- The Puffy Chair - haven’t seen relationship strife this wrenching and accurate since Cassavetes’ Faces.
- Mysterious Skin - Gregg Araki’s most mature film, but he retains his brutal edge and stylized vision. glad he still makes films.
- The American Nightmare - a film-studies-like documentary about the sociological metaphors and influence of social strife upon 70’s horror films. treats 70’s horror film like the art it is. set to the music of Godspeed You Black Emperor, which works perfectly with the juxtaposition of the bleak look of the films in question. my favorite doc ever.
- Heima - music doc about Sigur Ros’ concert-playing journey across Iceland. from amphitheaters to caves to schoolhouses, the settings in which they play are more beautifully shot that any concert film to date.
- The Brown Bunny - Vincent Gallo’s 2nd film. some folks say it’s too egotistical to watch; i say that this film shows one man’s pure vision more than 99 percent of films out there. do people say that a painter’s canvas is ego-driven because only one person painted upon it? no? then why do they say it when one person (pretty much just one person, for real) makes a film like this? one of the most earnest depictions of the loneliness of a man’s soul.
- The Informers - the most accurate depiction of a Bret Easton Ellis book, to date. the emptiness of his book’s characters was finally not dramatized too much for a mass appeal - probably why it got panned.
- Everything Will Be OK/I Am So Proud of You - the first 2 parts of Don Hertzfeldt’s trilogy of simply-drawn animated films about Bill, a man dying of loneliness/regret/disillusionment of life? maybe all 3? whatever the case may be, i challenge a viewer not to find their heart pierced with sadness when they watch and all-too-easily relate to this heartbreaking story.
- Anti-Christ - lovely, yes. brutal, yes. excessive? maybe. but watching the lengths that the story, and the actors, go to in this film is fascinating.
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