1. The New World—Terrence Malick, USA.
2. The Weeping Meadow—Theo Angelopoulos, Greece
3. Munich—Steven Spielberg, USA
4. Kung Fu Hustle—Stephen Chow, China
5. Tony Takitani—Jun Ichikawa, Japan
6. 2046—Wong Kar-Wai, China
7. Tropical Malady—Apichatpong Weerkasethakul, Thailand
8. Sympathy for Mr. Vengeance—Chan-Wook Park, South Korea
9. War of the Worlds—Steven Spielberg, USA
10. Pulse—Kiyoshi Kurosawa, Japan
TEN MORE:
Darwin’s Nightmare—Hubert Sauper, Austria/Belgium/et al.
Howl’s Moving Castle—Hayao Miyazaki, Japan
Joint Security Area and Sympathy for Lady Vengeance—Chan-Wook Park, South Korea;
Grizzly Man—Werner Herzog, USA
Brokeback Mountain—Ang Lee, USA
Charlie and the Chocolate Factory—Tim Burton, USA
Revenge of the Sith—George Lucas, USA
Steamboy—Katsuhiro Otomo, Japan
Funny Ha-Ha—Andrew Bujalski, USA
WHITE TOP 10
1. & 2. Munich and War of the Worlds
Spielberg’s jackpot year recalls Jean-Luc Godard’s 1968 U.S. release of both La Chinoise and Weekend. It’s a handy comparison since Spielberg also paralleled a political drama with an apocalyptic fantasy. The last time an American director had two films of comparable magnitude in the same year was 1944—Preston Sturges’ The Miracle of Morgan’s Creek and Hail the Conquering Hero. This makes a handy comparison because Spielberg, who works in the same popular Hollywood idiom as Sturges, also exemplifies its highest expression. Such artistic bounties rarely occur. Munich’s moral scrutiny of recent history and War’s Expressionist vision of contemporary fear would each have been the best film of any year. Together, they are an astonishing demonstration of cinematic range—the seriousness of high art, the common touch of folk-pop plus the undeniability of global relevance. Scholar Eric Green said “This was Spielberg’s best year since 1977—or ever.” How fortunate for us all.
3. 2046
Wong Kar Wai’s exquisite meditation on romance uses a 60s Western template but revels in the exoticism of sexual and cultural difference. As Tony Leung’s player-journalist Mr. Chow reviews his love and fantasy life, he plays daring games with time and imagination and plays dangerously with the hearts of Gong Li, Faye Wong, Carina Lau, Maggie Cheung and—his most heartbreaking conquest—Zhang Ziyi.
4. Kung Fu Hustle
Stephen Chow’s super-deluxe parody of Hong Kong action tropes was really an act of faith—in human potential and pop that connects community.
5. & 6. My Mother’s Smile and Good Morning, Night
Marco Bellocchio made the year’s finest comeback with two movie reminders how elegant, precise and probing Italian political cinema could be, making social crisis inseparable form personal crisis.
7. Nine Lives
Rodrigo Garcia’s virtuosic female roundelay featured amazing characterizations, nailing that what? we all feel about life.
8. Garcon Stupide
Lionel Baier’s original insight into film and modern youth built around Belgian hustler/artiste Pierre Chatagny. Great debuts for both.
9. In My Country
John Boorman recreates South Africa’s Truth and Reconciliation hearings using serene light and uncommon compassion. Geoffrey Wright in the Sam Jackson would be less confusing but Juliette Binoche and Boorman clarify the spiritual vision.
10. The Best of Youth
Marco Tullio Giordana’s Italian family saga covered late 20th century’s history and movies. Its epic narrative pleasures anticipated Spielberg and Bellocchio’s revelations. n
