Cinema Scope Top Ten Films of the Decade

By Cinema Scope In CS42, The Decade In Review

1. Platform (Jia Zhangke, 2000)

2. In Vanda’s Room (Pedro Costa, 2001)

3. La libertad (Lisandro Alonso, 2001)

4. Los Angeles Plays Itself (Thom Andersen, 2003)

5. 13 Lakes (James Benning, 2004)

6. Evolution of a Filipino Family (Lav Diaz, 2004)

7. Yi Yi (Edward Yang, 2000)

8. Black Book (Paul Verhoeven, 2006)

9. Memories of Murder (Bong Joon-ho, 2003)

10. Mulholland Drive (David Lynch, 2001)

Honourable mentions: Colossal Youth (Pedro Costa, 2006); The Death of Mr. Lazarescu (Cristi Puiu, 2005); In the City of Sylvia (José Luis Guerín, 2007); L’intrus (Claire Denis, 2004); Three Times (Hou Hsiao-hsien, 2005); Syndromes and a Century (Apichatpong Weerasethakul, 2006). See also the critics choices in The Decade in Review.

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From the Magazine
- Issue 84 Table of Contents
  
  INTERVIEWS *The Act of Living: GianfrancThe Act of Living: Gianfranco Rosi on Notturnoo Rosi on Notturno By Mark Peranson*Reconstructing Violence:
- The Act of Living: Gianfranco Rosi on Notturno
  
  “The night scares me so much,” confesses a courageous Yazidi pre-teen girl to a therapist, remembering the period when she and her younger sister were captured by ISIS. Anyone who was seen crying would be killed, they were told; it turned out to be a vacant threat, but the sisters were still beaten, and now they are attempting to exorcise their memories by drawing pictures of them. Does it help? We never find out.
- Reconstructing Violence: Nicolás Pereda on Fauna
  
  There’s a point in nearly every Nicolás Pereda film when the narrative is either reoriented or upended in some way. In the past this has occurred through bifurcations in story structure or via ruptures along a given film’s docufiction fault line. Pereda’s ninth feature, Fauna, extends this tradition, though its means of execution and conceptual ramifications represent something new for the 38-year-old Mexican-Canadian filmmaker.
- I Lost It at the Movies: Charlie Kaufman’s Antkind and I’m Thinking of Ending Things
  
  “It’s all planned, but it isn’t thought out,” wrote Pauline Kael in her review of A Woman Under the Influence (1974), a nifty bit of critical jiu-jitsu turning John Cassavetes’ much-theorized—and, during Kael’s reign at The New Yorker, much-derided—technique of spontaneous improvisation within a dramatic framework against him.
- Open Ticket: The Long, Strange Trip of Ulrike Ottinger
  
  One of the most surprising things about Ulrike Ottinger’s new documentary Paris Calligrammes is how accessible it is. Some cinephiles may be familiar with Ottinger based on an 11-year period of mostly fictional productions that were adjacent to the New German Cinema but, for various reasons, were never entirely subsumed within that rubric. Others are quite possibly more aware of her later work in documentary, in particular her commitment to a radical form of experimental ethnographic cinema.

Cinema Scope Top Ten Films of the Decade

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