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.

Current Issue
Cinema Scope Mag for film reviews, criticism news & comments. One of the most respected publications on film, uniting experienced critics with new writers.
Search
From the Magazine
- Cinema Scope 80 Table of Contents
  
  Interviews No God But the Unknown Pietro Marcello and Maurizio Braucci on Martin Eden by Jordan Cronk I See a
- No God But the Unknown: Pietro Marcello and Maurizio Braucci on Martin Eden
  
  By Jordan Cronk “Of course it was beautiful; but there was something more than beauty in it, something more stingingly
- I See a Darkness: Pedro Costa on Vitalina Varela
  
  A moving study of mourning and memory, Pedro Costa’s revelatory new film offers an indelible portrait of Vitalina Taveres Varela, a fragile yet indomitable woman who makes the long voyage from Cape Verde to Lisbon to attend her estranged husband’s funeral, but misses the event itself because of cruel bureaucratic delays.
- Woman on the Verge of a Nervous Breakdown: Kazik Radwanski’s Anne at 13,000 ft
  
  The prospect of spending an hour and a half with people lacking in notable virtue, alluring vice, or any apparent interest, may seem like an unproductive exercise in forced empathy—but consider this skepticism a function, as opposed to a fault, of these tightly orchestrated, seemingly soporific character studies.
- For a Cinema of Bombardment
  
  Although there have always been intrepid critics and cinephiles who have engaged with films belonging to the non-narrative avant-garde, there has existed a perception that such films, operating as they do on somewhat different aesthetic precepts, could be considered a separate cinematic realm, one that even the most dutiful critic could engage with or not, as he or she saw fit.

Cinema Scope Top Ten Films of the Decade

Current Issue

Search

From the Magazine

Links

Contributors

Cinema Scope Top Ten Films of the Decade

Current Issue

Search

From the Magazine

Follow

Links

Contributors