Lead:
This is not a large-scale film award selection event, but a point of view given by Iris invited by ten senior film critics with rich experience in film criticism, and the list represents the selection, judgment and vision of these ten authors.
Readers familiar with the iris will find that these ten authors are the authors who regularly participate in the writing of iris films, so to a considerable extent this can also be regarded as the selection of the iris. The scope of the award is the film of the decade 2011-2020, which is the best of the 2010s. The list is simply divided into two parts, the best in the world and the best in Chinese.
Every critic seriously wrote the reason. Perhaps there is a big gap between the final list and the reader's imagination, and the names of many popular movies have not been seen, but there are many cutting-edge unpopular works. But please believe in the sincerity and professionalism of these authors, and the rejection of certain films also represents a questioning of the times.
A few days ago we released the top ten chinese list, and today is the top ten world movies.
Hibernation (directed by Nouri Bige Ceylon)
Nominator: Gray Wolf
The tradition of poetic cinema has risen and fallen several times, and has reached a peak here in Nuri Bige Ceylon, but the difference is that the previous poetic film methods such as long shots and empty shots are no longer the precursors of scene scheduling, and they are no longer the rendering power from the environment to the state of mind, Ceylon reverses the vector of the past, so that the poetic film becomes a radiation from the character's inner to the external situation.
This radiation is thrown from the small hotel to the outside Cappadocia psorianide landscape, where all activity is a dialectic of thought, most typical of rabbits and white horses. But it eventually returns to the dramatic moments in the interior, where trivial linguistic philosophies dominate, and these dialogues determine the evolution of the exterior. Including this film, the dialogue in Ceylonian films is only about one issue, namely the master-slave dialectic in multiple senses.
"Melancholy" (directed by Russ von Teal)
Nominee: Gan Lin
As the millennials turn, I am just as eager as the world looks forward to the warm gift of future brand cigarettes. In the 2000s, although our lives were not as sweet as sugar, it seemed that the world was still moving forward and never looking back. By the 2010s, expectations for Windows 98 had turned into a chase for iPhones 4, 5, 6, 7, and 8, and the world was suspiciously headed for an increasingly conservative situation.
Although Russ von Trier, who spoke wildly with "Melancholy" in 2011, was expelled from Cannes, the film was included in the film handbook's top ten in the 2010s. Looking back at Melancholia in the 2020s, the joy and rationality that derives from the disaster, the power to destroy everything with melancholy, can be used as an echo of the 2010s by The paranoid, violent, and madman of Ras von Trier.
Las von Trier is lazy, and you can see Bruegel's paintings, Wagner's tone, Antonioni's scenes, Andacovsky's homages in Melancholy, but these seemingly crude references can eventually swallow up all emotions in the sinking of Ras von Trier.
Leviathan (directed by Lucien Kastein-Taylor/Verena Paravel)
Nominee: Kai Yin
The directors are professors at Harvard University's Laboratory of Imaging Anthropology. They used 12 GoPros to photograph a fishing boat sailing at sea. Birds, schools of fish, the surface of the sea, the speeding hulls, the toiling crew and the gloomy and furious sky are all part of the film. There is no need for any cumbersome thinking as a medium, but only intuition can connect the external world with images. Intuition shatters powerful philosophical gothic experiments in film hermeneutic theory and semiotics, ideally in cinema.
Cannibal (Directed by Lucien Kastein-Taylor/Verena Paravel)
Nominator: LOOK
For documentary filmmakers, the most difficult thing is how to completely remove personal views in the face of a given material, that is, completely remove the main intervention of the creator (ethics, aesthetics, ideology), "Cannibal" can be regarded as the ultimate.
The expression of non-judgment makes the extremely strange and sensational theme involved in "Man-Eater" easily avoid the hunting and voyeuristic viewpoints, but at the same time does not provide the audience with an intellectual level of understanding. Is there a cause for the incomprehensible destruction of sin or is it a gift from the Creator? The film doesn't give any answers. The external social news perspective elements do not exist in the image. What strikes us is the stupid movement of the pure physical image, and the response that the viewer can give can only be intuitive grasp, and the sigh becomes part of the object's body.
American Sweetheart (Directed by Andrea Arnold)
Nominator: Liu Qi
Fresh, free, raw. There are almost no traces of performance, and handheld photography contains a rhythm of life rhythm, making people feel a breath and heartbeat at every moment. Andrea Arnold tells a story of American youth in an immersive rather than withdrawing posture, with a mixture of chaos, cruelty and warmth, sweetness in the dirty, joy without heart and lungs, and confusion with heavy hearts.
Completely jumping out of the stereotypes and plot routines of the underlying narrative, there is no condescending or bitter social care and thinking, and presents the daily existence of these young boys and girls with full passion, presenting their living flesh full of vitality. A work that refuses to be interpreted, and calls on us to see, hear, and feel.
Border Killer (directed by Dennis Villeneuve)
Nominee: Mei Xuefeng
A nightmarish work, a sense of fatalistic violence pervades every frame from beginning to end. The film has the ability to mobilize all tangible and intangible elements to serve the atmosphere of the film, has the ability to shoot the most everyday scenes with a sense of suspense, the film has a slow but tense and wonderful rhythm, and has a complex touch of tired cruelty and hopeless compassion. A typical Hollywood police film, under the blessing of the strong ability of the film's creator, has faded the usual glitz and frivolity, and has a solemn and solemn nature.
"Mr. Turner" (directed by Mike Lee)
Nominee: Racer
Like most of Mike Lee's films, people's faces are quite a tortuous distance from the eye, so they have to discover the beauty of the scenery or build their own landscape. Or in these people, their perception of beauty is no longer limited to pleasing to the eye in the broad sense, but to re-establish an aesthetic system. It is the mountains and rivers, but also the hearts of the people. So a person who seems cold and not good at expressing himself has gained two mellow feelings.
The British Impressionist master Turner, with a rough appearance and bad words, gave all his expressions to the picture, as if he could only communicate with the most natural nature. He had two women, one ugly and one uglier. One looks very old, one is very old. But in that masterpiece, they are also like the sun, shining brightly, reflecting the magical shell.
Twin Peaks Season 3 (Directed by David Lynch)
Nominee: West Parker
For movie fans, Twin Peaks is like a limbo that can't go out, a video reincarnation of soap opera characters and high-concept visual arts. In the middle of this, Lynch shows the laws of all things in the world, the origin of evil, the image of pure dream logic and complete idealism. It even resembles an endless scatter or a ring that meets end to end.
The great thing about Lynch is that although the ending seems to explain nothing, there is a sense of loss that is infinitely close to the truth. When you are caught in it, can't bear it and want to abandon the show, but twin peaks are over, it is a cruel fact. Although it is a TV series, it is conceptually and productionable enough to surpass any film work in ten years.
"Burning" (Director: Li Cangdong)
Nominator: In the cloud
Films directed by Li Cangdong are often seen as a style of realism. But his real success depends on the sublimation of the "unreal" aspect of his films, using surreal and unrealistic techniques to carry out "metaphorical" and "mysterious" narratives. In "Burning", Li Cangdong further magnifies this "unrealistic non-reality" technique, which has been harmoniously integrated into the entire narrative process.
The film, from beginning to end, emphasizes a "mystery", that is, mystery, and this mysterious director does not give the final answer, the answer is in the hearts of every audience who has watched the movie. From the passage where Emi dances, "Burning" enters an open narrative that is difficult to distinguish between true and false. The truth and outcome of the incident gave rise to several possibilities. This is where the film's approach is advanced, leaving questions and reflections to the audience to reconstruct. There was hardly a scrap in the script writing. All meaningful, pointed, sublimated. The screenwriter ambushes the pen and echoes the level of detail, really no one else.
Li Cangdong uses a powerful film language to depict a mental state of whirlpool falling, which is one of the best performances that art films can do in the past decade, and also expands the boundaries of the current genre film narrative.
"Goodbye Language" (Director: Jean-Luc Godard)
Nominee: Wu Zeyuan
Goodbye language or goodbye words? Godard has all his life competed with the mainstream "speaking" of the film industry, and this stems only from his obsession with the language of cinema – there are so many perspectives to be tapped into, so many beauty and insights to be presented. But most filmmakers either surrender their weapons in front of them or turn a blind eye to the potential of the media itself, and Godard, who has reached old age, is still charging for the future of film.
Dreams and nightmares, noise and silence, passion and disillusionment, entry into the world and escape, all these poles tearing each other apart, are presented to the extreme by Godard's psychedelic digital images. It's a work of politics, love, and creation, and in the final analysis, it's an ode to art and cinema itself. Say goodbye to language, see language again.