The 12 best films of the decade 2010-2019
Summarize ten wonderful years of wonderful film in a single article, the task is quite daunting, especially for those of us who do this job by browsing at the rate of two-three (sometimes more) films a day, but the decade of 2010-2019 is coming to an end and it is right profondersi in this last, little big effort to greet him as they should, rivivendolo through the best examples of cinematic art that will be forever linked.
At the end of the ruthless, unquestionable (or so they say) and soggettivissima top 12 (spoiler: there are few things objective in this universe, but among them without any doubt miss the film critics), we refer also to some special mentions for works that unfortunately have been left out from the places of honor, and that you will find at the end of the article.
The palm of the best b movie of the decade goes to the atypical Wester of the atypical S. Craig Zahler, the iconoclastic director-screenwriter-novelist-musician in the course of a few years established itself as a real John Carpenter of the twenty-first century: as the author-the master of Halloween Zahler likes to reinvent the genres according to his vision, a vision which rotates the wheel around hard men guided by the codes of moral standards that one way or another they always end up making the decision in the worst possible, unleashing an inescapable and perverse game to relaunch in which everything becomes more and more unmanageable and suffocating. The first effort of the director, the Bone Tomahawk is a film that traps excess crushes, kills, a work of brutal that through a staged crazy manifests without twirls or frills will go straight to the point without stopping to draw breath or to reflect.
The palme d'or at Cannes 2011 for masterpiece impressionist of Terrence Malick, that with the metaphysical ingenuity is moving in a trance, dream-like between the microcosm of the average middle class american and the macrocosm of the universe, showing the birth of life and the inexorable looming of death in all its forms, resulting in a phantasmagoria of continuous alternation between the earthly and otherworldly. So enormous by the finish with the crushing under its weight the same as Malick, that from then on it is more detached from the language of the synesthetic created thanks to the dreamy photography of Emmanuel Lubezki, succeeding only in creating a film photo-copy bar imitation of this immense vision that is not worth a frame.
If Avengers: Endgame is the champagne uncorked at the end of the race with a lot of the cup to be lifted, Avengers: Infinity War is the incredible and unexpected overtaking at the last bend, the scored a second in the last five minutes, the right hook a second before the end of the last round: nihilism made cine-comic, the work of the brothers of the Russian contains in the way, it's unlikely that inspired the epic Marvel Cinematic Universe to the whole of the production is gigantic and sprawling, with six MacGuffin hitchcockiani disguised Gems of the Infinite that we carry to the ends more remote and unexplored parts of the universe, Kevin Feige, in the company of all the superheroes you could want. In the narrative construction of a story is always more compelling of its resolution, and Infinity War is the umpteenth confirmation of the rule already widely demonstrated in The Empire Strikes back and The Two Towers: the immense and unreachable, sets the scene for the extreme potential of the cine-comic, going so far as to go ahead the same Marvel Studios have had to cancel those effects retrospectively with the next chapter.
You may have noticed that the rightly venerated and magnificent The VVitch and It Follows were unfortunately bound in the “honorable mentions”, and this detail should be enough to give you an idea of the size of the offering, the horror of The Wailing: known in Italy as the Goksung – The Presence of the Devil (from the original title: south Korean Gok-seong), the film is a haunting story of dark evil, told with incredible detail, from director-screenwriter Hong-jin Na (here only his third film, after The Chaser and The Yellow Sea). Steeped in pessimism and permeated by an intense and sickening presentiment of malignancy, the film has a spectacular atmosphere that mixes folkore, xenophobia, paranormal and raw, realistic horror, which throws in the face to the viewer each single nuance and sub-genre of horror through a screenplay frighteningly consistent. With a vivid natural setting, The Wailing shatters the expectations of his audience, and in the end, from the chills you can even play with the iconography of the Evil one, proposing their own version.
Four years before embarking body and soul in the ambitious project for twelve hours in three movies Mektoub (today they have only released Song One, and Intermezzo), the controversial author tunisian-born French Abdellatif Kechiche had made his movie more beautiful, deep and haunting: The Life of Adele is a masterpiece of passion, lust, empathy, and humanity, capable in his three-hour narration of dragging in the body of another existence, to make you feel the feelings of another person and make you live her experiences. Adele's character becomes a person and its dramas and its joys become those of the public, which will not forget never.
Exorbitant metaphor for the assimilation of mourning and so much consequent as the unexpected rebirth from the black abyss of space, the depths of pain, Gravity by Alfonso Cuarón, is a masterpiece which fluctuates between drama and space adventure, and who knows how to be together intimate and spectacular, the giant such as a planet around which to orbit, and tiny as the smallest of the hopes which cling, cold and silent as the universe, or warm and hospitable as the belly loving than a mother. One of the movie experiences more visceral, exciting and compelling ever made.
You can argue about which is the masterpiece up of Paul Thomas Anderson, in a career made up of only the masterpieces, but at the cost of sounding unpopular it is on a technicality that we decide to point: for as unexpected and much less celebrated compared to the other works of the author of the noir with Joaquin Phoenix is a witchcraft film (is there really a character named Sortilège), a stream of consciousness of James Joyce and Raymond Chandler constantly high from the fumes of the stoner movie: in the film, Anderson seems to stretch time by removing it from the equation, it all happens in a dimension that is malleable paranoia and sex (which is never shown on a graphic level, but at the same time is everywhere), the cornerstones of a world of mischievous and sexy that is not at all either mischievous or sexy, but it seems like forever; Defect of Form, a work almost unique in its kind, incredibly gives the film a feeling, that sense of the repressed desire that the ruthless flow of time is taking you away and that in the present seems to be unreachable, because, by now, buried in the past ... then it is the very essence of noir.
Freely inspired by a story written by the scribe of the Tang dynasty, Pei Xing, The Assassin employs a formal rigor that decentralizes the narrative from its role as a fulcrum, relying on historical reconstruction: the distances of the placement of the camera give the images an aura of the painting, and the attention to the perfection of the staging ensures that every detail is always in its place, such as if a minimum absence, or the more subtle inaccuracy – whether it be the drapery of a curtain, or the leaf of a tree – she risked causing the collapse of the whole movie. The master of the nouvelle vague, the taiwanese Hou Hsiao-hsien is able to grasp – incredibly – the expressive power and the strong of the peace, the oxymoron that implicitly hides in power all the explosiveness of the action. The Assassin follows the movement intuitive and fluid bodies through the space of the cinema, imprimendolo in the frame, as if searching for a time hypnotic that can not exist in reality, but only in the screen.
Einsteniano for how to model the time in the assembly phase, Dunkirk is the great masterpiece of Christopher Nolan, an author that is between the high and low probably more than any other in this decade (and even before) has polarized mainstream cinema in north america