I’m Having My Own Oscars: 2016

I still haven’t seen some of the major 2016 releases (Moonlight, I Daniel Blake, La La Land etc.), but I hope this list nonetheless provides some good movie suggestions. Anyhow, before you continue to the link where you will find a full list of my cinematic winners, here are some special mentions:

Most memorable animal performance: Marvin the dog in Paterson.

Scene most likely to make you cry from laughter: birthday party in Toni Erdmann.

Best coming-of-age scene: Estela trying to figure out how to use a tampon in California.

The most heartbreaking scene: Mina putting on a burka before going to beg on streets of Kabul in Mina Walking (special mention: dog trying to survive on a deserted island in Family Film).

Most emotional music scene: Ines performing Whitney Houston’s »The Greatest Love of All« in Toni Erdmann (special mention: music scenes in As I Open My Eyes).

Best film about Yugoslavia’s space program: Houston, we have a problem!

Most brilliantly bizzare scene of the year: Daniel Radcliffe’s farting corpse in Swiss Army Man.

Best LGBT film: The Handmaiden (special mentions: Don’t Call Me Son, Being 17, Closet Monster).

Film that proved Kevin Smith smokes way too much pot: Yoga Hosers.

Film that made me wish Seth Rogen will never make another animated film: Sausage Party.

Film that takes eroticism to a whole new level: The Handmaiden.

Film that dares to call Slavoj Žižek a »fishy philosopher«: Things to Come.

Best funeral scene: Captain Fantastic.

Best sweaters: Chevalier.

Film that everyone should see but probably almost no one will: Certain Women.

Captain Fantastic (2016): power to the people, stick it to the man!

Deep in the woods and far away from American capitalistic society, plagued with culture of consumerism, materialism and narcissism, Ben Cash, a patriarch and a father, is raising his six children. Surrounded by nothing but trees, rivers and mountains, his family is living in an unconventional and self-sufficient micro-utopia, based in their unanimous and unconditional refusal of living in what they call “capitalistic fascism”. Refusing to live in a society controlled by money and material goods, they instead form a highly routinised, but entirely self-sufficient way of living, where nothing but demanding physical routines, exercising of survival techniques and extensive, in-depth learning of maths, physics, literature and philosophy fill their daily schedule.

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Arrival (2016): the most humanist sci-fi film of the past decade

Science fiction is a genre too often misunderstood as something entirely fictional and futuristic. But if we dig deep and undress the carefully constructed metaphors (such as the presence of aliens, monsters and human mutants) we will find that the foundation of such films is always a commentary on our contemporary world. Somewhere under the surface, between the lines, science-fiction is always addressing our political, socio-economic or environmental situation, tapping into our collective fears and with a cathartic ending reassuring us that, no matter what dangers the humanity faces in a certain socio-historical moment, everything is going to work out just fine. Whether it is a sci-fi movie from the Cold War era, influenced by the nuclear threat and fear of communist Russia taking over the world, a post 9/11 alien-invasion movie that taps into people’s fear of terrorist attacks, or an environmental catastrophe movie from the early 2000’s when the reality and undeniable threat of global warming entered into our collective consciousness – there is always an important correlation between a science fiction story and an era in which it was made, even if such films do not always approach these subjects in the most impartial and non damaging way. But this is where Arrival so extraordinarily stands out from alien films that we have seen in the past, proving itself to be one of the most outstanding and humanist science fiction films of the past decade.

You can find the rest of the review here.