The year of living dangerously.
Oh really?
More like the year of living plainly, with variety of world cinema on big screen continues to move at a stagnant pace, thus creating heavy reliance on other sources of entertainment, i.e. pirated DVDs, online downloads and did I just say online downloads?
Despite the minister of information and communication’s effort to block several sites, seems that getting films on the internet has become increasingly common these days.
But then watching films on small screen still cannot match the joy of watching films on big screen, albeit constant disruption of flickering lights from our mobile phones. Thus, it takes a film of an extraordinary level to make me and us at the edge of our seats, enthusiastically or sometimes anxiously await each scene unfolds and most of the times the endings that simply won’t go away. Those films that luckily we find this year are:
10.
The Ghost Writer (date of watching: April 11, 2010, – my birthday! – at Setiabudi 21)
Brilliant! That's the very first word that came to mind when the final scene, of which something happens to the main character while he is off-screen but still leaves us gasping, ends, and the twists are unveiled. Having done numerous political thrillers on Roman Polanski's rich body of works, topped by Chinatown obviously, The Ghost Writer wraps itself in a much more sophisticated manner, accentuated by the overall look of the film and set designs, than Polanski's previous works. What brings them together is his acute direction that delivers engaging thriller with stellar performances undoubtedly guided by his order. Of all, it is easy to single out Olivia Williams for extracting the juiciest role in the film to a satisfying level. Next is Ewan McGregor, once again showing that once he is faithful to the material, he is willing to go extra miles for that. More subtly is Pierce Brosnan's smooth maneuver from suave to stern throughout the whole film. Plus, whoever can direct Kim Cattrall is always a plus.
9. 3 Idiots (date of watching: January 12, 2010, at Blitzmegaplex Grand Indonesia)
The biggest Bollywood hit of all time turns out to be the funniest and the most educative, so to speak. It may not challenge the convention of typical Bollywood film, with song-and-dancing breakout scenes, yet it manages to bring that to lesser dominance, with the educational content that surely hits the pang of many who have gone through such rigorous educational experience reigns above. The indicator of a good film is simplified by this film: it shall never bore its audiences to yawn. Throughout the entire 3-hour plus duration, not a single sleepy moment.
A little cheat here: I watched this on DVD at time when the film is confirmed for JIFFest. However, having finally watched the film in its entirety on big screen when the festival ended confirmed my choice. The film takes a comic adaptation to its highest level to date when you see superb, almost zany editing is matched with quirky characters and witty one-liners that will leave you rooting for characters and engrossed in every single scene of the film. If that’s not the definition of a perfectly enjoyable film, I don’t know what is.
7. Incendies (date of watching: December 3, 2010, at Blitzmegaplex Pacific Place)
The shocking, unbelievable twist at the ending shows how this film is carefully crafted, built and delicately made to leave no single viewer unaffected. The fact that it is made from a stage play also shows that you don’t need to be confined to limited staging interpretations when adapting the play. Director Dennis Villeneuve brings the darkest side of human psychology to a very human level that, despite its bleakest moments of torture, the film makes captive of our heart.
6.
Buried (date of watching: December 11, 2010, at Setiabudi 21)
The film-geek in me jumped with excitement even during the first few minutes of the film, where nothing but darkness filled the screen, only the sound of a man gasping for air is heard. It is a bravura of filmmaking that leaves one in awe. For filmmakers, it is a dream to be daring in making a film with one set and one character, yet the ability to build tension is good enough to make audiences drawn to their seats the whole time, if not feeling relieved once the house lights are turned on. Who needs 3D glasses anyway?
5.
Summer Hours (date of watching: April 17, 2010, at Platinum XXI, fX)
As the film continues to unfold in moving-forward narrative flows, my mind begins to cast backward to personal recollection. In the end, when the film decides to move ahead, so is our mind to realize that in reality, life goes on. The simple idea of a story developed into a superb film with subtle performances, so subtle that is riveting, echoes loud to viewers with families, and those with a special feeling towards the families. In short: everyone. We are truly lucky that everyone involved in the film seems to be all-game in giving their honest, aforementioned subtleness, and convincing contributions to make the film a must-see family portrait.
4.
Toy Story 3 (date of watching: June 20, 2010, at Blitzmegaplex Pacific Place)
It's not just a sequel: it's an ode to growing up. No companies knew this better than Disney, having been around for almost a century to entertain kids, and with each passing generation, the company is forced to rethink its strategy by paying respect to the older generation while ushering the new ones. After several failed attempts, Disney found its home in Pixar. In other words, Toy Story 3 may be the most autobiographical film from Disney and Pixar yet. How both companies can come up with the idea is beyond our knowledge, but for a company that puts a good story above all (Pixar), we shouldn't wonder that much. No other recent film captures the essence of growing up more convincingly.
3.
Up In the Air (date of watching: February 20, 2010, at Setiabudi 21)
It's been awhile a film could shake us, leave us thinking of our life values and choices, that in the end, we cherish, applaud and be thankful for a film like this comes along our way. In his most mature outing yet, Jason Reitman shows his finest direction and writing that all result in a very human story. This is a film richly filled with metaphors and questions. With that, layer after layer in its story are worth being viewed over and over again. It comes with a bonus of the utmost peak performances from the three-hander: George Clooney, Vera Farmiga and Anna Kendrick. It will only make the viewing experience more delightful, and it will make us believe that what we see on big screen is our own lives. Perhaps the most important yet personal film of the decade.
Why the film is important? Because it captures the birth of how we communicate to others in the present time. It does manage to bring us in to the history in the making that pretty much defines our life. The film carries a high degree of importance, indeed. I don’t mind calling it the defining film of our present social life. But at the heart of it is a love story that we can always relate to. How the film manages to bridge romance, drama, historical importance and a thrilling tension of scientific discovery should be credited to the brilliance of David Fincher. This may be his small-scale drama at its best.
1.
Inception (date of watching: July 15, 2010, at Plaza Senayan XXI)
WOW!
Ever gotten out of mind-bending, puzzling dream that when you wake up, you will be left thinking about the dream all the time? That the thought never leaves you at once and you keep thinking about it obsessively?
That gives an almost literal explanation about Inception.
Calling it a high-concept thriller is a grave understatement, for the film, being a genre-bending work of art, rises above possible explanations. Those who wish to leave the dream away will be drawn back to pieces by pieces recollection, be it the use of Edith Piaf's "Non je ne regrette riens", the ensemble cast that forms as a whole inseparable unit, or the mind of Christopher Nolan. Keeping and improving a story for more than a decade do not necessarily make it overcooked. Inception is a film that will be analyzed, studied, interpreted and re-interpreted to uncover its endless layers.
Speaking of layers, from these top tiers, there are others following behind who also gave me memorable times at cinema this year. The honor rolls are for:
a. Let Me In – a loving and very human coming-of-age story that speaks tenderly to us despite its tame gory scenes; d.
Kick-Ass – pardon the pun, but I had a high kick-ass time watching flawed action heroes having the times of their lives;e.
When You’re Strange – clearly the filmmakers are somehow The Doors’ worshippers, yet the fan-like attitude helps getting the film made in the right way as the most comprehensive yet lovingly tribute to the band;f.
Peepli [Live] – if Frank Capra is still alive, he would have been proud with this film that bears traces to his best, and we can’t get enough of the gritty images of India;g.
Alangkah Lucunya Negeri Ini – call what you wish, but I am drawn to Dickensian twist of the plot, and the nitpicking views of product placement in the film actually heightens the intended satire;h.
Agora – in a year of religious clashes, a small film like this puts us to re-examining the importance of religion in a very low-key cinematic manner, despite its big-budget scale of production;i.
Le Petit Nicolas – can’t resist the charm of old-school children story that leaves everyone of all ages captivated;j.
Splice &
Shutter Island – both misunderstood films that worth revisiting for its, admit it, apparent flaws that perhaps get better by time.
Thus, it was the year of living cinematically. So to speak.
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