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PostPosted: Mon Apr 17, 2017 10:25 am 

Joined: Mon Oct 31, 2011 5:54 pm
Where's zedz typically excellent writeup? :(

1. 4 Days in France (Jérôme Reybaud)
2. A Yangtze Landscape (Xu Xin)
3. Martírio (Vincent Carelli)
4. Sarah Winchester, opéra fantôme (Bertrand Bonello)
5. Ruinas tu reino (Pablo Escoto)
6. Still the Earth Moves (Pablo Chavarría Gutiérrez)
7. Sleep Has Her House (Scott Barley)
8. Autumn, Autumn (Jang Woo-jin)
9. We the Workers (Wenhai Huang)
10. Casa Roshell (Camila José Donoso)
11. Arábia (Affonso Uchoa, João Dumans)
12. Pendular (Julia Murat)


PostPosted: Mon Apr 17, 2017 12:15 pm 
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Joined: Mon Nov 29, 2004 2:52 pm
Location: NYC
01 - Trainspotting 2
02 - Call Me By Your Name
03 - The Bad Batch
04 - Colossal
05 - Dunkirk
06 - Wilson
07 - Get Out
08 - Good Time
09 - Split
10 - The Lost City of Z

Last edited by barrym71 on Thu Oct 05, 2017 12:16 pm, edited 3 times in total.

PostPosted: Sat May 13, 2017 9:01 am 
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Joined: Sat Sep 13, 2008 3:11 am
1 : Twin Peaks 3
2 : You Were Never Really Here
3 : 3/4
4 : Caniba
5 : Un beau soleil intérieur

6 : The Lovers
7 : Good Time
8 : Closeness
9 : The Nothing Factory
10 : Song to Song

Last edited by menthymenthy on Mon Dec 04, 2017 3:24 am, edited 2 times in total.

PostPosted: Thu Jun 15, 2017 10:30 am 
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Joined: Fri Dec 21, 2012 5:30 am
01. The Shape of Water
02. The Florida Project
03. Call Me By Your Name
04. Kedi
05. Phantom Thread
06. Fashionista
07. The Square
08. Loveless
09. Blade Runner 2049
10. A Fantastic Woman

Last edited by Aunt Peg on Sun Feb 04, 2018 4:52 am, edited 10 times in total.

PostPosted: Thu Jun 15, 2017 10:41 pm 
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Joined: Wed Nov 03, 2004 1:20 pm
Location: New England
Are Paterson and Neruda "2017 films"? If so -- they are my 1 and 2...

PostPosted: Mon Jul 10, 2017 12:29 pm 
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Joined: Thu Dec 09, 2004 3:25 am
Location: Los Angeles, CA
1. The Lost City of Z
2. Phantom Thread
3. Dunkirk
4. Good Time
5. The Florida Project
6. Blade Runner 2049
7. Baby Driver
8. Abacus: Small Enough To Jail
9. John Wick: Chapter 2
10. Shock Wave

Not a movie, but better than most things I've seen this year: The return of Lasagna Cat, Twin Peaks

Good: Get Me Roger Stone, Get Out, I Called Him Morgan, I Am Not Your Negro, La Commune, Lady Bird, Meow, The Meyerowitz Stories

Not good: Beatriz At Dinner, The Beguiled, David Lynch: The Art Life, Detroit, A Ghost Story, It, Personal Shopper, Whose Streets?

Bad: The Disaster Artist, Free Fire, It Comes At Night, Okja, Sandy Wexler

Astronomical levels of shit: The Bad Batch, I Don't Feel At Home In This World Anymore

Last edited by The Elegant Dandy Fop on Thu Dec 21, 2017 1:25 pm, edited 7 times in total.

PostPosted: Wed Jul 26, 2017 1:18 pm 
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Joined: Tue Feb 27, 2007 2:22 am
1. Phantom Thread
2. mother!
3. Lady Bird
4. Get Out
5. The Florida Project
6. A Ghost Story
7. Colossal
8. Logan Lucky
9. The Lost City of Z
10. Mudbound

Also seen: The Meyerowitz Stories, The Big Sick, The Shape of Water, The Beguiled, Logan, Ratfilm, I Tonya, Star Wars: The Last Jedi, Columbus, Thor: Ragnarok, Dunkirk, Blade Runner 2049, Lucky, The Killing of a Sacred Deer, A Quiet Passion, Call Me By Your Name, The Disaster Artist, The Post, Baby Driver, The Blackcoat’s Daughter, Guardians of the Galaxy: Vol. 2, Wonder Woman, Song to Song, Three Billboards outside of Ebbing, Missouri, Beauty and the Beast, The Greatest Showman

Last edited by Shrew on Thu Mar 01, 2018 12:32 pm, edited 15 times in total.

PostPosted: Sat Aug 12, 2017 5:15 am 
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Joined: Thu Aug 29, 2013 7:41 am
Location: Berlin, Germany
Still have not seen a lot of the 2017 movies. So far for me it seems to be all about horror, ghosts and monsters in 2017:

Get Out
Personal Shopper
The Girl with all the Gifts
A Ghost Story

Good: Logan, Split, Shin Godzilla, Nerve

Bad: Alien Covenant, We are the Flesh

Disappointing: Elle

Cheat: Twin Peaks S03E08

I expect the first three to still be high up in my ten best list and I'm not sure anything can beat the French cannibal-coming-of-age drama Raw, which blew me away. The last three films I don't expect to be there once I've caught up with everything. Okja's ending makes up for some early missteps while Colossal and Jane Doe are let down by a last act which isn't as good as what went before.

Last edited by Lost Highway on Sat Dec 30, 2017 7:15 am, edited 1 time in total.

PostPosted: Mon Aug 14, 2017 7:45 pm 
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Joined: Sun Nov 07, 2004 7:24 pm
I’m over my big festival bump now, so I can put together a top ten with a little confidence.

It hasn’t been an especially strong year, from what I’ve seen. I’ve caught nearly twenty titles from Cannes, and only a few seemed to me among the best of the year. On the other hand, there were fewer outright duds than in recent memory, to the extent that I haven’t even got a ‘worst of 2017’ addenda that I can add with much force.

TOP TEN of 2017 (no particular order)

VISAGES, VILLAGES (Varda, JR) – Agnes Varda’s new film is one of the most purely joyous films I’ve ever seen. It’s like digital serotonin. Varda and her young photomuralist friend turn rural France into their own personal art project, while very lightly musing on artistic creation, the value of labour, the ravages of age, life and death. Probably the best film at Cannes, and it wasn’t even in competition.

THE SQUARE (Ostlund) – While this might have been the best film that was in competition, so it’s kind of astounding that it actually won the Palme. Dark, hilarious, occasionally disturbing, but formidably thematically coherent, tackling the role – and limits - of empathy in modern society from every conceivable angle.

A GENTLE CREATURE (Losnitza) – Hey! I might be the only person in the world who liked this film! But I liked it a lot. It’s more in the vein of My Joy than In the Fog, and it’s more in the vein of The Asthenic Syndrome than either of them. In fact, I was half-expecting a ‘To Kira’ title to appear before the final credits. Most of the film is a queasily historically ambiguous allegory that steadily accumulates dread like a long skirt in a Gulag accumulates mud and shit, with Muratovan repetitions that cycle the protagonist through various circles of bureaucratic hell. There’s an extended, clearly indicated dream / nightmare sequence at the end that I don’t get audiences not getting (it’s the most straightforward part of the film by far), before the final curtain opens on the abyss. Losnitza’s flair for filling the Cinemascope frame is as brilliant as ever and for me this was the year’s definitive feel-bad movie (and thus the polar opposite of the Varda).

(Losnitza) – However, I liked this spare, exquisitely constructed documentary even more. In a sequence of precisely framed static shots, we make our way through the Sachsenhausen Concentration Camp, in the company of thousands and thousands of tourists. This is a brilliantly constructed film, with every shot linked to the ones before or after it in some subtle way (location reference, soundtrack). There’s no narration beyond what we overhear from various tour guides. We float through a site of horror, bearing witness to its other witnesses: bored, hungry, oblivious or engaged. Absolutely mesmerizing.

A MEMORY OF OTHERS (Ogston) – Simon Ogston has made a number of very good documentaries on marginal New Zealand musicians (Skeptics, Phil Dadson), and he’s a rare maker of music documentaries who really understands music. These aren’t celebrity docs garnished with twenty-second clips of the artist’s best-known songs: the films are interested in the creative process and allow us to hear full or extended performances. This documentary portrait goes even further, taking Direen (a strong candidate for New Zealand’s greatest songwriter) on tour through various old haunts. On the way he makes pilgrimages to places of personal or cultural significance. It’s a perfectly balanced picture, Direen is a shy, wry, thoughtful subject, and the music is gold. I loved the way that nothing was overexplained, though non-locals might be struggling with all the historical, cultural and geographic resonances the film effortlessly encompasses. Maybe a North American viewer would recognize Janet Frame or have heard of the Christchurch Earthquake, but would they spot Michael Joseph Savage and understand the significance of his portrait, recognise Rangitoto, or know of James K. Baxter?

GOODBYE UTOPIA (Ding) – I saw a lot of great animation (and a lot middling animation), so here’s the most singular one I saw. Ding Shiwei presents a grid of nine widescreen images, each depicting repetitive, sinister allegorical actions (tiny figures hurl themselves from an evolving urban landscape, an army of hands hoist little red books in the air, a headless orchestra plays on and on). Each mini-frame zooms out and in in turn. Grim, hypnotic, atmospheric.

ARABY (Dumans / Uchoa) – And here come the astonishing first films. This one is so neglected it’s actually listed twice on imdb as separate films. It starts out as a very well-done, but familiar, tale of a young teen struggling to raise his brother practically alone in a tiny Brazliian town dominated by a noisome factory. It potters along in this vein for half an hour before taking a radical swerve, picking up a new protagonist, changing style and indicating a belated restart with the delayed title card. For the rest of the film, it’s a fragmentary memoir, with the style of the film matching its unpolished narration. I don’t want to spoil anything, but this film has an utterly brilliant ending in which cinematic and literary effects dovetail perfectly.

THE SUMMER IS GONE (Zhang) & SUMMER 1993 (Simon) – Here are two exceptional first films, both with summer in the title, both quasi-autobiographical memoirs about one summer in the directors’ childhood in the early 1990s. The similarities end there.

Zhang Dalei’s black and white, obliquely narrated beauty is clearly indebted to Hou and Yang (long shots, frames within frames, an eschewal of exposition), but he somehow works in a lush, romantic score that seems exactly right, and incorporates lyrical dream sequences that recall Wen Zhu’s South of the Clouds, but nothing much from the New Taiwanese Cinema.

Carla Simon’s film is colourful and impressionistic. A very young girl is taken to live with her aunt and uncle after her mother dies. She struggles to fit in. The film’s very great strength is that it is entirely told from the point of view of six-year-old Frida, so we have to piece together the whole story from fragments of adult conversation overheard, but not fully understood, by the protagonist. You keep waiting for Simon’s nerve to falter, but she sticks to this strict narrative rule right to the bitter end.

If both of these filmmakers can apply the same skill and rigour to non-autobiographical material with their follow-ups, we might have seen the arrival of a couple of major talents.

WESTERN (Grisebach) – Randomly promoted from the secondary list when I realised that I only had nine films, so this one is likely to change. Tense, yet curiously relaxed cultural clash drama (German workers ‘invade’ small Bulgarian village while working on a power station). It’s naturalistic and unadorned (to the point of making great use of unlit night time scenes for maximum unease), but the film casually accumulates tokens and symbols of the western, something that Grisebach uses expertly to build and undercut viewer expectations. It’s been eleven years since her last feature (a sadly common plight for women directors), and this was, for me, a good step up from Sehnsucht.


More good things from Cannes:

THE KILLING OF A SACRED DEER (Lanthimos) – Possibly even darker and more perverse than The Lobster, maybe because it cleaves closer to reality (though it’s always Lanthimos’ off-putting Bizarro version of reality). Funny and disturbing, and you know a film is doing something right when an audience is nervously laughing at the audacity of the film’s climax and God’s Angry Man in the row in front of me feels compelled to scream “Not Funny! Not Funny!”

LOVELESS (Zvyangintsev) – I’ve always admired Zvyangintsev’s meticulous, monumental style, but I’ve found myself less and less engaged in his films as it just seems overdeterminative when it comes to relationship dramas and social critiques. But for this film that style seemed perfectly suited to the procedural sequences, which occupy the central bulk of the film and are beautifully done.

BRIGHT SUNSHINE IN (Denis) – This seemed like very minor Denis at first, but I liked it more and more as it went along (and after it ended). It’s quite a departure for her, and I guess it’s a little disappointing that it’s a departure that resembles a lot of other contemporary French arthouse filmmaking (urban middle-class, middle-aged bohemian relationship drama), but it never quite settles into that particular rut, and the final sequence, which plays out through the credits, is a delight that really sets the film apart from the run of the mill. Mainly, I’m reassured that a great, established modern filmmaker is still trying new approaches, in the midst of others of her generation (Haneke, Kaurismaki) offering up polished retreads of countless earlier films.

CLAIRE’S CAMERA (Hong) – And, just to contradict myself, here’s the retread king. Hong has stepped up production to a ridiculous extent, with four new films released in the last twelve months. This nevertheless is sweet and fresh, with a female focus, some nifty structural tricks (scenes that appear to be flashbacks aren’t and vice versa) and enjoyably awkward ESL acting.

LEANING INTO THE WIND (Riedelsheimer) – I saw a lot of great documentaries this year about charming, down-to-earth, avuncular middle-aged or older male artists (see also A Memory of Others above), so this film about Andy Goldsworthy is kind of standing in for a bunch of other terrific films about Kobi Bossard, Bill Frisell, Tony Conrad and (at a stretch) Dries Van Noten.

MOTH RA SPACE (Fletcher) – Gorgeous, trippy abstract animation. Layered and hypnagogic, dense and eventful.

MY YEAR WITH HELEN (Preston) – Gaylene Preston documents Helen Clark’s bid for the Secretary Generalship of the UN. The film is less a personal portrait (Clark characteristically plays her cards close to her chest throughout) than it is a revealing exploration of UN internal politics and sham ‘transparency’. Gaylene Preston is a master documentary filmmaker, and her skill and experience make this study relaxed, confident and extremely concise.

OH WHAT A WONDERFUL FEELING (Jaros) – This short film was a triumph of style over substance, but what style! The comings and goings of truckstop prostitutes with sci-fi lighting, horror movie dread and mise en scene by David Lynch.

MY LIFE AS A COURGETTE (Barras) – A terrific dark children’s film.

THE UNTAMED (Escalante) – I wrote a little about this in its dedicated thread. There’s still a lot I don’t like about Escalante’s filmmaking, but this was memorably strange enough to make the also-ran list.

PostPosted: Thu Aug 24, 2017 6:50 pm 
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Joined: Thu Jul 12, 2007 9:21 pm
1. Dunkirk
2. Baby Driver
3. I Am Not Your Negro
4. Get Out
5. Wonder Woman

Enjoyed Spider-Man Homecoming, Logan, and Guardians of the Galaxy 2.

PostPosted: Mon Aug 28, 2017 4:54 pm 
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Joined: Mon Nov 08, 2004 4:30 pm
Location: Chapel-en-le-Frith, Derbyshire, UK
1. Ghost In The Shell
2. Alien: Covenant

Previous lists: 2016, 2015, 2014

Last edited by colinr0380 on Mon Oct 02, 2017 1:46 pm, edited 1 time in total.

PostPosted: Fri Sep 08, 2017 9:38 pm 
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Joined: Mon Mar 13, 2006 3:48 am
Location: KCK
Haven't done this in a while...

1. The Shape of Water (Del Toro)
2. The Big Sick (Showalter)
3. The Unknown Girl (Dardennes)
4. 1945 (Ferenc Török)
5. Get Out (Peele)
6. The Florida Project (Baker)
7. Dunkirk (Nolan)
8. Lady Bird (Gerwig)
9. Blade Runner 2049 (Villeneuve)
10. Wind River (Sheridan)

Sponge-worthy: Baby Driver; Wonder Woman; Atomic Blonde; Star Wars: The Last Jedi; John Wick: Chapter 2; Kong: Skull Island; Alien: Covenant; Logan; Spider-Man: Homecoming; The Disaster Artist; It

Not Sponge-worthy: Guardians of the Galaxy 2; King Arthur: Legend of the Sword; Home Again; mother!

Last edited by HistoryProf on Wed Mar 07, 2018 2:22 am, edited 11 times in total.

PostPosted: Mon Oct 02, 2017 9:00 pm 
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Joined: Sun Apr 20, 2008 11:59 pm
Location: Somewhere between here and there
1. mother!
2. T2: Trainspotting
3. Lemon
4. Lady Bird
5. A Ghost Story
6. Get Out
7. Colossal
8. It Comes at Night
9. Nocturama
10. Blade Runner 2049

Last edited by Murdoch on Mon Jan 08, 2018 2:31 pm, edited 4 times in total.

PostPosted: Mon Oct 02, 2017 11:20 pm 
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Joined: Wed Nov 03, 2004 7:32 pm
Location: Vancouver
1. Western (Valeska Grisebach)
2. Thelma (Joachim Trier)
3. Logan Lucky (Steven Soderbergh)

Last edited by franco on Mon Dec 18, 2017 2:23 am, edited 1 time in total.

PostPosted: Thu Oct 19, 2017 4:28 pm 

Joined: Tue Oct 27, 2015 6:14 am
I'm really behind on films this year:
1. Blade Runner
2.The Florida Project
3. Killing of a Sacred Deer

PostPosted: Fri Oct 20, 2017 9:54 am 

Joined: Fri Dec 31, 2010 5:46 am
1. Certain Women (dir. Kelly Reichardt)
2. Le Parc (dir. Damien Manivel)
3. Toni Erdmann (dir. Maren Ade)
4. Cameraperson (dir. Kirsten Johnson)
5. Machines (dir. Rahul Jain)
6. Moonlight (dir. Barry Jenkins)
7. By the Time it Gets Dark (dir. Anocha Suwichakornpong)
8. The Untamed (dir. Amat Escalante)
9. Dina (dir. Antonio Santini, Dan Sickles)
10. A Ghost Story (dir. David Lowry)

Last edited by JakeB on Wed Jan 24, 2018 5:31 am, edited 1 time in total.

PostPosted: Tue Nov 07, 2017 3:55 am 

Joined: Mon Jul 20, 2009 12:28 pm
1. Song to Song
2. Zama
3. Atomic Blonde
4. Lady Bird
5. The Killing of a Sacred Deer
6. mother!
7. The Meyerowitz Stories
8. John Wick 2

Worst film: Visages/villages.

Last edited by J Adams on Fri Nov 24, 2017 1:12 am, edited 6 times in total.

PostPosted: Thu Nov 09, 2017 12:09 pm 
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Joined: Thu Nov 25, 2004 1:16 pm
Location: Elsewhere
1. God's Own Country
2. Faces Places
3. Call Me By Your Name
4. Star Wars: The Last Jedi
5. The Big Sick
6. Summer 1993
7. Get Out
8. The Other Side of Hope
9. On Body and Soul
10. The Florida Project

Fell Off: Alien Covenant / Blade Runner 2049 / Darkest Hour / John Wick: Chapter 2 / The Killing of a Sacred Deer / Personal Shopper / Phantom Thread / Song to Song / The Square / Thelma

Last edited by Timec on Mon Jan 29, 2018 12:41 pm, edited 4 times in total.

PostPosted: Fri Nov 10, 2017 7:40 pm 

Joined: Thu Jan 01, 2015 2:23 pm
1. Faces, Places
2. Nocturama
3. Wonderstruck
4. The Florida Project
5. Top of the Lake: China Girl
6. Good Time
7. Valentine
8. Personal Shopper

PostPosted: Thu Dec 21, 2017 1:05 pm 

Joined: Sun Dec 02, 2007 6:56 am
Location: Sydney, Australia
1. Silence (Scorsese)
2. Call Me By Your Name (Guadagnino)
3. 24 Frames (Kiarostami)
4. The Florida Project (Baker)
5. The Other Side of Hope (Kaurismaki)
6. 20th Century Women (Mills)
7. The Lost City of Z (Gray)
8. Paddington 2 (King)
9. mother! (Aronofsky)
10. Sweet Country (Thornton)
11-20: Over the Fence (Yamashita), Baby Driver (Wright), Before We Vanish (Kurosawa), Star Wars: The Last Jedi (Johnson), Manchester by the Sea (Lonergan), Good Time (Sadie), Logan Lucky (Soderbergh), Coco (Unkroch), God's Own Country (Lee), I Am Not Your Negro (Peck)

Not including Twin Peaks. I'm an only occasional TV watcher, but I'd probably rank it #2 if I considered it eligible.

Last edited by Cde. on Tue Jan 16, 2018 12:05 am, edited 2 times in total.

PostPosted: Fri Dec 22, 2017 12:35 am 

Joined: Thu Sep 04, 2014 7:45 pm
1. Dunkirk
2. The Shape of Water
3. Phantom Thread
4. mother!
5. Lady Bird
6. Star Wars: The Last Jedi
7. Get Out
8. Call Me By Your Name
9. Baby Driver
10. Blade Runner 2049

Last edited by phred2321 on Sun Mar 11, 2018 11:20 am, edited 2 times in total.

PostPosted: Fri Dec 22, 2017 1:40 am 

Joined: Wed Nov 03, 2004 2:03 am
Location: LA CA
Don Hertzfeldt, "World of Tomorrow, Episode 2: The Burden of Others' Thoughts"
Janie Geiser, "Look and Learn"
Makoto Nagahisa, "And So We Put Goldfish in the Pool"
Everardo González, The Devil's Freedom
Yoshida Daihachi, Beautiful Planet
Yorgos Lanthimos, The Killing of a Sacred Deer
Michael Haneke, Happy End
Ruben Ostlund, The Square
Mouly Surya, Marlina, The Murderer in Four Acts
Ishii Yuya, The Tokyo Night Sky Is Always the Densest Shade of Blue

PostPosted: Fri Dec 29, 2017 1:52 pm 
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Joined: Tue Dec 24, 2013 2:00 am
Location: Denver
1. Happiness (Sabu)
2. Hans Teeuwen: Real Rancour
3. Bad Genius
4. Before I Fall
5. Twin Peaks: The Return
6. Alley Cat (Hideo Sakaki)
7. The Shape of Water
8. Close-Knit
9. El Futuro Perfecto
10. Bamseom Pirates Seoul Inferno
11. War on Everyone
12. Rage (Lee Sang-il)
13. BAMY
Other Favorites: Happy Death Day, Brawl in Cell Block 99, A Billion Colour Story, Nathan for You: Finding Frances, By the Time it Gets Dark, The Disaster Artist, Tremble All You Want, Radiance, Gerald's Game, Claire's Camera

PostPosted: Sun Jan 14, 2018 5:47 pm 
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Joined: Fri Jun 13, 2014 1:14 pm
01 The Post (Spielberg)
02 The Meyerowitz Stories (New and Selected) (Baumbach)
03 Logan Lucky (Soderbergh)
04 Lady Bird (Gerwig)
05 Wonderstruck (Haynes)
06 Personal Shopper (Assayas)
07 Valerian and the City of a Thousand Planets (Besson)
08 Call Me By Your Name (Guadagnino)
09 Song to Song (Malick)
10 A Ghost Story (Lowery)

Last edited by Ribs on Wed Mar 07, 2018 6:48 pm, edited 1 time in total.

PostPosted: Mon Jan 15, 2018 11:53 pm 
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Joined: Sun Mar 20, 2011 6:50 pm
1. Get Out (Jordan Peele)
2. Call Me By Your Name (Luca Guadagnino)
3. The Florida Project (Sean Baker)
4. Phantom Thread (Paul Thomas Anderson)
5. The Shape of Water (Guillermo del Toro)
6. Raw (Julia Ducournau)
7. The Beguiled (Sofia Coppola)
8. A Ghost Story (David Lowery)
9. Mudbound (Dee Rees)
10. The Trip to Spain (Michael Winterbottom)

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