Films 2010 - Count Five to One Down

FIVE
Another Year
The rocking chair pace of Mike Leigh’s latest character study makes for unforced viewing although this does not necessarily mean it’s one to relax into. It makes the number five spot, not as much because I enjoyed the film, I left feeling thoroughly dejected, but because it is crafted so subtly and the whole thing is just so darn considered. There is an overwhelming feel of involvement which makes certain moments pretty much impossible to watch without squirming or referencing a memory – rather than cringing at the idea of sewing up a TB infected wound with a blunt needle one shudders desperately for those on screen – and the pain is as acute. It has been said, Leigh’s chatting about how crap life is without the Tom to your Jerry, but I found much more it’s about interpreting circumstance, alongside a how to in manipulating relationships, and within that, there are some truly perfect occurrences. The amount of wine consumed, stellar cast, the snide jinx of being middle bloody class and the time on the allotment just means it can’t NOT be a film of 2010. And Mary is just freekin’ wonderful - I think she should know.
Dir. Mike Leigh
Viewed November.

FOUR
Alamar
Second of two films I first saw at EIFF and possibly the most circumstantially great film out of this bunch. It’s very simple, delicate and short at less than 80 minutes, which just gently feeds the soul and readdresses some balance. I mean, how can you go wrong with a father son grandpa fishing trip? It’s all about fish, water, lots of boats and just general loveliness. Or is it just because Pedro González-Rubio is the most beautiful man I’ve ever met? Or is there some stirring ecological message? Or are Natan and Blanquita (boy and bird respectively) just too wonderful to watch? See the film, google Pedro, watch that Al Gore thing and decide where my bias lies.
Dir. Pedro González-Rubio. Alamar Film Trailer
Viewed June.

THREE
Mary and Max
A gem from the southern hemisphere that sits softly between both; Mary & Max is the reason Europa Cinemas are wonderful and Cineworld and Odeon aren't so. I have written previously about this film and I was hitting the sentiment angle. Elliot's play with observational comedy and laugh out loud silliness is not to be swept under the carpet of wistful scrutiny – shoplifting sherry and stamps, meeting the person who attaches the string to teabags, clay pants on the clay washing line in the clay worlds of New York and Melbourne, a disinterested mischievous rooster (also clay). It’s a piece of work in its ability to engage on many levels – something we may have considered only Pixar are insanely adept at – there are shockingly bleak moments and startlingly bright ones. Plus, give me Toni Collette and Philip Seymour Hoffman on a bad day and my heart sings. This is them guided by the omnipotent narration of Barry Humphries, on some very good days.
Dir. Adam Elliot http://www.maryandmax.com/
Viewed November.

TWO
Inception.
No surprises here. In good Sci-Fi improbability should be acceptable as standard, and this film asks for more than just suspended disbelief. It expects you to keep multiplying. I know Inception is an easy choice, but sometimes that’s what a Hollywood film should be on the horizon of a film year – there should be insane beauty and ridiculous expectation on the part of the audience. The production should be slick and sweeping, the set pieces should be breathtakingly perfect and vigorously polished in post production and this is all of that. With the development in film technology films like this deserve their place, why should I have to head back to the likes of Blade Runner for kitsch, smart, terrifying concept Sci-Fi? Cheers Nolan, and I look forward to revisiting and hoping none of it looks any less bleedin’ gorgeous.
Also, not to be childish but any film that offers the possibility of exclaiming "Look it's Europe, but bendy!" is a film I want to see.
Dir. Christopher Nolan
Viewed July.

ONE
Boy
The biggest grossing independent New Zealand film to date Taika Waititi’s Boy is a masterpiece for several reasons. Its clamouring perfection with language and characterisation for one; every moment is so well nuanced and thoughtfully built with the same affection and imagination as kids creating a den. The most gutting and heartbreaking moments are thrown in alongside the sharpest quips and the silliest laughs this side of a dry stone wall. It’s consummately Kiwi but ultimately welcomes all, "dukes of hazaaaaard". There’s something about this film that has captured my imagination and it has been the most astounding constant and comfort this year.

I first heard of the film at a local cinema in Matakana North Island NZ, my chance to see it was realised when I leafed through the 2010 EIFF programme and then in turn sat down to watch it at the Cameo on the same day England danced their way to failure in the World Cup. At the interview for the Discovery Film Festival Katharine Simpson asked me about my favourite film of the year – and I wasn’t sure whether it would look geeky to mention something in their programme.

This year, for me, has been one of discovery in a similar way to Boy – no – I’d never thought a deep sea diving, samurai wielding, rugby international, army officing Dad was coming to rescue me from real life – but 2010 was a year with moments where I had to banish some naiveties and accept some other wonders. My hair, like his, is also a bit of a mess. Maybe it is just the sentimentality of his journey into the real world that catches my breath.

Onwards into 2011 for some more silver screen skirmishes deep set in the knowledge my Michael Jackson dance moves will never quite be as wonderful as Boy's, but knowing I can revisit him killing it over and over again.
Dir. Taika Waititi http://www.boythemovie.co.nz/
Viewed June.