Before listing my top ten, I'll note that the
criteria used in determining eligibility was a New York or Los Angeles premiere
in 2002.
10. Les Destinees
Sentimentales - Rarely are epic films as sensitively conceived as
this one, and rarer still is the movie that is as content to recoil from
modernity, both in political and aesthetic approach. Simultaneously, Les
Destinees Sentimentales works as an examination of the ways that time forces
change upon people and the world that they occupy and a subdued celebration of
what manages to remain constant, despite great external and internal pressures.
The intimacy achieved in the magnificent ballroom sequence almost feels too
alive to exist in a costume drama, and its observations about the ebb and flow
of faith are remarkably delivered within the same framework. Three superb
performances anchor the journey, but the entire ensemble excels here, giving the
impression that life and passion extends beyond even the great amount that
director Olivier Assayas shows.
9. The Piano Teacher
- Isabelle Huppert delivers what is easily the performance of the year in this
difficult, but never boring, slice of shock cinema. Her unerring dedication to
the material powers the viewers through any moments in which director Michael
Haneke's intentions become suspect. The unresolved nature of the film makes it
one that warrants repeat viewings, no matter how difficult that first viewing is
(and that perceived difficulty is all the more impressive considering how much
of the sex and violence is implied). Both as an austere character study and as a
look at the need for transgression in the face of fascism, this radical work is
a white-hot, in-your-face experience that still respects your brain.
8. Spirited
Away - Master animator Miyazaki stumbles a bit here if you compare this
outing to his greatest works, but the result still qualifies as a cause for
celebration. Spirited Away features several of the year's most remarkably
enchanting moments (tears fall upward, the strike of the soot creatures) and
inspired visuals interspersed along a wandering, nonchalant, and utterly
charming narrative. The best moments here occur in the third act, in which
conventional plot resolution is tossed aside to celebrate the honest-to-goodness
friendships that we feel have formed.
7. The Hours -
As an attempt at adapting an "unadaptable", notoriously insular novel,
this film succeeds brilliantly, mostly thanks to what is clearly one of the most
distinguished acting ensembles ever assembled. Each member of the cast (with the
exception of a shaky Ed Harris) allows us to understand the importance of the
seemingly insignificant, which creates a cumulative, teeming neurosis that is
tamed in a truly cathartic catharsis. Philip Glass' superb score ties these
narratives together without ever overwhelming them and director Stephen Daldry
moves forward considerably from the likable but maudlin Billy Elliot.
6. In
Praise of Love - A dazzling display of Godard's distinctive brand
of filmmaking, In Praise of Love is probably this year's biggest
cinematic challenge, but for those willing to work to make the connections
required to get something out of it, it's an immensely rewarding experience and
proof positive that truly serious cinema is not yet dead. After a few viewings,
I'm more convinced than ever of the sad power of its ruminations about memory
and loss. Its narrative, which is partially concerned with mourning cinema's
inability to become a universal language, is all the more affecting after I
witnessed many of my peers reject the film without even recognizing that
message. Technically, it shows the master still on the cutting edge. I'm not
sure that there's a digital film that's more gorgeous than this one and the
sound mix is so adventurous that it almost says more than the visuals do.
5. Far From Heaven
- Todd Haynes' plate-spinning act here never failed to captivate me. As
his movie threatened to tip over into an ironic disgrace, it became difficult to
place my emotional faith in it. It's only after the viewing experience ended,
and I realized that my skepticism had been misplaced all along that the true
dimensions of what the film is mourning became apparent to me. Cynicism seems to
have become a natural response to emotional honesty, and a lot of energy is
spent here trying to explain how that sad state of affairs might have come
about. In retrospect, I see Far From Heaven as a profoundly moving,
deeply observed, technically brilliant film. I only wish that my defense
mechanisms had allowed me to see that the first time out.
4. 25th Hour -
There's no filmmaker quite like Spike Lee, and there are few that can work on
his level when he manages to reign himself in a bit as he does here. 25th
Hour doesn't shy away from provoking its audience, and rarely fails to
really do so when it tries. Ostensibly a whodunit, the film plays out more like
a modern morality play that's driven by a series of conversations about what it
is to accept and assign responsibility for wrongdoings. Surprisingly character
and ensemble-driven, this movie features, among other things, the most honest
father-son relationship in recent film and at least one sure to be classic
monologue, courtesy of the stellar Ed Norton.
3. Cremaster 3
- Obscure in the extreme, but still obviously heartfelt, this amazing,
thoroughly conceived film plays out like a modern version of Jean Cocteau's Blood
of the Poet and represents an astounding step forward for sculptor/film
director/art-world celebrity/father of Bjork's baby Matthew Barney. Though it's
tremendously self-absorbed (to the point where it contains no dialogue), its
self-reflection becomes an inspiration of sorts as the amazing inner workings of
Barney's mind are made plastic and exhibited before the audience as if they were
the greatest of all spectacles.
2. Spider -
Insularity dominates this uneasy masterpiece, which comes courtesy of Canadian
horror director David Cronenberg. With surprising maturity, on both a cinematic
and narrative level, he unfolds the story of a schizophrenic in a manner that
truly conveys the dreadful subjectivity that must make the disease such a
nightmare. A startlingly original, deeply moving performance by Ralph Fiennes
keeps us frustratingly outside of the subject while superb support courtesy of
Miranda Richardson coupled with the film's minimalist direction keeps threatening
to pull us back in.
1. Punch-Drunk Love
- It's the rare romantic comedy that manages to make a sense of danger
genuinely endearing, but P.T. Anderson's fearless filmmaking does just that
here. No film I've seen better captures the feel of Los Angeles than this movie,
and in that setting, Anderson finds a deep sort of disconnectedness that imbues
everything that happens with such emotional reluctance that any attempt to make
contact with another person feels like an act of great temerity. Large chunks
here play out almost musically, carrying the viewer along in the sweep that
potential love creates. On so many levels, this is my favorite film of the year,
but it's its unguarded boldness in the face of failure that most pulls me in.
A Dozen Runners-Up
The Pianist, Trouble
Every Day, What Time is It There?, Femme
Fatale, The Lord of the Rings: The Two Towers, Songs
From the Second Floor, Russian Ark, About
Schmidt, The Truth About Charlie, 8
Women, 'R-Xmas, Maid in Manhattan
Best
Achievements in Individual Categories:
Best
Director – P.T. Anderson - Punch-Drunk
Love (Runner-up: David Cronenberg - Spider)
Best
1st Feature – Group (Runner-up: Standing
By Yourself)
Best
Ensemble – The Hours (Runner-up: 25th
Hour)
Best
Actor – Ralph Fiennes - Spider (Runner-up:
Michel Piccoli - I'm Going Home)
Best
Actress – Isabelle Huppert - The Piano
Teacher (Runner-up: Julianne Moore - Far
From Heaven)
Best
Supporting Actor – Brian Cox - 25th Hour
(Runner-up: Barry Pepper - 25th Hour)
Best
Supporting Actress –
Julianne Moore - The Hours (Runner-up: Miranda Richardson - Spider)
Best
Original Screenplay -
Todd Haynes - Far From Heaven (Runner-up:
P.T. Anderson - Punch-Drunk Love)
Best
Adapted Screenplay - David Hare - The Hours (Runner-up: Patrick
McGrath & David Cronenberg - Spider)
Best
Cinematography - Robert Elswit - Punch-Drunk
Love (Runner-up: Edward Lachman - Far
From Heaven)
Best
Art Direction - Russian Ark
(Runner-up: Far From Heaven)
Best
Costumes - Russian Ark (Runner-up: Punch-Drunk
Love)
Best
Editing - The Hours (Runner-up: Punch-Drunk
Love)
Best
Sound - What Time Is It There? (Runner-up:
25th Hour)
Best
Sound Editing - In Praise of Love
(Runner-up: Songs From the Second
Floor)
Best
Visual Effects - Lord of the Rings: The Two Towers (Runner-up: Frida)
Best
Makeup - The Hours (Runner-up: Songs
From the Second Floor)
Best
Score - Punch-Drunk Love (Runner-up:
Trouble Every Day)
Best
Song - Anything from About a Boy
Ten
Best Foreign Films - 1. In Praise of Love,
2. Spirited Away, 3. The
Piano Teacher, 4. Les Destinees, 5. Trouble
Every Day, 6. What Time Is It There?, 7.
Songs From the Second Floor, 8. Russian
Ark, 9. 8 Women, 10. The
Happiness of the Katakuris
Best
Movie Trailer - None. I gave a shout out to my favorite movie
trailer last year, but this year, I essentially stopped watching them because I
was tired of having the experience of watching a film without prior knowledge of
it lessened. Down with movie trailers!
Never let it be said that I don't
know my tastes... Here's a link to an article
I wrote at the start of the year that lists my most anticipated films of the
year.
12-29-02
Jeremy Heilman