Most anticipated films of 2015

A fellow blogger Keith inspired me to make my own list of the most anticipated films of 2015. Here are some films that deserve your attention this year:

  1. The Trap: Harmony Korine’s new film. Do I need to say more? Anyone who knows his work understands my excitement. And if you by any chance haven’t heard of this genius yet: go watch Spring Breakers this instance!
  2. Mistress America: Noah Baumbach is back! And so is the adorable Greta Gerwig. And because I’m pretty sure that much of Frances Ha‘s charm and accurateness about female friendships came from Gerwig and not from Baumbach, I’m excited to see that they continue to collaborate as co-writers. Alex Ross Perry already demonstrated how much better the film works if it’s co-written by a man and a woman (his The Color Wheel was co-written by Carlen Altman, while his latest film, Listen Up Philip, written by Perry alone, seriously lacked some female perspective). Baumbach’s films are much more charming and optimistic since Gerwig entered the picture. I really hope their collaboration will continue in the future (it’s a little nerve-racking since their creative partnership depends on their personal one, but I hope they manage to make it work).
  3. The Lobster: Greek New Wave is returning, but this time with an international cast. After Yorgos Lanthimos’s great success with Dogtooth and Alps, finding producers for new projects doesn’t seem to be an issue anymore. The Lobster was co-produced by Greece, UK, Ireland, Netherlands and France and it’s cast includes (wait for it!) Léa Seydoux, Colin Farrel, Rachel Weisz, Ben Whishaw and John C. Reilly. After reading film’s summary, I got a feeling that it will be just as weird and disturbing as his previous work – and this couldn’t make me happier.
  4. Flashmob: I can’t even begin to imagine what will Michael Haneke do this time. The title definitely sounds intriguing.
  5. Louder Than Bombs: after his heartbreaking 2011 drama Oslo, 31. august, Norwegian director Joachim Trier is returning with a film that was co-produced by Norway and USA and stars Jesse Eisenberg and Isabelle Huppert.
  6. Umimachi Diary: new film by one of the greatest contemporary Japanese filmmakers, Hirokazu Koreeda. For those not familiar with his work, I strongly suggest you watch his latest film Like Father, Like Son, or some of his older masterpieces, like Still Walking from 2008, or After Life from 1998.
  7. That’s What I’m Talking About: Richard Linklater’s next project. It most definitely won’t be as great as Boyhood, but still… it’s Linklater and he hardly ever disappoints.
  8. Sicario: Canadian director Denis Villeneuve is an expert for haunting and twisted dramas, and I expect this one to be no different from his previous work. If he didn’t get your attention yet, go watch last year’s Enemy, or his 2010 film Incendies.
  9. Knight of Cups: Terrence Malick’s new film, starring Christian Bale and Natalie Portman. With filmography that includes masterpieces such as Badlands, Days of Heaven and The Tree of Life, Malick’s easily one of my favourite currently working American directors.
  10. Love in Khon Kaen: film by Thai independent film director, Apichatpong Weerasethakul, who’s probably best known for his film Uncle Boonmee Who Can Recall His Past Lives, that won him Palme d’Or at 2010 Cannes Film Festival.
  11. The Revenant: after last year’s success of Birdman I think we’re all in anticipation of Alejandro González Iñárritu’s next film with Tom Hardy and Leonardo DiCaprio in the main roles.
  12. Macbeth: Shakespeare’s drama directed by Australian director Justin Kurzel, best known for his 2011 crime/drama film Snowtown. And if that doesn’t sound exciting enough for you, here’s another great news: Michael Fassbender will play Macbeth, and his wife will be no other than the exquisite Marion Cotillard.
  13.  La La Land: Damien Chazelle, whose second feature film Whiplash is currently still playing in the theatres, is soon coming back with another musical drama: this time about a jazz pianist and an aspiring actress, played by Miles Teller and Emma Watson.
  14. La giovinezza: Italian director Paolo Sorrentino, who won last year’s Oscar for Best Foreign Film for The Great Beauty, is returning – and this time with no other than Jane Fonda, Michael Cane and Harvey Keitel in the main roles.
  15. Bessie: Dee Rees’s second feature film. After her promising 2011 debut Pariah I can’t help but be excited about this biopic about blues performer Bessie Smith (although biography films aren’t really my thing). The fact that she’s an African-American female director makes it even more exciting.

Films I’m least looking forward to?

Fifty Shades of Grey and everything that David O. Russell plans to do in the future.


The Oscars Rant

Since I published my own Oscars nominations at the end of December, I felt obliged to comment on the real nominations that came out earlier today. Especially since there’s been quite a few shocking (and very disappointing) choices. Why am I even surprised?

There has been only one truly amazing twist – and that is the nomination of Marion Cotillard for her role in Belgian drama Two Days, One Night. There has been almost no doubt about Jennifer Aniston getting nominated for her role in Cake (one of the most awful films I had the privilege of seeing lately), which is why I was completely (positively!) surprised about Academy’s decision to nominate Cotillard instead.

However, all the other surprises were nothing but disappointing. Outraging even.

Nominations for Best Actor? When the hell did Bradley Cooper enter the game? Every other nomination was expected – but Bradley Cooper getting nominated over Jake Gyllenhaal is just ridiculous. Or over Ralph Fiennes. Or David Oyelowo (his exclusion is probably the most infuriating) for his outstanding performance in Selma. Any other nomination would make more sense. But as it seems, Bradley is a new favourite of the Academy – much like Jennifer Lawrence, who also gets nominated for every crap movie that she does (with or without David O. Russell).

There were no surprise nominations for the Actor in a Supporting Role – although it wouldn’t really matter if there were, since it seems a pretty done deal that J. K. Simmons will win for his role in Whiplash. Also, no real surprises (except maybe Laura Dern’s nomination) among Actresses in a Supporting Role. Meryl Streep’s nomination for Into the Woods is beyond me though, but she obviously gets nominated for everything she does just for the fact that she’s Meryl Streep.

I don’t think I have to point out the problem that everyone nominated in the Best Leading and Supporting Actor/Actress category is white. Way to go, Hollywood. David Oyelowo was actually the only black actor who had a (however remote) chance of being nominated and this fact alone tells us pretty much everything about the limited opportunities and almost non-existing good roles for African-Americans and Latino minorities in Hollywood.

The nominations for Best Screenplays are, once again, boys club only. Gillian Flynn, who had every chance of being nominated for her brilliant adaptation of Gone Girl, wasn’t nominated. The same goes for Best Directors – there hasn’t been one female director nominated. Not even Ava DuVernay. I guess Selma was a bit too much for the (again, almost all white) Academy members who are selecting the nominees.

A Los Angeles Times study found that academy voters are markedly less diverse than the moviegoing public, and even more monolithic than many in the film industry may suspect. Oscar voters are nearly 94% Caucasian and 77% male, The Times found. Blacks are about 2% of the academy, and Latinos are less than 2%. They have a median age of 62 – people younger than 50 constitute just 14% of the membership. (Horn, Sperling and Smith)

It was amazing to see Ida getting nominated for best cinematography (it more than deserves the win!). However, I don’t understand how it’s possible for Selma’s cinematographer, Bradford Young, not getting nominated. He did an amazing job (the photography in the film is truly breathtaking) and not to mention that he would be the first black nominee ever in Best Cinematography category. The nomination for Cinematography is once again for white guys only (yes, there’s also no women nominated in this category, surprise surprise).

As for the editing, the Oscar should go to Whiplash or Boyhood. It’s very refreshing to see at least one woman being nominated here (and for Boyhood, nonetheless).

There you go. Rant concluded.

List of references:

Selma (2014)

Selma-David-Oyelowo-Carmen-Ejogo-I’m always a bit sceptical when it comes to biographical dramas. People who, indeed, have done great things in their lives are too often shown as perfect, flawless, almost God-like human beings. But the fact that someone managed to achieve something great, doesn’t necessarily mean they were great in every aspect of their lives. Being human also means being imperfect – and this is where Selma gets it right. Even though this is a film about one of the most important and influential people in the history of USA, director Ava DuVernay manages to show Martin Luther King, Jr. (played by David Oyelowo) as someone who is not only a preacher and a civil rights activist, but also a man with self-doubt and marriage problems. And it’s exactly because of those details that King manages to come across as a truly extraordinary man and not as some distorted, glorified history figure that seems all too good to be true.

This is one of the best biographical films I’ve ever seen that has brought me to tears on numerous occasions, although some may argue that it is not the most historically accurate one, since the right to use King’s real speeches was denied to the filmmakers. But what may very well ended up being a film about Luther delivering his famous speeches, inspiring people all over the USA to push for voter-registration reform, managed to become something much bigger in Ava DuVernay’s hands.This is not so much a film about a certain inspiring individual, as it is a film about a vision and courageousness of the entire African-American population. It focuses on all the people involved in the protests – on the citizens of Selma, Alabama and those who travelled to the South to march from Selma to the state capitol, Montgomery, to protest black disenfranchisement at the polls. Every activist present at the protests was important and deserves recognition, because King did not act alone – he had Tessa-Thompson--Selma_article_story_largepeople who helped him, worked with him, gave him advice, and Ava DuVernay manages to acknowledge that. As Ty Burr beautifully put it: ““Selma” knows we want the story of the icon, but it’s the crowd, and King’s place in it, that surges history forward and gives this movie its lasting power.

However, DuVernay’s portrayal of President Johnson sparkled some controversy. Only a day after Selma‘s limited Christmas opening, former advisor of President Johnson, Joseph A. Califano, published an article in The Washington Post, where he argues that “Selma was, in fact, LBJ’s idea“:

Film falsely portrays President Lyndon B. Johnson as being at odds with Martin Luther King Jr. and even using the FBI to discredit him, as only reluctantly behind the Voting Rights Act of 1965 and as opposed to the Selma march itself. In fact, Selma was LBJ’s idea, he considered the Voting Rights Act his greatest legislative achievement, he viewed King as an essential partner in getting it enacted — and he didn’t use the FBI to disparage him. (Califano 2014)

Of course, how could they ever made a film where African-American population took matters into their own hands and tried to shape their own future? Where is Brad Pitt, who rescues Solomon Northup from slavery in 12 Years a Slave? Where is Emma selmaStone who tries to help African-American maids in The Help? This is quite possibly the first time the African-American minority had the opportunity to tell the history as they see it, from their point of view. As Bailey summed it up:

Johnson does not come off like a civil rights-obstructing monster, but merely as a savvy politician who doesn’t share King’s sense of urgency. A peek at his own voting record indicates that LBJ wasn’t always a friend to the movement; whether his subsequent (laudable!) efforts were the result of an honest change of heart or merely smart politics is a question historians continue to ponder. Selma tends to lean towards the former interpretation, and that’s part of what’s so infuriating about this manufactured furor: that a woman of color gets a chance to tell an important story about civil rights, and she’s critiqued by white sycophants, progressives, and Oscar bloggers for not giving enough credit to the white guy.

And as Ava DuVernay herself explained:

People say that I painted LBJ as a villain, which is not what I was trying to do. Our intention was not to say anything other than that these were two great minds who were in a chess match at times. It wasn’t a skip through the park that they came to this Voting Rights Act. I mean the very fact that these citizens had to walk and march twice unprotected, unassisted; to face state troopers with no federal aid — that was a big point of contention. Yes, the president did come on board eventually; yes, he did eventually order the federal protection; yes, he did pass the Voting Rights Act; yes, there were nuances and challenges as far as what was happening in Washington that made him have to take pause and play a tactical game with timing. But the bottom line is this is what we know in the film: It was a timing issue and King was always saying, “The time is now. The time is not to wait.” This film is not about LBJ. This is a film that’s about the people of Selma and the black leadership of Selma and the allies who came to the aid of black people who were being terrorized in Selma. And one of those allies turned out to be, eventually, LBJ in this particular situation. (Ava DuVernay 2015)

This is an exceptional film about an exceptional historical figure. Director Ava DuVernay (who became the first black female director to earn a Golden Globe nomination for Best Director and who will quite possibly become the first black director nominated for an Oscar) managed to recreate one of the most horrific and brutal events of the 60’s, and with that she created one of the most powerful and heartbreaking films of the past year. The cinematography by Bradford Young (who’s previous work includes Pariah and Ain’t Them Bodies Saints) is breathtaking and the acting is superb. David Oyelowo’s portrayal of Martin Luther King is absolutely outstanding, as is Carmen Ejogo as King’s wife Coretta. But even though the film portrays the events that happened 50 years ago (3 years before King’s assassination), it is hard to overlook how little has changed since then – with the recent shooting of Michael Brown and the suffocation of SELMAEric Garner, King’s battle clearly still hasn’t been won. Far from it. King’s complaint about Alabama being 50% black with only 2% of black population allowed to vote, has curious parallels to modern-day Ferguson, Missouri, with predominantly black population and predominantly white police force. The brutal violence that police meted out against peaceful protesters on Bloody Sunday (March 7, 1965 demonstration) on the Edmund Pettus Bridge also reminds us of the aftermath in Ferguson and Eric Garner grand jury decision. As DuVernay responded on the question about the film being timely: “It’s always going to be timely, because times haven’t changed for us“, to which the cinematographer Young added: “When you think about it that way it’s not about being timely, it’s just highlighting out continuous struggle to be human beings in the world.”  (Yamato 2014)

List of references:

The Basics:
Directed by: Ava DuVernay
Written by: Paul Webb
Starring: David Oyelowo, Carmen Ejogo, Tom Wilkinson, Tim Roth
Running Time: 128 minutes
Year: 2014
Rating: 9

Whiplash (2014)

Whiplash is an intense drama about an aspiring jazz drummer Andrew Neiman (played by Miles Teller) who attends a fictional music school, named Shaffer Conservatory. Barely 19-years old, he is spotted by an infamous, but brilliant conductor Terence Fletcher (outstanding J.K. Simmons) whose jazz band needs a new drum alternate. Andrew manages to get the spot, but what may seem like a dream come true at first, a real breakthrough, soon turns into the worst possible nightmare. Fletcher is egoistic, bad-tempered, devilish and intimidating and his monstrous working methods don’t exclude verbal attacks, psychological torture, slapping and throwing chairs in his student’s heads. His God complex seems to give him a permission to constantly humiliate his entire band – and they have no other option than to suck it all up or quit music forever.

Whiplash-5547.cr2Oh dear God – are you one of those single tear people? You are a worthless pancy-ass who is now weeping and slobbering all over my drumset like a nine year old girl!” Simmons is one of the most mesmerizingly horrifying men cinema has seen in a long time and as Ty Burr brilliantly put it in The Boston Globe: “When Fletcher stops the band and tells a player “That’s not quite my tempo,” it’s the judgment of an Old Testament God.” Fletcher’s uncompromising character is also one of the reasons that Whiplash picked up a nickname “Full Metal Julliard” at last years Sundance Festival (where it won the Grand Jury Prize).

Everything Fletcher does is supposedly done for their own good. He believes that there are no two words in the English language more harmful than “good job” and this is why he’s pushing them to their limits and beyond. But are his students really strong enough to survive this constant pressure? Are they able to withstand the constant humiliation in front of the whole classroom and turn this fear of Fletcher into anger – and finally, anger into music?

Andrew is quiet, introverted and from what it seems, friendless guy, whose only wish is to become a great drummer. But is he determined and tenacious enough to survive Fletcher? We quickly come to realization that he’s much stronger than it may look at first. Although a little awkward and shy around girls and still going to the movies with his dad, he becomes more confident after he gets accepted into Fletcher’s inner circle. During a family dinner with his cousins, there’s no trace of his shyness anymore – he’s become cocky and disrespectful towards other family members who seem to be satisfied with living a mediocre life (“I’d rather die drunk and broke at 34 and have people at dinner table talk about me than live to be rich and sober at 90 and nobody remembered who I was“). If we were afraid at the beginning how Fletcher will eat him alive, it is clear by now that the two actually deserve each other. Fletcher has finally got a student who’s up to the challenge and Andrew (who doesn’t just want to earn Fletcher’s approval, but in some weird way actually wants to become like him) is more than willing to practice until blood splashes all over his drumset. It isn’t long before there’s a war going on between the two narcissistic egomaniacs. Is it possible for the both of them to come out of it alive?

There has been some criticism about how Chazelle “misses the point of jazz”, how he makes it all pain and no fun. But all of us who went to music school know how realistic his portrayal of practising music actually is. Because music is not just about being creative and expressing yourself – it can also be about pushing yourself over the boundaries and practising until nearly passing out. As Chazelle himself explained:

I do believe in pushing yourself. If you actually take the idea of practice seriously—to me, practice should not be about enjoyment. Some people think of practice as “You do what you’re good at, and that’s naturally fun.” True practice is actually about just doing what you’re bad at, and working on it, and that’s not fun. Practice is about beating your head against the wall. So if you’re actually serious about getting better at something, there’s always going to be an aspect of it that’s not fun, or not enjoyable. If every single thing is enjoyable, then you’re not pushing yourself hard enough, is probably how I feel. But this movie takes it to a extreme that I do not condone. (Chazelle in Robinson 2014)

tumblr_ng03a9rkbI1td1cyno1_500It seemed impossible to me that a simple story about a musician who wants to realize his dreams could work as a thriller. There has been too many films focused on aspiring musicians and musical prodigies that didn’t quite work (1980’s film Fame comes to mind and I’d rather not even mention the awful August Rush). But 29-years old Damien Chazelle’s second feature film showed me wrong. This was easily one of last year’s best thrillers (and I’ve seen Gone Girl and Nightcrawler) where you’ll find yourself sitting on the edge of the sit, gasping for air. There is no chasing cars, no horrible crime or murder to solve. This is a thriller about a guy who is drumming his ass off. Who knew drumming could be so exciting?

I had seen a lot of music movies that celebrated music or that showed the kind of joys from playing music, which is a big part of it of course, and not something that I would want to deny. But I hadn’t seen that many movies that really go deep enough into the fears of playing music, or the language that musicians can use to treat each other, or like the way that you can see it dehumanize and the way that it can feel like boot camp. (Chazelle in Dunaway 2014)

The impressive jazz score (by Justin Hurwitz – you can listen to it here) is one of film’s strongest and most impressive components, but what stands out nearly as much as the music is the brilliant editing by Tom Cross. It isn’t until the final 15 minutes that Whiplash truly turns into a mesmerizing and breathtaking thriller and achieves the greatness (with the most magnificent directing, editing, sound recording and acting) you never imagined it could. A truly amazing (and surprisingly confident for a second-time director) film that will stay with you for a long time after you’ll leave the cinema. Whiplash is also a film that (once again) showed us the undeniable talent of Miles Teller and that will hopefully be able to redefine Simmons’s career.

List of references:

The Basics:
Directed by: Damien Chazelle
Written by: Damien Chazelle
Starring: Miler Teller, J. K. Simmons, Paul Reiser
Running Time: 106 minutes
Year: 2014
Rating: 8.5

2014 in review

Since I’ve only been blogging since June, I want to thank all of you who took the time during those six months to read my reviews. I especially appreciate all the feedback you gave me – in the comments section, on Facebook, Tumblr or in person – it really means a lot. I hope I’ll manage to write more frequently in 2015 and I hope you enjoyed reading my reviews at least half as much as I enjoyed writing them. Thank you – you helped me overcome my fear of showing my writings in public, which is a really huge deal for me.

Here’s a list of all the films I managed to watch in 2014 (*highly recommended/re-watched/no thanks):

  1. 10 Years (dir. Jamie Linden, 2012)
  2. 12 Years a Slave (dir. Steve McQueen, 2013)
  3. 20,000 Days on Earth (dir. Iain Forsyth & Jane Pollard, 2014)
  4. 8 1/2 (dir. Federico Fellini, 1963)
  5. A Long Way Down (dir. Pascal Chaumeil, 2014)
  6. A Fight For (dir. Siniša Gačić, 2014)
  7. A Geisha (dir. Kenji Mizoguchi, 1953)
  8. A History of Violence (dir. David Cronenberg, 2005)
  9. A Room with a View (dir. James Ivory, 1985)
  10. A Tale of Two Sisters (dir. Kim Jee-woon, 2003)
  11. A Trip (dir. Nejc Gazvoda, 2012)
  12. A Trip to the Moon (dir. Georges Melies, 1902)
  13. About Time (dir. Richard Curtis, 2013)
  14. Adaptation. (dir. Spike Jonze, 2002)
  15. Afternoon Delight (dir. Jill Soloway, 2013)
  16. Airplane! (dir. Jim Abrahams, David Zucker and Jerry Zucker, 1980)
  17. Alien (dir. Ridley Scott, 1979)
  18. American Hustle (dir. David O. Russell, 2013)
  19. Andrei Rublev (dir. Andrei Tarkovsky, 1966)
  20. Animal House (dir. John Landis, 1978)
  21. Ask Me Anything (dir. Allison Burnett, 2014)
  22. At Land (dir. Maya Deren, 1944)
  23. Aubade (dir. Mauro Carraro, 2014)
  24. August: Osage County (dir. John Wells, 2013)
  25. Austenland (dir. Jerusha Hess, 2013)
  26. The Babadook (dir. Jennifer Kent, 2014)
  27. Bachelorette (dir. Leslye Headland, 2012)
  28. The Bad Sleep Well (dir. Akira Kurosawa, 1960)
  29. The Bakery Girl of Monceau (dir. Eric Rohmer, 1963)
  30. Barton Fink (dir. Joel Coen, 1991)
  31. Bastards (dir. Claire Denis, 2013)
  32. Bedazzled (dir. Stanley Donen, 1967)
  33. Belle (dir. Amma Asante, 2013)
  34. Begin Again (dir. John Carney, 2013)
  35. Between Times (dir. Max Porter & Ru Kuwahata 2014)
  36. Bird People (dir. Pascale Ferran, 2014)
  37. Bleak Moments (dir. Mike Leigh, 1971)
  38. Blow-Up (dir. Michelangelo Antonioni, 1966)
  39. Blow Up My Town (dir. Chantal Akerman, 1968)
  40. Blue Jasmine (dir. Woody Allen, 2013)
  41. Blue Ruin (dir. Jeremy Saulnier, 2013)
  42. Boyhood (dir. Richard Linklater, 2014) [REVIEW]
  43. Boyz n the Hood (dir. John Singleton, 1991)
  44. Brazil (dir. Terry Gilliam, 1985)
  45. Bread and Milk (dir. Jan Cvitkovič, 2001)
  46. Broken Flowers (dir. Jim Jarmusch, 2005)
  47. Buzzard (dir. Joel Potrykus, 2014)
  48. The Cabinet of Dr. Caligari (dir. Robert Wiene, 1920)
  49. Captain America: The Winter Soldier (dir. Joe & Anthony Russo, 2014)
  50. Castle of Purity (dir. Arturo Ripstein, 1973)
  51. Cat on a Hot Tin Roof (dir. Richard Brooks, 1958)
  52. The Cabin in the Woods (dir. Drew Goddard, 2012)
  53. Calvary (dir. John Michael McDonagh, 2014)
  54. Career Girls (dir. Mike Leigh, 1997)
  55. Celeste & Jesse Forever (dir. Lee Toland Kriegar, 2012)
  56. Cerný Petr (dir. Miloš Forman, 1964)
  57. Class Enemy (dir. Rok Biček, 2013)
  58. Clerks. (dir. Kevin Smith, 1994)
  59. Chasing Amy (dir. Kevin Smith, 1997)
  60. Children of Heaven (dir. Majid Majidi, 1997)
  61. Christiane F. (dir. Uli Edel, 1981)
  62. Chungking Express (dir Wong Kar-Wai, 1994)
  63. The Color Wheel (dir. Alex Ross Perry, 2011)
  64. The Conjuring (dir. James Wan, 2013)
  65. The Congress (dir. Ari Folman, 2013) [REVIEW]
  66. The Conversation (dir. Francis Ford Coppola, 1974)
  67. Coraline (dir. Henry Selick, 2009)
  68. Dallas Buyers Club (dir. Jean-Marc Vallee, 2013)
  69. Damage (dir. Louis Malle, 1992)
  70. Damnation (dir. Bela Tarr, 1988)
  71. Dark Horse (dir. Dagur Kari, 2005)
  72. Dazed and Confused (dir. Richard Linklater, 1993)
  73. The Day He Arrives (dir. Hong Sang-soo, 2011)
  74. Dead Man (dir. Jim Jarmusch, 1995)
  75. Deconstructing Harry (dir. Woody Allen, 1997)
  76. The Deep Blue Sea (dir. Terence Davies, 2011)
  77. Design for Living (dir. Ernst Lubitsch, 1933)
  78. Diary of a Chambermaid (dir. Luis Bunuel, 1964)
  79. Die Welle (dir. Dennis Gansel, 2008) [REVIEW]
  80. The Discreet Charm of the Bourgeoisie (dir. Luis Bunuel, 1972)
  81. Divergent (dir. Neil Burger, 2014)
  82. Dogtooth (dir. Giorgos Lanthimos, 2009) [REVIEW]
  83. The Double (dir. Richard Ayoade, 2013)
  84. Drifting Clouds (dir. Aki Kaurismaki, 1996)
  85. Dvojina (dir. Nejc Gazvoda, 2013)
  86. The Ear (dir. Karel Kachyna, 1970)
  87. Easy Rider (dir. Dennis Hopper, 1969) [REVIEW]
  88. Eastern Promises (dir. David Cronenberg, 2007)
  89. Eat Drink Man Woman (dir. Ang Lee, 1994)
  90. Ekspres, ekspres (dir. Igor Šterk, 1998)
  91. Electrick Children (dir. Rebecca Thomas, 2012)
  92. The Element of Crime (dir. Lars von Trier, 1984)
  93. Elling (dir. Petter Naess, 2001)
  94. Enemy (dir. Denis Villeneuve, 2013)
  95. Eternity and a Day (dir. Theo Angelopoulos, 1998)
  96. Europa (dir. Lars von Trier, 1991)
  97. Eyes Without a Face (dir. Georges Franju, 1960)
  98. Everything Will Be OK (dir. Don Hertzfeldt, 2006)
  99. Fair Play (dir. Andrea Sedlackova, 2014)
  100. Fargo (dir. Joel Coen & Ethan Coen, 1996)
  101. Faust (dir. Alexander Sokurov, 2011)
  102. Filth (dir. Jon S. Baird, 2013)
  103. The Firemen’s Ball (dir. Miloš Forman, 1967)
  104. Force Majeure (dir. Ruben Östlund)
  105. Foxcatcher (dir. Bennet Miller, 2014)
  106. Frances Ha (dir. Noah Baumbach, 2012)
  107. Frank (dir. Lenny Abrahamson, 2014)
  108. The French Connection (dir. William Friedkin, 1971)
  109. The Freshman (dir. Fred C. Newmeyer and Sam Taylor, 1925)
  110. Fruitvale Station (dir. Ryan Coogler, 2013) [REVIEW]
  111. Funny Games (dir. Michael Haneke, 1997)
  112. The Giver (dir. Phillip Noyce, 2014)
  113. The Great Beauty (dir. Paolo Sorrentino, 2013)
  114. God Help the Girl (dir. Stuart Murdoch, 2014) [REVIEW]
  115. Gone Girl (dir. David Fincher, 2014) [REVIEW]
  116. Goodbye, Dragon Inn (dir. Tsai Ming-liang, 2003)
  117. Goodbye to Language (dir. Jean-Luc Godard, 2014)
  118. The Grand Budapest Hotel (Wes Anderson, 2013)
  119. Grand Illusion (dir. Jean Renoir, 1937)
  120. Gravity (dir. Alfonso Cuaron, 2013)
  121. Guardians of the Galaxy (dir. James Gunn, 2014)
  122. Gummo (dir. Harmony Korine, 1997)
  123. Hard Eight (dir. Paul Thomas Anderson, 1996)
  124. Happythankyoumoreplease (dir. Josh Radnor, 2010)
  125. The Haunting (dir. Robert Wise, 1963)
  126. Headhunters (dir. Morten Tyldum, 2011)
  127. Her (dir. Spike Jonze, 2013) [REVIEW]
  128. Hero (dir. Zhang Yimou, 2002)
  129. Hocus Pocus (dir. Kenny Ortega, 1993)
  130. Horrible Bosses (dir. Seth Gordon, 2011)
  131. Horrible Bosses 2 (dir. Sean Anders, 2014)
  132. Hotell (dir. Lisa Langseth, 2013)
  133. The Hours (dir. Stephen Daldry, 2002)
  134. The House Is Black (dir. Forugh Farrokhzad, 1963)
  135. The Housemaid (dir. Kim Ki-Young, 1960)
  136. Howards End (dir. James Ivory, 1992)
  137. How I Was Systematically Destroyed by an Idiot (dir. Slobodan Šijan, 1983)
  138. The Hunger Games: Catching Fire (dir. Francis Lawrence, 2013)
  139. Husbands and Wives (dir. Woody Allen, 1992)
  140. I Am Curious – Yellow (dir. Vilgot Sjoman, 1967)
  141. V leru (dir. Janez Burger, 1999)
  142. Ida (dir. Pawel Pawlikowski, 2013)
  143. If…. (dir. Lindsay Anderson, 1968)
  144. If I Stay (dir. R.J. Cutler, 2014)
  145. The Immigrant (dir. James Gray, 2013)
  146. In a World… (dir. Lake Bell, 2013)
  147. In Bloom (dir. Nana Ekvtimishvili and Simon Groß, 2013)
  148. Inside Llewyn Davis (dir. Joel and Ethan Coen, 2013)
  149. Insomnia (dir. Erik Skjoldbjærg, 1997)
  150. The Internet’s Own Boy: The Story of Aaron Swartz (dir. Brian Knappenberger, 2014)
  151. The Internship (dir. Shawn Levy, 2013) [REVIEW]
  152. Ivan’s Childhood (dir. Andrei Tarkovsky, 1962)
  153. It Felt Like Love (dir. Eliza Hittman, 2013)
  154. It’s Up To You (dir. Kajsa Naess, 2013)
  155. Japanese Summer: Double Suicide (dir. Nagisa Oshima, 1967)
  156. Jauja (dir. Lisandro Alonso, 2014)
  157. Jebiga (dir. Miha Hočevar, 2000)
  158. Jeune & jolie (dir. Francois Ozon, 2013)
  159. Jigoku (dir. Nobuo Nakagawa, 1960)
  160. Jimmy’s Hall (dir. Ken Loach, 2014)
  161. Kamikaze Girls (dir. Tetsuya Nakashima, 2004)
  162. Kérity, la maison des contes (dir. Dominique Monfrey, 2009)
  163. Kill Your Darlings (dir. John Krokidas, 2013)
  164. King of Devil’s Island (dir. Marius Holst, 2010) [REVIEW]
  165. Kitchen Stories (dir. Bent Hamer, 2003)
  166. Klass (dir. Ilmar Raag, 2007)
  167. The Knack… and How to Get It (dir. Richard Lester, 1965)
  168. Kolya (dir. Jan Sverák, 1996)
  169. L’argent (dir. Robert Bresson, 1983)
  170. La Haine (dir. Mathieu Kassovitz, 1995)
  171. La jetée (dir. Chris Marker, 1962)
  172. Landscape in the Mist (dir. Theo Angelopoulos, 1988)
  173. Le bonheur (dir. Agnes Varda, 1965)
  174. Lenny (dir. Bob Fosse, 1974)
  175. Liberal Arts (dir. Josh Radnor, 2012)
  176. The Life Aquatic With Steve Zissou (dir. Wes Anderson, 2004)
  177. Life Itself (dir. Steve James, 2014)
  178. Life Partners (dir. Susanna Fogel, 2014)
  179. Like Father, Like Son (dir. Hirokazu Koreeda, 2013)
  180. The Lion King (dir. Roger Allers and Rob Minkoff, 1994)
  181. Listen Up Philip (dir. Alex Ross Perry, 2014) [REVIEW]
  182. Lucy (dir. Luc Besson, 2014)
  183. Magic In The Moonlight (dir. Woody Allen, 2014)
  184. Maleficent (dir. Robert Stromberg, 2014)
  185. Mammoth (dir. Lukas Moodysson, 2009)
  186. Man with a Movie Camera (dir. Dziga Vertov, 1929)
  187. Maps to the Stars (dir. David Cronenberg, 2014)
  188. Marketa Lazarova (dir. František Vlačil, 1967)
  189. Maurice (dir. James Ivory, 1987)
  190. The Maze Runner (dir. Wes Ball, 2014)
  191. Me and My Moulton (dir. Torill Kove, 2014)
  192. Men, Women & Children (dir. Jason Reitman, 2014)
  193. Metropolitan (dir. Whit Stillman, 1990)
  194. The Mirror (dir. Jafar Panahi, 1997)
  195. Moi, j’attend (dir. Claire Sichez, 2013)
  196. Movern Callar (dir. Lynne Ramsay, 2002)
  197. Muriel’s Wedding (dir. P.J. Hogan, 1994)
  198. My Life as a Dog (dir. Lasse Hallstrom, 1985)
  199. My Name Is Joe (dir. Ken Loach, 1998)
  200. The Naked Kiss (dir. Samuel Fuller, 1964)
  201. Na papirnatih avionih (dir. Matjaž Klopčič, 1967)
  202. Nebraska (dir. Alexander Payne, 2013)
  203. Neighbors (dir. Nicholas Stoller, 2014)
  204. Nenette and Boni (dir. Claire Denis, 1996)
  205. Network (dir. Sidney Lumet, 1967)
  206. Nightcrawler (dir. Dan Gilroy, 2014)
  207. Night Moves (dir. Kelly Reichardt, 2014)
  208. Night of the Living Dead (dir. George A. Romeo, 1968)
  209. Ninotchka (dir. Ernst Lubitsch, 1939)
  210. Nobody’s Daughter Haewon (dir. Hong Sang-soo, 2013)
  211. Nobody Knows (dir. Hirokazu Koreeda, 2004)
  212. Nosferatu (dir. F.W.Murnau, 1922)
  213. Nymphomaniac: Vol. I (dir. Lars von Trier, 2013)
  214. Nymphomaniac: Vol. II (dir. Lars von Trier, 2013)
  215. Obvious Child (dir. Gillian Robespierre, 2014) [REVIEW]
  216. Oldboy (dir. Park Chan-wook, 2003)
  217. Olive Kitteridge (dir. Lisa Cholodenko, 2014)
  218. Omar (dir. Hany Abu-Assad, 2013)
  219. Ondskan (dir. Mikael Håfström, 2003)
  220. Only Lovers Left Alive (dir. Jim Jarmusch, 2013)
  221. O Menino e o Mundo (dir. Ale Abreu, 2013)
  222. The Orphanage (dir. J.A. Bayona, 2007)
  223. Our Sunhi (dir. Hong Sang-soo, 2013)
  224. Palo Alto (dir. Gia Coppola, 2013) [REVIEW]
  225. Pariah (dir. Dee Rees, 2011)
  226. Persona (dir. Ingmar Bergman, 1966)
  227. The Pervert’s Guide to Ideology (dir. Sophie Fiennes, 2012)
  228. Peter & the Wolf (dir. Suzie Templeton, 2006)
  229. Peter Pan (dir. Clyde Geronimi, Wilfred Jackson, 1953)
  230. Philomena (dir. Stephen Frears, 2013)
  231. The Pitfall (dir. Hiroshi Teshigahara, 1962)
  232. Police, Adjective (dir. Corneliu Porumboiu, 2009)
  233. The Portrait of a Lady (dir. Jane Campion, 1996)
  234. Pride (dir. Matthew Warchus, 2014)
  235. The Prime of Miss Jean Brodie (dir. Ronald Neanem 1969)
  236. Prisoners (dir. Denis Villeneuve, 2013)
  237. La Promesse (dir. Luc & Jean-Pierre Dardenne, 1996)
  238. Prozac Nation (dir. Erik Skjoldbjærg, 2001)
  239. Real Pests! (dir. Jože Bevc, 1977)
  240. Red Lights (dir. Cedric Kahn, 2004)
  241. Reprise (dir. Joachim Trier, 2006)
  242. Revanche (dir. Gotz Spielmann, 2008)
  243. Riders of the Lost Ark (dir. Steven Spielberg, 1981)
  244. The Riot Club (dir. Lone Scherfig, 2014)
  245. The Ruling Class (dir. Peter Medak, 1972)
  246. Russian Ark (Alexander Sorukov, 2002)
  247. Safety Last! (dir. Fred C. Newmeyer and Sam Taylor, 1923)
  248. Sailing to Paradise (dir. Blaž Završnik, 2014) [REVIEW]
  249. Sans Soleil (dir. Chris Marker, 1983)
  250. Saving Mr. Banks (2013, dir. John Lee Hancock)
  251. Seconds (dir. John Frankenheimer, 1966)
  252. Sense and Sensibility (dir. Ang Lee, 1995)
  253. Short Term 12 (dir. Destin Cretton, 2013)
  254. The Shop Around the Corner (dir. Ernst Lubitsch, 1940)
  255. Silent Light (dir. Carlos Reygadas, 2007)
  256. Simon of the Desert (dir. Luis Bunuel, 1965)
  257. Sin City: A Dame to Kill For (dir. Robert Rodriquez & Frank Miller, 2014)
  258. Slacker (dir. Richard Linklater, 1991)
  259. Slovenian Girl (dir. Damjan Kozole, 2009)
  260. The Skeleton Twins (dir. Craig Johnson, 2014)
  261. Skyfall (dir. Sam Mendes, 2012)
  262. Spring Breakers (dir. Harmony Korine, 2012) [REVIEW]
  263. Snowpiercer (dir. Bong Joon-ho, 2013)
  264. Snow White and the Huntsman (dir. Rupert Sanders, 2012)
  265. The Social Network (dir. David Fincher, 2010)
  266. Songs from the Second Floor (dir. Roy Andersson, 2000)
  267. Sons of Norway (dir. Jens Lien, 2011)
  268. Soul Kitchen (dir. Fatih Akin, 2009)
  269. Still Alice (dir. Richard Glatzer & Wash Westmoreland, 2014)
  270. Stranger by the Lake (dir. Alain Guiraudie, 2013)
  271. Submarino (dir. Thomas Vinterberg, 2010)
  272. SubUrbia (dir. Richard Linklater, 1996) [REVIEW]
  273. The Sugar Syrup (dir. Abhishek Verma, 2013)
  274. Sult (dir. Henning Carlsen, 1966)
  275. Summer Hours (dir. Olivier Assayas, 2008)
  276. Summer Interlude (dir. Ingmar Bergman, 1951)
  277. Superbad (dir. Greg Mottola, 2007)
  278. Suzanne’s Career (dir. Eric Rohmer, 1963)
  279. The Squid and the Whale (dir. Noah Baumbach, 2005)
  280. Sweet Movie (dir. Dušan Makavejev, 1974)
  281. Sweet Smell of Success (dir. Alexander Mackendrick, 1957)
  282. Tape (dir. Richard Linklater, 2001)
  283. The Tell-Tale Heart (dir. Ted Parmelee, 1953)
  284. The Temptation of St. Tony (dir. Veiko Ounpuu, 2009)
  285. Tess (dir. Roman Polanski, 1979)
  286. Tiny Furniture (dir. Lena Dunham, 2010)
  287. Thanks for Sharing (dir. Stuart Blumberg, 2012)
  288. That Awkward Moment (dir. Tom Gormican, 2014)
  289. The Theory of Everything (dir. James Marsh, 2014)
  290. They Live (dir. John Carpenter, 1988) [REVIEW]
  291. The Third Man (dir. Carol Reed, 1949)
  292. Thor (dir. Kenneth Branagh, 2011)
  293. Thor: The Dark World (dir. Alan Taylor, 2013)
  294. To Be or Not To Be (dir. Ernst Lubitsch, 1942)
  295. Together (dir. Lukas Moodysson, 2000)
  296. Torment (dir. Alf Sjoberg, 1944)
  297. Tracks (dir. John Curran, 2013)
  298. Trouble Every Day (dir. Claire Denis, 2001)
  299. Twin Peaks: Fire Walk With Me (dir. David Lynch, 1992)
  300. Two Days, One Night (dir. Jean-Pierre and Luc Dardenne, 2014) [REVIEW]
  301. Two Night Stand (dir. Max Nichols, 2014)
  302. Ugetsu (dir. Kenji Mizoguchi, 1953)
  303. Un Chien Andalou (dir. Luis Buñuel, 1929)
  304. Under the Skin (dir. Jonathan Glazer, 2013)
  305. Queen Margot (dir. Patrice Chereau, 1994)
  306. Vagabond (dir. Agnes Varda, 1985)
  307. Valentine’s Day (dir. Garry Marshall, 2010)
  308. Vampyr (dir. Carl Theodor Dreyer, 1932)
  309. The Vanishing (dir. George Sluizer, 1988)
  310. Veronica Mars (dir. Rob Thomas, 2014)
  311. Very Good Girls (dir. Naomi Foner Gyllenhaal, 2014)
  312. Vesna (dir. František Čap, 1953)
  313. Videodrome (dir. David Cronenberg, 1983)
  314. Vigia (dir. Marcel Barelli, 2013)
  315. Village of the Damned (dir. Wolf Rilla, 1960)
  316. Virgin Stripped Bare by Her Bachelors (dir. Hong Sang-soo, 2000)
  317. Wadjda (dir. Haifaa Al-Mansour, 2012) [REVIEW]
  318. Waitress (dir. Adrienne Shelly, 2007)
  319. Wake in Fright (dir. Ted Kotcheff, 1971)
  320. Waking Life (dir. Richard Linklater, 2001)
  321. Walkabout (dir. Nicholas Roeg, 1971)
  322. Waltz with Bashir (dir. Ari Folman, 2008)
  323. We Are the Best! (dir. Lukas Moodysson, 2012)
  324. Werckmeister Harmonies (dir. Bela Tarr, 2000)
  325. What If (dir. Michael Dowse, 2013)
  326. What Time Is It Over There? (dir. Tsai Ming-liang, 2001)
  327. What We Do in the Shadows (dir. Jemaine Clement & Taika Waititi, 2014)
  328. White Bird in a Blizzard (dir. Gregg Araki, 2014)
  329. White Dog (dir. Samuel Fuller, 1982)
  330. The Wind Rises (dir. Hayao Miyazaki, 2013)
  331. Winter Sleep (dir. Nuri Bilge Ceylan, 2014)
  332. Wish I Was Here (dir. Zach Braff, 2014)
  333. Witchhammer (dir. Otkar Vavra, 1970)
  334. The Wicker Man (dir. Robin Hardy, 1973)
  335. Witness for the Prosecution (dir. Billy Wilder, 1957)
  336. The Wolf of Wall Street (dir. Martin Scorsese, 2013)
  337. Woman in the Dunes (dir. Hiroshi Teshigahara, 1964)
  338. World of Glory (dir. Roy Andersson, 1991)
  339. X-Men: Days of Future Past (dir. Bryan Singer, 2014)
  340. You, the Living (dir. Roy Andersson, 2007)

As a way to broaden my horizons and fill some cinematic blind spots I made a New Year Resolutions list – the goal is to see all the listed films by the end of 2015. Film recommendations are more than welcome!