As rabid a film watcher as I am, time restrictions will forever thwart my capacity to plow through KPL’s stellar movie collection but here is an abbreviated list of some of my favorite films from KPL’s collection, watched over the past year. While we add new releases each week, don’t forget about the diversified depth of our collection. We can’t purchase every movie that is requested or inquired about but we can work toward the goal of having most titles for most of our patrons, most of the time.
Upstream Color: With the exception of the increasingly abstract, fragmented and non-linear narratives of Terrence Malick, there have been few notable American films over the past decade or so that have attempted to remake the kind of Eurocentric, anti-classical/realist/romantic films of the 1960’s and 70’s (think: Godard, Bresson, Tarr, Tarkovsky, Resnais, Warhol, Antonioni). With Upstream Color, a sort of Hiroshima Mon Amour for our contemporary times, one hopes that young filmmakers will continue to take the value of abstraction seriously, reimagining it in new and thoughtful ways.
Hedwig and the Angry Inch: A film that came out (pun intended) way ahead of its time. It’s kind of an absurdist musical that is in-your-face bonkers, but bonkers in the most vital, transgressive and beautifully rebellious way. A postmodern Hair.
Young Adult: Charlize Theron gives a great performance as an unraveled mess of a person that attempts to transition from a life of boredom and narcissism toward a more complete, self-aware state where the adjective ‘young’ can finally wither away.
Sullivan’s Travels: I checked this film out because the great American director Preston Sturges’ name kept popping up in literature on director/writer Wes Anderson (a favorite of mine). This well-written and acted screwball comedy hits the mark and lives up to its acclaim as one of the 1940’s best films.
My Dinner with Andre: A film like few others--this conventions-busting mixture of fiction and nonfiction, storytelling and improvised riffing will either bore you into slumber or thrill you with its originality. We almost forget, due to the strong writing, that the great French autuer Louis Malle was its director.
Insignificance: I’m still not sure I ‘get’ this peculiar film but it was certainly compelling, the way in which a film can unfold as both an irritant and a puzzling enigma.
Hiroshima Mon Amour: Before I saw this Alain Resnais masterpiece about memory, love and loss, I considered Harold and Maude my favorite film. Now it’s number two.
12 Angry Men: Watch this fictional, court room drama and then the documentary The Central Park Five. The very notion of facts, evidence, justice and human objectivity are brilliantly rendered as a hollow collection of outdated concepts with tragic application.
Hunger: Not to be mistaken with Steve McQueen’s first film about the imprisonment of IRA soldiers of the same name but rather the nimble and haunting adaptation of the classic, existential novella by Danish writer Knut Hamsun.
Summer with Monika: Arguably, my favorite film of Bergman’s but nowhere near his best. That distinction belongs to his magnum opus Scenes from a Marriage, a film that should only be approached by the single and the happily married couple.
Rules of the Game: My goal for movie watching this year was to view a handful of those classics considered important to the historical development of the art form according to the Sight and Sound Magazine’s list of 250 Greatest Films; a list created every ten years by an esteemed cadre of critics. Renoir’s masterpiece (rated at No. 4) is there for a reason and its influence can be seen in almost every film made since 1939 that skewers the vacuity of the rich and clueless.
La Jetee/Sans Soleil: Made by maverick film essayist Chris Marker, these two films are quite distinct from one another in both content and style. Both represent the best in avant-garde, envelope-pushing cinema that emerged parallel with the various manifestations of the European New Wave movement.
Picnic at Hanging Rock: This 70’s cult classic by Peter Weir still holds up as a truly original film that tackles the subject of loss, regret and repressed longing, all of which are tied to a mystery that leaves an Australian women’s school in shock and confusion.
Other notable films: L’ Avventura, Stroszek, Bringing Up Baby, Amarcord, The Killing, Neighboring Sounds, Damnation, The Lives of Others, Magnificent Ambersons, Harvey, Pat and Mike, The Third Man, Ali: Fear Eats the Soul, The Searchers, Elevator to the Gallows, As I Lay Dying, Cleo from 5 to 7, Frances Ha, The Silence, Winter Light, Cries and Whispers, Blast of Silence, Through a Glass Darkly, Argo, Shallow Grave, Band of Outsiders, Fanny and Alexander, Mud, Harry and Tonto, Chasing Ice, and Guess Who’s Coming to Dinner.