Shorts are not eligible for the main list, but there are two this year that need to be mentioned.
Dir: Doug Sweetland
For the third time in a row the short film before Pixar’s latest feature is the star attraction of the evening. A dialogue free piece of vintage slapstick, which is reminiscent of the best Looney Tunes. Presto is five minutes of perfectly paced bust a gut hilarity.
Dir: Mikael Z Wolf
This outstanding film is only it's director's second short, but it shows up almost every horror feature I’ve seen this past year. Tense, involving, frightening and sometimes brutally violent Gehenna is an impressive calling card. Don't take my word for it though, watch it.
No Cigar: The Runners Up [In alphabetical order]
Before the Devil Knows You’re Dead
Dir: Sidney Lumet
The Boy in the Striped Pajamas
Dir: Mark Herman
Dir: Jean Paul Salome
Five Across the Eyes
Dir: Greg Swinson / Ryan Thiessen
Dir: Chris Kraus
Hellboy II: The Golden Army
Dir: Guillermo Del Toro
Her Name is Sabine
Dir: Sandrine Bonnaire
affectionate, if sad, and sometimes despairing, documentary portrait of her one year younger sister Sabine. Sabine’s autism was diagnosed late in her life, and only after many years in ‘care’ facilities had worsened her condition from that of the vivacious, beautiful, troubled girl we see in archive footage. A heart rending film about an important, and seldom discussed, subject.
Dir: Adrian Sitaru
Dir: Erick Zonca
Lake of Fire
Dir: Tony Kaye
Dir: Ang Lee
Dir: Shane Meadows
The Spiderwick Chronicles
Dir: Mark Waters
The Waiting Room
Dir: Roger Goldby
The cream of the crop: The Top 10
10: I've Loved You So Long
Dir: Phillippe Claudel
Scott-Thomas is simply outstanding as a woman returning to the outside world after serving a 14 year prison sentence for a crime that goes unspoken for most of the film (and when it is revealed in its fullness it is one of the best scenes of the year). She combines the vulnerability of someone returning to the world, with a secret to hide with the necessary sharpness and toughness that has built up over 14 years imprisonment. She completely inhabits her character, seamlessly disappearing into her with no trace of the actress. One performance that good is worth commenting on, two really is something pretty extraordinary, but Elsa Zylberstein, playing Scott-Thomas’ younger sister, is equally stunning. Remarkably I've Loved You So Long is the directorial debut of Philippe Claudel, but you’d never know it from either the immaculately composed visuals or the exceptional performances.
9: Everybody Dies But Me
Dir: Valeria Gai-Germanika
The story of three teenage friends who end up pulled apart by the vagaries of teenage life isn’t terribly new, but here it has a resonance that few films can match and that thanks mainly to an exceptional young cast. All three of the young leads are non-professionals and Olga Shuvalova in particular looks distressingly young, given what her character and the others go through.
European teen movies, from Christiane F to Show Me Love to Big Girls Don’t Cry, tend to be about the harsher realities of being a teenager and Everybody Dies But Me is certainly no exception there, after a charming scene where the girls hold an impromptu funeral for Zhanna’s cat the punishment is piled on you for much of the film’s just over seventy minutes. It can be exhausting to watch, but you’ll be completely engaged in these girls and their lives. The screenplay paints these young people in realistic colours; they can be and petty, over-dramatic, but we understand why they aren’t perfect and can sympathise.
Gai-Germanika pulls out all the stops for a twenty-minute set piece that forms the films third act as the girls attend their school dance with painful results for each of them. Everybody Dies But Me isn’t easy, but it is high quality, hugely engaging and provoking cinema.
8: The Daisy Chain
Dir Aisling Walsh
As good as Morton, Mackintosh and, in a smaller role, Eva Birthistle are the film is stolen from under all their noses by a remarkable, deeply unnerving, debut performance by 9-year-old Mahrai Anderson. What’s really amazing about Anderson’s performance is its subtle menace, which she usually generates through total silence. Yet, scary as she is, you can’t help but feel for Daisy, side with Morton and Mackintosh, who take her in when her family die in a mysterious fire.
The Daisy Chain isn’t a visceral film, but it goes to some painful and scary places with both Anderson and a heavily pregnant Morton (a condition which forced a rewrite, but one it’s now impossible to imagine the film without). One scene in particular makes this film a riveting experience, because it goes to a place few movies would dare, and after that it’s clear that the gloves are off here. Ending with a haunting moment of ambiguity The Daisy Chain is a film you’ll carry around with you for days after it ends.
7: The Diving Bell and the Butterfly
Dir: Julian Schnabel
Mathieu Amalric may have come unstuck this year with an ineffectual performance as a Bond villain but here, even with so little at his disposal besides the voiceover he impresses immensely, wringing emotion from every tiny gesture and grunt, never feeling like he’s overplaying, and never playing for our sympathy.
Too often at the time the film came out critics fell over themselves to praise Schnabel and Amalric, to the exclusion of the rest of the cast. This is a shame because the actresses who play the (invariably heart-stoppingly beautiful) women in Bauby’s life are also excellent. Particularly fine work comes from Anne Consigny, as the assistant to whom Bauby dictates his book, and most notably from Emmanuelle Seigner, who gives one of the most emotionally shattered, and shattering, performances of 2008 in the aforementioned scene where she translates a message from Bauby to his lover.
The Diving Bell and the Butterfly sounds like a weepie, and yes, you may cry but remarkably it ends up being a life affirming experience and sends you out smiling through the tears.
6: Water Lilies
Dir: Celine Sciamma
Water Lilies is, as much as anything, a film about longing, an aspect given life in Pauline Acquart’s very still, but hugely expressive performance. When Marie and Floriane go out dancing Floriane leans in, as if for a kiss, and when she pulls away Acquart’s tiny reaction is one of the most evocative and painful things I saw in a cinema all year. As a realistic depiction of teenagers Water Lilies feels as close to my memories of that time as almost any film. It gets with absolute clarity the casual cruelty, even to friends, that teenagers are often capable of and is extremely sharp in its observation of cliques, and the importance of fitting in. While Water Lilies does, in the end, provide a cathartic moment between Marie and Floriane it is never trite, never dishonest, and refuses to spoon feed its audience the happy ending that might be expected. A smart, beautifully shot and acted, and tremendously affecting film.
5: A L'interieur
Dir: Julien Marury / Alexandre Bustillo
The premise is nightmarish. An expectant mother (Paradis), whose boyfriend has recently died in a car crash is violently terrorised by a mysterious woman (Dalle), the night before she’s due to check in to hospital and give birth but it’s the verve with which it is executed that really impresses. Debuting writer/director team Maury and Bustillo make intensity their watchword, and from the minute Dalle enter the picture they just never let up. They are walking a well-trodden path, but they find new things to do, and new shots to shock and appall us.
A L'interieur is never so impactful as in the moment when Maury and Bustillo cut to the unborn baby inside Paradis, as she tries desperately to survive, but that’s not to say the rest of it is found wanting. The limited setting (one house, with much of the action confined to the bathroom) becomes a claustrophobic nightmare, making every frame of the picture bleed tension. What really makes Inside memorable for the strong stomached horror fan, though, is the sheer unrepentant viciousness of it. You really get the sense of the pain being inflicted here, thorugh a combination of excellent effects and Allyson Paradis’ ballsy performance.
Inside is not an easy film, it’s not for the faint hearted (or the pregnant), but if you can stomach it you'll love it, because you won’t have seen anything as scary in a long time.
4: Lars and the Real Girl
Dir: Craig Gillespie
As Lars Ryan Gosling continues to prove that he’s one of the best young actors around. Gosling retreats into Lars to such a degree that you really don’t see the actor. It’s a difficult role, because Lars is so insular, so afraid, that everything; the voice, the movement, has to be small and effortful, but still feel natural. Gosling squares this circle perfectly. In spite of yourself, because you grow to like Lars so much, you’ll find yourself drawn in to his relationship with Bianca (the Real Doll), no small feat for film or actor.
Around Gosling is a cast of, if not stars, solid actors, and all are on fine form. Paul Schneider is funny as Lars' brother, and Kelli Garner is sweet as the girl at work who is in love with Lars from afar. It’s Emily Mortimer, though, note-perfect as Lars’ deeply caring sister in law, who steals the film. Lars and the Real Girl is something of an emotional roller coaster. The low key comedy of the film works beautifully, but it’s the drama that makes it stick, the fact that it gives the story such life that the ending, illogical as the reaction is, may well make you cry. It’s a delicate balancing act, pulling off a film like this, and here it’s done perfectly.
Dir: Lucia Puenzo
Efron’s fiery performance is the engine that drives the film. Her dialogue is relatively minimal, but she communicates huge amounts of emotion in gesture and from behind her eyes. It’s a naked performance, in both emotional and physical senses.
Puenzo has an unflinching eye. She depicts Alex’s harsh treatment when the community finds out who she is graphically, culminating in an extremely difficult sequence in which she is sexually assaulted. As difficult as the events are though the film also has moments of extreme visual beauty, and Alex’s complex and sometimes disturbing relationship with Alvaro (Piroyansky) has moments of real tenderness. Played with a gritty reality, XXY is a brilliant, original, film about a provocative subject and ought to be seen by any serious world cinema fan.
2: Grace is Gone
Dir: James C Strouse
John Cusack, an actor who, much as I like him, plays John Cusack in almost every film he’s in lately, gives the performance of his life as Stanley; a man beaten down by life, he hates his sales job, which he took because his poor eyesight made him ineligible for the Army and, faced with the loss of his wife, his world begins to collapse in on him. Cusack is simply superb in the part, disappearing into his character for the first time in years.
Cusack is helped by the precocious performances of Gracie Bednarczyk and, especially, Shelan O’Keefe as his young daughters. O’Keefe is particularly touching in her final scene, eulogising her mother in voiceover in a beautiful piece of underplaying, particularly impressive from an actress so young.
James C Strouse keeps things simple and grounded, but his film is often impressive to look at, with a strong variety in his shot choices. Most remarkable in his handling of the material though is the fact that while Grace is Gone is often desperately sad, and extremely moving, it never feels hectoring or maudlin. Grace is Gone has much to say about war, and about the state of the world, but it’s not a film of big statements, it’s not trying to tell us what to think, just to relate what is, sadly, a rather common story, and that it does with great aplomb and no small measure of emotion.
1: No Country For Old Men
Dir: Joel and Ethan Coen
Joel and Ethan Coen’s magisterial modern western is one of those movies in which you simply can’t pick holes. The pace is perfect, it is unbelievably wonderful to look at, the script is funny, thrilling and thoughtful and every role from the leads to the one-scene cameo players is so well cast that you can’t imagine anyone else in them.
Many people hated the ‘anticlimactic’ ending, which came directly from Cormac McCarthy’s book, but they missed the point. The film isn’t about Chigurh, or the money, it’s about Ed Tom Bell’s decreasing understanding of the events he sees around him, and it makes sense to end the film with him and his thoughts.
The Coens hadn’t made a foray into noir for a long time, and so it was good to see them return to cinemas with their finest contribution to the genre so far. For long periods No Country For Old Men plays out in silence, and during these times it simply bleeds tension. The film’s main chase, in which Javier Bardem’s Anton Chigurh pursues Llewellyn Moss (Josh Brolin) through and around a hotel in deathly silence punctuated only by breathing and bullets, is one of the most nailbiting scenes ever shot.
The Coen’s have been working with cinematographer Roger Deakins since Barton Fink in 1991, and in that time he has become one of the greatest DP’s in cinema. His stunning vistas, and his evocative use of light, as much as the Coens shot choices and cutting, make the film truly envolping and enthralling to watch.
All the performances are note perfect, but while Javier Bardem won an Oscar and Tommy Lee Jones and Josh Brolin were repeatedly eulogised in reviews, Kelly MacDonald was seldom mentioned. The Scottish actress was revelatory here, making an indelible impression in just ten minutes of screentime, including the film’s best scene, in which she confronts Chigurh with his own evil. No Country For Old Men isn’t simply the best film of 2008, it’s easily the best released in since 2004, and one of the very best of the decade so far.