Nocturama 2016

2017 didn’t improve much on 2016. If anything, the horror and dread of last year only seemed to take root and blossom this year, as some of our worst collective fears were realized and the future seemed to grow dimmer with every bad-news bulletin and misjudged tweet. If there was a constant, at least for cinephiles, it lay with the movies. One can quibble with the cumulative quality of 12 months of cinema. (Did this year produce a Moonlight or a Manchester By The Sea, a near-consensus masterpiece?) But as the world burned, the films still delivered. There were so many good ones in 2017, in fact, that we surely left out some of your favorites, including (spoilers for the few who have opted to read this preamble before scrolling through the selections below) The Shape Of Water, Blade Runner 2049, The Post, Faces Places, Wonder Woman, The Disaster Artist, Coco, and Mudbound. Chalk the omissions up to the particular tastes of our six regular contributors, and check out the individual ballots for a sense of whom to blame specifically for them. Hopefully, 2018 will improve on 2017 in almost every regard. But we really couldn’t ask for much better movies.

Source: https://www.avclub.com/the-20-best-films-of-2017-1821431829

The 21st Century's Most Acclaimed Films list serves as a companion to the They Shoot Pictures, Don't They? 1,000 Greatest Films of all time list which, - by its nature - tends to have very few films from the 21st century in it. The 21st Century's Most Acclaimed Films list attempts to highlight and honour this century's most critically revered films and act as a sort of 'resting bay' for many great films that are likely to be included in the 1,000 Greatest Films list sooner or later.

Source: http://www.theyshootpictures.com/21stcentury.htm

Movies (and some tv series/episodes) that are so insanely packed with things and ideas and visuals they become dense in one way or another.

• Obviously subjective but not precisely my favourite movies.

• Ordered alphabetically.

• Suggestions welcomed but I'll have to see them to see if they fit my criteria.

Time again for our annual international critics’ poll of the year’s top movies. This year we asked 163 critics and curators to name their five best films of the year – and the results are a small triumph for diversity (not to mention a lot of treats still to come to UK cinemas over the next few months). Films directed by women make up the majority of the top five, alongside Barry Jenkins’ gay black coming of age portrait Moonlight in second place.

Andrea Arnold’s American Honey and Ken Loach’s I, Daniel Blake also show the breadth and depth of British cinema – but this is surely the first year that a German comedy is the runaway winner…

Source: http://www.bfi.org.uk/best-films-2016

Source: https://film.avclub.com/the-100-best-movies-of-the-2010s-1839846306

2017 released movies I probably want to watch.

Films pour Madame :)

Movies that are equivalent to dream-pop, shoegaze music - They possess an ethereal emptiness…

an ever evolving list of movies I have watched

A list of films John Waters has referenced in his interviews, books, commentaries, and other work as influential to his career or that he is a fan of otherwise.

Includes all of the films ranked in his yearly 'Artforum: Best Of' year-end lists. (https://joeclark.org/dossiers/johnwaters.html)

This list is a work in progress, by no means a complete reference.

Cross referenced at
https://www.imdb.com/list/ls044203105/ (with JW quotes pertaining to each title)

Films showing during the Zürich Film Festival 2016. (largely complete)

From surgical quietude and nocturnal nightmares to feral mermaid sisters and antiporno sadism

For many people, 2017 was a year endured rather than lived. If 2016 was marked by the sheer immediacy of survival, then that sense of heightened awareness led us to wonder just how the fuck we got to where we are now. As reality continued to morph into the cartoonishly hyperreal landscapes of a nightmare, the cinema of 2017 brought forth a much-needed wave of pragmatism, forcing us to take a long, hard look at our collective histories — both recent and long ago, historical and fictional — as a means of regaining our bearings in a world where the rug had seemingly been pulled out from under our feet.

Whether these films were tackling issues of race (Mudbound, I Am Not Your Negro), sexuality (BPM, Call Me By Your Name), or even our youthful connection to the towns we grew up in (Lady Bird), there was an urgent sense of gazing back in time to reckon with our mistakes. And these contemplative reevaluations wisely skirted pure nostalgia, paving the way for thrilling narrative and visual experiments, from slowly peeling back the perfectionist veneer of the 1950s London fashion world to reveal its psychological kinks (Phantom Thread) and extolling the humor and wit of a reclusive poet (A Quiet Passion) to examining a collision between personal obsession and imperialism (The Lost City of Z) and a daring retcon of the world’s most ubiquitous film series (Star Wars: The Last Jedi).

Even topics that have been long since rendered inert were made exciting once again in 2017. Christopher Nolan’s use of World War II (Dunkirk) as an experiment in crosscutting and tension-building and Albert Serra’s wry Renaissance-painting-come-to-life (The Death of Louis XIV) displayed new aesthetic strategies for representing and grappling with the past, while James Franco used the behind-the-scenes on-set comedy (The Disaster Artist) to explore both the authenticity of our attachment to so-bad-it’s-good cinema as well as the emotional and economic intricacies behind its own making.

But where many films looked behind us, there were still plenty drawing inspiration from the urgency of our current and near-future predicaments. Some of our favorites managed to touch on the potential repercussions that technological advancements will have on our consciousness and memory (Marjorie Prime) or our sense of self-worth (Ingrid Goes West), while others remained firmly grounded in the struggle to simply exist and make it to the end of each day (The Florida Project, Good Time). These 30 films demonstrate that the art of filmmaking can still be emboldened by sociopolitical turmoil to re-examine its own means of production, simultaneously breathing new life into once-stale forms and breaking boundaries to create new ones. –DEREK SMITH

Source: https://www.tinymixtapes.com/features/favorite-30-films-2017

Below is our updated running tally of the films most frequently mentioned by individual critics on the year-end Top Ten lists. Note that if a critic ranks more than the standard 10 films, we will not include films ranked 11th or worse. (We do include unranked lists of 11-20 titles, though each film gets just one-half of a point.) In case of a tie for first or second, each film will receive the full points for that position.
http://www.metacritic.com/feature/film-critics-list-the-top-10-movies-of-2017

2017 didn’t improve much on 2016. If anything, the horror and dread of last year only seemed to take root and blossom this year, as some of our worst collective fears were realized and the future seemed to grow dimmer with every bad-news bulletin and misjudged tweet. If there was a constant, at least for cinephiles, it lay with the movies. One can quibble with the cumulative quality of 12 months of cinema. But as the world burned, the films still delivered. There were so many good ones in 2017, in fact, that we surely left out some of your favorites, including The Shape Of Water, Blade Runner 2049, The Post, Faces Places, Wonder Woman, The Disaster Artist, Coco, and Mudbound. Hopefully, 2018 will improve on 2017 in almost every regard. But we really couldn’t ask for much better movies.

https://www.avclub.com/the-20-best-films-of-2017-1821431829

Movies I plan to watch

Not my selection, but an easier way to track theirs:
https://lwlies.com/articles/the-100-best-films-of-the-decade/

List of all the movies presented on the podcast "Un film pour ce soir" (https://play.acast.com/s/un-film-pour-ce-soir)

Movies that could be artsy and are acclaimed by some critics. Soooo double-edged sword movies, could be great, could be a waste of time.
¯_(ツ)_/¯