The Chained editors choose their favorites
Boyhood-0 It is clear that 2014 has been a year of very cinema. That sixty-six films in total, of the releases this year, is a very good proof of it. The winner, and outstanding, has been Boyhood, risky last experience of Linklater (one of the past directors whose work has been analyzed not long ago in our Rashomon section). Always faithful to his craving for novelty and, to a certain extent, in the line of his Before … trilogy, he has been filming a false document over 12 years (in short annual sessions) to show more than the growth of a young man. Linklater, from there, has been portraying the contradictions of some characters as time passes and the changes of the country in which they live. Excellent analysis of an evolution at all levels.
Excellencies of Boyhood have earned her awards, those already received and those that will come, and her confirmation as the best film of the year for various media (those who have already voted and will be reflected in several of those that are missing For publishing it).
This is the case of the magazine Cayman both for the votes of the critics and for the readers of the magazine. And it is also the case, among others, the magazine Sight & sound, Film comment or Empire. The mythical Cahiers du cinema, however, does not look like the best title of the year, not even among the top ten of Linklater’s films, a place of honor awarded to the miniseries P’tit Qinquin by Bruce Demont, a filmmaker practically unknown in Spain Only, and in some cities came to see last year Camille Claudel, 1915).
Cahiers, Sigth and Soud and Film Comment agree to place In a privileged place Goodbye to language (it is second in the list of the last three and third in Cayman).
The sad thing is to check the list of the best of the year in magazines out the amount of cinema that does not reach us. There he is in three of the foreign magazines cited (he does not appear in Empire) and in all of them, in the top five, the third film by Jonathan Glazer (director of Reincarnation and Sexy Beast), Under the Skin, And repulsas is producing from his pass at the Venice Festival (Boyero with his usual virulence charged against her in his information on his pass at that festival).
They are not the only titles that have not come to us. And even directors that we still do not know. Let’s cite the unknown Israeli Nadv Lapid and his Kindergarten teacher or one of the greats of the Japanese animation, Isao Takahata, The Tale of the Princess Kaguya, Pedro Costa with Horse Money., Sergei Loznitsa with Maidan.
For these worlds, but not for this, Eugene Green also walks with La sapienza where (as Minnelli, in a short way, throws us in Cautivos del mal) explains that the artist will only be more than an applied artist when he reaches a high Degree of humility.
Nor do we know anything about La Jaoluise from another great unknown among us, Philippe Garret, or Tourist de Ruben Ôsundund, or from Bande de filles by Celine Sciamma. Neither of Takashi Makino’s Phantom Nebula, Tsai Ming-Ling’s Journey to the West, Hong Sangsoo’s Our Sunhi, or, in short, well-known directors such as Alain Cavalier (Le Paradis), David Cronenberg (Maps to the Stars) Or of (it was his last work) Alain Renais (To love, to drink and to sing). A list that could be made interminable in an exhibition dominated, in Spain as in many other places, by the production of the great American studies.