Pacific Rim, Zero Dark Thirty, and The Place Beyond the Pines; two viewings of Frances Ha, Room 237, Side Effects, Stoker, and Upstream Color.

But the top ten list is not meant to be objective, but to highlight films I enjoyed and want to share, so in keeping with spirit, I narrowed it down to ten, with a nicely-sized collection of honourable mentions. So here are the films I loved the most and would like to share with you.

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Frances Ha

Evoking the feeling of an indie film from the 80s, Frances Ha is a gorgeous character study cowritten by director Noah Baumbach, and star Greta Gerwig. It's a nostalgic film for those who love film and for anyone who has tried to figure out who they are and what they want to be when they grow up. A lovely portrait of friendship and growth and the compromises along the way to becoming who you are.

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Upstream Color

Shane Carruth's second feature, Upstream Color, is beautiful and mysterious. Unlike his previous film, Primer, the focus is on emotion rather than science with an almost hypnotic structure. It's one of the few films I wanted to watch again as soon as it was done. What seems complicated at first becomes simpler the second time through. It's not for everyone, but if you want to immerse yourself in a film that works on a purer cinematic level, there are few films like this one.

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The Place Beyond the Pines

Derek Cianfrance follows up his small and emotionally devastating Blue Valentine with the sprawling, ambitious drama The Place Beyond the Pines. Moving between a larger cast of characters it's filled with fantastic performances all around as it constructs a multigenerational portrait of cycles of violence.

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The Double

An adaptation of Dostoyevsky doesn't seem like a logical second film to make after a nostalgic coming-of-age story like Submarine, but Richard Ayoade crafted a beautiful, quirky, surreal film with The Double. Visually inventive with a pitch-black sense of humour it's a melancholy portrait of a character dealing with himself. Really looking forward to watching this again.

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12 Years a Slave

The most accessible film by Steve McQueen so far is 12 Years A Slave, and much like his previous two films, Hunger, and Shame, it proceeds deliberately and carefully to build emotional momentum. By the time we get to the end of the film it becomes emotionally devastating without being overly dramatic. It's a precisely-crafted look at slavery on a human level with a complex and layered performance from Chiwetel Ejiofor telling Solomon Northrup's story.

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Stoker

The first English-language film from Park Chan-wook is the Hitchcockian gothic puzzle of a film, Stoker. One of the most beautifully-shot films of the past year, it's also quite disturbing. The film creates an elaborate world of deception, lust, and murder filled with symbols and after seeing it I took a page of notes trying to map the patterns and symbolism of the film. It's very dark, but fun if you like the stylized shooting style and melodrama of Park Chan-wook and another chance to see Nicole Kidman at her icy best.

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Bastards

Speaking of dark portraits of humanity, you can't get much bleaker than Claire Denis' accurately named Bastards. The story is enigmatic and elliptical with relationships implied and information parcelled out gradually. It's another powerful and deeply disturbing film about family, power, abuse, and revenge from a filmmaker at the peak of her powers.

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Blue Jasmine

Woody Allen has had a nice string of recent films that seem to be energized by their settings. The city in Blue Jasmine is San Francisco, but the fiery core at the heart of this film is Cate Blanchett who is utterly compelling as Jasmine. With the usual strong ensemble cast, it's an Allen film that starts to push and change the conventions that he has established for his films as it builds to an inevitable conclusion.

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Inside Llewyn Davis

The latest Coen Brothers film, Inside Llewyn Davis, was one of the films I have been looking forward to the most, so when I saw it I went in with expectations. After the film I felt that it was good, but not great. But then I kept thinking about it. The same thing happened with many of their earlier films too as I loved them more as I thought about them and watched them again. Inside Llewyn Davis is a more muted and mature film with the same wry sense of humour, but it's built much more around the central character with ellipses in the story that we need to fill in for ourselves.

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The Wolf of Wall Street

The final film in my top ten was also the final film I saw in the theatre for 2013 and it was Martin Scorsese's The Wolf of Wall Street. This is another film surrounded by high expectations and it was stylistically more subtle than I thought it would be, but content-wise it is one of Scorsese's rawest films. The brilliant narrative conceit of the film is the unreliability of Jordan Belfort who is undermined by repeatedly showing how what he is saying is not true. It's a playful film about horrible people that is another look at the American dream from one of the greatest filmmakers still working today.

Those are the ten that I narrowed it down to, but there were more films that were great in the year.

One amazing film was technically not a film, but a miniseries, Top of the Lake, co-directed by Jane Campion and Garth Davis. It's a detective story that goes in different directions with a strong core performance from Elisabeth Moss as a detective in New Zealand who is investigating the disappearance of a young girl. Another film that should be on the list, but is technically a 2012 film was Catherine Bigelow's Zero Dark Thirty which is the superbly crafted dramatization of the hunt for, and killing of Osama Bin Laden.

Two documentaries stood out for me as well. The first is Room 237, the divisive documentary about Stanley Kubrick's film, The Shining. It's sort of about The Shining, but it's really about the way that we construct meaning as the subjects of the film explain their elaborate theories about the film and how it relates to the world. The most unique film of the year, or probably the decade, has to be The Act of Killing, which is hard to describe. Allowing Indonesian death squad leaders to reenact their war crimes in the form of American film genres that they love creates an oddly disturbing look at genocide through a warped lens. It's horrifying and utterly compelling.

Another fictional film about evil is the dark, surreal Dutch film Borgman, written and directed by Alex van Warmedam. It's a deadpan, precise allegory about evil in the world with a strange sense of humour. A more stylish look at evil is Nicolas Winding Refn's Only God Forgives, which is one of the most beautifully-shot films of the year, and a slow-motion revenge film constructed mostly of glances.

Finally there are three films that I enjoyed from established filmmakers who challenged expectations were Pacific Rim, Side Effects, and The World's End. With Pacific Rim, Guillermo del Toro created a blockbuster film that wasn't filled with product placement and created characters with a little more depth than the rest of the blockbuster films which pushed it out of theatres. Steven Soderbergh directed the very clever Side Effects which starts out as one film, but cleverly subverts expectations and becomes something else. Soderbergh cleverly blends elements of Polanski's Repulsion with a critique of pharmaceutical companies in his own confident way. The conclusion of the Three Flavours Cornetto Trilogy, Edgar Wright's The World's End, had the elements of Shaun of the Dead and Hot Fuzz, but took a more mature approach to look at growing old and how the world changes as we grow up. It's funny with science fiction elements providing the framework in a satisfying conclusion to the trilogy that resists the impulse to repeat what has been done before.

How I Watched

One advantage of collecting statistics is that you can see patterns and analyze how viewing habits are changing. The way that many people see films is changing with smaller screens and more options. Here is the breakdown of how I saw the films that I saw:

  • 134 films watched on my TV (with 60 via Apple TV)
  • 63 films watched on my MacBook Pro
  • 59 films watched in theatres
  • 56 films watched on my iPad

In terms of sources for the films it generally breaks down like this:

  • 84 films from MUBI
  • 80 films on DVD
  • 78 on Turner Classic Movies
  • 45 films on Netflix
  • 39 in movie theatres
  • 29 via iTunes
  • 20 via film festivals (with 14 from the Atlantic Film Festival)
  • 8 streamed or purchased for download from other sites

Favourite Films of the 2012 Atlantic Film Festival

The Atlantic Film Festival is an annual festival that assembles a range of great short and feature films along with the filmmaking community in Halifax, Nova Scotia to celebrate cinema. This year was a very good one and I was able to take full advantage of the screenings and many of the parties. It's the one time of year when you can watch films and catch up with most of the filmmakers from the region. The other great thing is that it usually is the place where some of my favourite films of the year will be seen and today is no exception. Here are 10 of my favourite feature films from this year's festival in the order that I saw them.

The Disappeared

The Disappeared

Shandi Mitchell's feature directing and writing debut The Disappeared poses a challenge in terms of subject matter in that it tells the story of 6 men in two boats, lost at sea. She embraced the constraints and tells a compelling story that was shot on the water to create a moving look at men in an extreme situation that held me through the entire journey. With a solid cast, beautiful cinematography and immersive sound design, it's a timeless story of courage and friendship.

The Angels' Share

The Angels' Share

The opening film of the festival was Ken Loach's lighter drama The Angels' Share that brings his social realist approach to what ultimately becomes a heist film. With leisurely pace and a fantastic cast it has some challenging dramatic moments as well as a lot of humour. It is ultimately about redemption, friendship, community and how we deal with our past and those we care about as time passes. I saw it twice and loved it both times, especially for the audience reactions the second time.

Blackbird

Blackbird

Another promising debut feature at the festival was Jason Buxton's Blackbird which is built around some great performances by a younger cast. Set and shot in Nova Scotia, it is about a teen who faces challenges fitting in at school and in the small town where he lives. A series of misunderstandings lead to the 16 year old being incarcerated and it changes him. It was engrossing and a subtle more subtle and realistic look at growing up in extreme circumstances.

Holy Motors

Holy Motors

One of the films that I was looking forward to purely in terms of knowing that it would be different was Leos Carax's Holy Motors. The descriptions were vague and strange with the images I'd seen looking compelling and different. With his previous track record of visually and aurally stunning films that made up for thin stories with their cinematic beauty I was willing to go where he took me. What surprised me was how much fun the film was. It's an episodic film that really is about cinema and actors. One of the fascinating things about the film is how it reinforces that it is a film with actors, but then somehow managed to make me forget about that repeatedly. I would love to see it again on a big screen.

Beauty is Embarrassing

Beauty is Embarrassing

Wayne White is the fascinating subject of the documentary Beauty is Embarrassing. It's always wonderful to find out about someone whose work you know, but never realized where it came from. A grounded and genial person, White takes us through his life and art in a film that had me repeatedly laughing and smiling. From growing up in the south to an art school education that led to working in television with Pee Wee's Playhouse it's fun to follow along with an artist who has a unique voice and joyful perspective on life.

Wrong

Wrong

Not having seen the director's previous film Rubber, I didn't know what to expect and I took a chance and was very pleasantly surprised by Quentin Dupieux's Wrong which is a surreal and understated film about a man who loses his dog. Shot with bright colours and controlled frames, it has an odd tone that is just a bit off. It never really explains anything, but it was fun to go along for the ride in a slightly unsettling world that reminded me a bit of Visioneers in how it combined humour with a bit of melancholy. Unexpected fun for me.

Brooklyn Castle

Brooklyn Castle

Starting off a day with a documentary about chess players at a Brooklyn junior high is a pretty good day as far as I'm concerned. The key elements to a great documentary are interesting characters, a compelling story and some technical expertise in terms of filming the story. Brooklyn Castle has all of that and it takes a more understated tone and gives us a fascinating portrait of a range of students at the school who are united by playing chess and it gives us glimpses of the challenges that are faced by the school system in New York. A neat way to combine the personal and political in an entertaining way.

The Hunt

The Hunt

Thomas Vinterberg made a huge impression with the first Dogme 95 film, The Celebration, and while he hasn't been making films following the rules of Dogme, he has continued to create tense, dramatic works with solid casts and a more naturalistic shooting style. In The Hunt he builds the film around a great performance by Mads Mikkelsen as a kindergarten teacher wrongly accused of sexually abusing a student. The dynamics of a small town and personal histories combine in a tense story that was utterly compelling. One of the highlights of the festival for me in a theatre that was packed and silent at the end of the amazing film.

Laurence Anyways

Laurence Anyways

Xavier Dolan follows up his previous two Quebecois films with the slightly heavier, but still visually and sonically-ambitious film Laurence Anyways. Spanning 10 years in the 1990s, it's about a man who transitions to a woman and the relationship between him and the woman he loves. Melvil Poupaud is the man who transitions, but the real star of the film is Suzanne Clément who gives an amazing performance as his lover, Fred. Going in to the film at the end of the long day I was concerned with the longer running time, but the film had perfect pacing and held my interest for the entire time and it was a bit surprising when it was over as it didn't feel too long. With gorgeous colours and compositions in a narrower 1.33:1 aspect ratio accompanied by a great soundtrack, it's a lovely look at a complicated relationship.

Rust and Bone

Rust and Bone

It's always good to save the best for the last and the perfect way to end the festival for me was one of my most-anticipated films of the year, which was Jacques Audiard's Rust and Bone, which I knew very little about. Going in without a lot of knowledge is a good thing with Audiard as he usually takes things in unexpected directions. His usual themes of flawed characters in seedier worlds are here, but with Rust and Bone there is less of a criminal underworld and more character and personal struggle. Beautifully shot and acted with Marion Cotillard and Matthias Schoenaerts as the leads, it's emotionally devastating while maintaining hope that carries us through the struggles that the characters face. Great, transcendent cinema that had the audience totally enraptured the entire time. One of my favourite films of the past year.