The Year in Movies – 2019

The big story in movie distribution over the past decade is how Netflix, Showmax, and other streaming services have made it easier for us to watch, rewatch, discover, and scrutinise many more movies, sooner and more frequently. Not only have they been buying and streaming various independent movies that we would not otherwise have seen in South Africa, but they’re producing their own independent content and showing us that as well, and, as with productions made by any studio or independent house, there’s the chance of great works coming out of this as well.

Each year, I split my list into movies that were distributed theatrically in South Africa and those that weren’t. Every year, some of the best movies are ones that most moviegoers have never heard of because they weren’t bought by Ster Kinekor or NuMetro and weren’t shown at shopping mall cinema complexes, and South African media outlets focus nearly exclusively — with a few notable exceptions — on movies that are theatrically distributed. This is where Netflix and Showmax (and a few more sources, some of less reliable legitimacy) fill in important gaps. Steven Soderbergh hit the point exactly when he said that he wanted his new film High Flying Bird to be seen by everyone everywhere, at the same time. High Flying Bird — one of the best movies not just of 2019, but of this entire decade — was indeed available to all of South Africa early in the year on Netflix, but most people never heard of it, because no newspaper or major website reviewed it. Movie theatres are already feeling the adverse effects of audiences that stay home to stream movies, and soon media outlets will too, for ignoring or marginalising a growing and vital part of the common moviegoing experience.

The Year in Movies – 2018

2018 was not an excellent year for this blog. Though I still saw many movies, and many brilliant movies, personal matters kept me from writing and posting reviews (which always takes longer than watching the movie itself). I underwent a handful of wondrous experiences, which I shared here, and a few more that I regret I was not able to share. I feel that I developed and learned more about the work of making movies and of discussing them, as well as about myself and how I view and appreciate them. I hope the chances will come for me to go further in detail in the coming year. A particular development for me personally was an increase in the number of television series I watched. I’ve hardly written anything about television at all, and before 2018 I generally found that work made for television did not meet my expectations of audiovisual artistic creation and revelation; however, my broadened horizons brought me to such wonders as Spike Lee’s miniseries remake of She’s Gotta Have It and Joe Swanberg’s miniseries Easy, which both expanded the form immensely in artistic consciousness and pure, joyous beauty. I look forward eagerly to finding more works like these and perhaps sharing them here with readers, together with the best cinematic works of each year.

Nobody reading this needs to be told that a selection of top movies is wholly subjective; a movie is good when you decide that it’s good, and the choice of the best movies out of any group is based entirely on your unique personal perceptions of each movie. Similarly, a movie becomes important not when it simply gets seen by many people, earns a lot of revenue, or is codified by a prestigious association, but when it makes a connection with the people who see it. The disappointment of the exclusion of Inxeba from the Academy Award nominations for Best Foreign Language Film was quickly eclipsed by viewers’ strong appreciation of the work, and even the controversy surrounding it did not match the enthusiasm of the movie’s supporters.

The Year in Movies – 2017

This is a movie blog, but a calendar year in movies (an arbitrary divisor used for ease of comparison) can always be contrasted with, and, more often, related to the calendar year in general. In 2014, we noted a new rise in protest and resistance action around the world, spearheaded by the Black Lives Matter movement that began in America in that year. At the end of 2014, Ava DuVernay’s magnificent biopic Selma was released, which not only depicted a subject similar to the issues concerning the movement, but reflected a similar temper of outraged defiance and dignified opposition. The film was duly lauded, in both apt aesthetic and trite journalistic terms, and had a moderate showing at the Oscars. But, other than distilling and sharply appreciating the substance of the matter at hand, it did nothing to aid any of the protest movements surrounding it. Movies can’t change the world — art in the general shouldn’t try — but artists aim for its greater truths and meanings.

At the end of 2015, in my movie round-up, I noted the mounting energies of resistance and opposition both locally and globally: the student funding crisis, the South African education crisis, the international refugee crisis, the climate change crisis, fanaticist terror attacks, rising movements of fascism and overt racism, a growing distrust in an increasingly consumerist global media industry, and widening gaps of inequality. 2016 — whose political concerns were not enumerated on my blog post to end off that year — seemed to many like a tipping point in many of these issues, and the fierce observation and commentary on movie releases since then by social media users around the world has directly taken them into account. More explicitly than ever (and helpfully emphasised by the Oscar envelope mix-up), the widespread recognition of Barry Jenkins’s Moonlight over narrower, more backward-facing works was political at least as much as it was aesthetic. This year, Hollywood was the epicentre of an eye-widening and heartening blowback against the systematic abuse of working women. Some of the allegations of sexual misconduct arising from Hollywood were shocking (though many were sickeningly unsurprising), but nothing about the predators’ actions was special or exceptional. These difficulties exist and thrive in every industry, and it’s almost necessary that an industry that exists to reflect and perceive the society at large is the one that exposed so ubiquitous a problem.

The Year in Movies – 2016

2016 was not an excellent year for this blog. It’s not because I didn’t see many movies that I loved – on the contrary, I saw some of the greatest movies of my life, and a fair volume of them – but, due to a growing number of more pressing priorities, my duties on The Back Row were neglected, and I didn’t get the chance to share those elated experiences here.

Just about everyone else on the planet has already released their round-ups of 2016, and I’ve had a look at each of the movie pundits’ choices for the top films of the year. The results have fortified my conviction that the best thing for cinematic tastes to be is unruly and uninhibited. What one first notices looking through these lists is that many films are being hailed in London and New York that we haven’t had the faintest whiff of yet in South Africa; this is just a distribution and scheduling discrepancy. But what one notices next is that, besides a few differences in ranking and an oddball choice here and there, pundits and mainstream media critics are making all the same choices for their favourite films, and those choices converge closer and closer each year. One is led to believe that many critics are just as susceptible to hype as mass audiences are, only their hype is generated at film festivals and press conferences, instead of being stoked by trailers and supplementary merchandising.

What struck me while I surveyed these consensus choices on the masses of lists and polls (which I’ve compiled for you at the bottom of this post) is that the objects of this hype so rarely align with what I would consider commendable artistic achievements. Few lists contain more than a single film that I loved, and many don’t contain even one. It’s not a huge surprise to me; I read the reviews of my favourite movies throughout the year as I saw them, and saw quite quickly that the movies in which one viewer locates rapture and daring, many others find only confusion and obscurity. What I consider the greatest film of 2016 – Terrence Malick’s Hollywood reverie Knight of Cups – was designated “rotten” on the website Rotten Tomatoes (as useless a cultural phenomenon as any website could be) with a score of 45%, and Woody Allen’s crime comedy Irrational Man scored 44%. In terms of mainstream movie releases, not many people went to see either of those two films, and not many that did loved them. This in itself doesn’t discourage me – Malick and Allen have long been working in ways that don’t rely on commercial success and critical adulation, and their careers will continue without hindrance – but it is dismaying to see how many people think a movie must be good just because of the number and stations of others who say that it is. True appreciation of the cinema, just as success in the various realms of one’s life, depends on your capacity for imagination and independence of thought.

The Year in Movies – 2015

“Trainwreck,” The Back Row’s film of 2015

The year 2015 may be remembered in future decades as a hinge between previous years’ suppressed but rising unease throughout society, and the movements of turmoil and upheaval in local spheres as well as on a global scale. The importance of the UN Summit in Paris for our global environment has been stressed, and the crises that broke out in the latter part of the year reminded us of how far our world is from where we’d like it to be. There are reportedly more refugees now than there have ever been since the end of World War II, and the threat of attacks from ISIL, or Daesh, has stoked terror and reckless urgency in any number of the world’s democracies. In America, a handful of presidential candidates (largely but not solely Donald Trump) have succeeded in stirring up the most sickening strains of racism and fascism in numerous enduringly racist pockets of the West; and in South Africa, we face our own turmoil in a clear low point in satisfaction with and confidence in a disappointing government controlled by what was once an ardent liberation organisation – a discontent whose definitive moment of 2015 can probably be identified as the student protests in October and November, shutting down universities and government systems nationwide in an outpouring of frustration with the ruling political factions and a fervent desire for change.

This blog has not turned into my political column – my chief concern here is still the movies and their aesthetic considerations – but it’s important, I feel, to provide some historical context when reflecting on the year as it’s represented in its movies. The cinema, across all its disparate subject matters and radically diverse styles and treatments, is about life itself, and something of the world and the time often finds its way into the very best of art, whether by design or not. Here I give my selection of the best films of this year – noting that there’s a great deal I didn’t see – and hopefully, if you’ve seen them as well, you’ll recognise the intimations of life contained in them.

Of course, another way life finds itself reflected in the good movies of the year – usually far more obvious to viewers – is when directors include details and experiences of their own personal lives in their films. My selection of the best movies of 2015 are all made by directors who bravely and deftly created personal images in their work, often unconsciously finding expression of the deeper and more tender parts of their inner selves. What makes cinema into an awe-inspiring art form, and what makes a film great, is the discovery of inner lives, psychic murmurings, and emotional and intellectual stirrings in physical detail, visualised and captured with both perception and skill. The great movies are the ones that reveal the essence of a creator’s distinctive personality, the ones where style is not an art-conscious gimmick or ideological tactic, but the exterior protraction of an artistic identity.