2007 in Review

2007 saw the onset of a new job, the purchase of our first home, the birth of our second child, and the completion of the first draft of a dissertation. Obstacles right and left, with nothing to do but appreciate the blessings and struggle through the results. Translation: 2007 offered its own difficulties and adjustments, but as such, ended up a year of significant growth personally. When it came to the movies though, the increasing limitations cramped my opportunities for viewing more than ever before.

The limitations are apparent not only in my viewing schedule, but also in the films themselves: barriers erected, barriers redirecting, barriers transgressed, and barriers overcome. Such limitations can be both negative obstacles that inhibit freedom or prevent engagement, and positive opportunities for change, growth, protection, or victory. For me then, both personally and cinematically, 2007 is the year of the limitation.

True to form, listing my favorite films of 2007 requires an immediate subtraction from the traditional “top ten”: Having only actually seen ten new films, something of the exclusive or unique nature of such a traditional list would be lost if I just listed all ten. So I’ve limited myself to five, each of which illustrate or present limitations in their own way.

The Lives of Others pictures the limits imposed on East German society before the wall came down, and the power of art to cross traditional bounds regardless of walls and guards.

Zodiac recognizes the limits of technology through a retelling of the investigation surrounding the Zodiac killings in San Francisco three decades ago. While the film defies narrative expectations, it cleverly presents a supposedly “connected” world of people frustrated in their investigative efforts by their inability to communicate.

Killer of Sheep, made in 1977 but released for the first time this year, takes place in South Central Los Angeles, where people live lives that have largely been cordoned off from the popular imagination. Stan, struggling to get by and provide for his family, finds poverty at every turn. Even still, Burnett finds the beauty amid the difficulties.

I Don’t Want to Sleep Alone, Tsai Ming-liang’s latest, follows three solitary figures through the urban environs of Kuala Lampur, struggling to connect, but with little idea of how to do it. Tsai’s dialogue is more limited than ever, which only serves to enhance the barriers between these people.

Offside, easily my favorite theatrical viewing experience of the year, places several women inside the qualifying soccer match against Bahrain in the summer of 2005. However, because Iranian law doesn’t allow women to view such events, the film offers what turns out to be a slyly ironic take on the state of the country in the midst of Iran’s great victory.

With my decreasing ability to take in films during their theatrical release, my favorite discoveries of the year encapsulate my year in film more than anything. The greater variety offered through rentals means that the choices are more personal and more likely to connect with my own sensibilities. Like my favorite films of this year, each of these contains its own comment on limitations—financial, spiritual, or societal; limitations related to knowledge, addiction, health or gender.

Danielson: A Family Movie chronicles the history and life of the indie band(s) led by Daniel Smith, who creates unique and strangely engaging music, mostly on a shoestring budget out of the small studio space in his basement.

Requiem offers an unsettling portrait of demon possession or madness, depending on one’s perspective. Schmid’s use of subtlety in his portrayal of the affected teen and the simple ways in which common relationships are expressed make this film a refreshing antidote to what would no doubt be an overwrought melodrama in a US film.

Monsieur Verdoux is often noted as Chaplin’s first failure from a box office perspective. Thankfully box office numbers fade into oblivion sixty years on, and we are left to assess the film on its merits. Its scathing critique of modern society doesn’t let up once in its 124 minutes.

F for Fake finds Orson Welles in fine form, creating a masterful reflection on truth, certainty, value, and illusion. The editing here is worth the price of admission, as Welles uses it to great effect in destabilizing the viewers understanding of specific circumstances. What really happened and who was fooled? Well, I’d need to see it again to be sure (or not).

Flowers of Shanghai takes place in several brothels in late 19th century China. Hou’s shots linger on his subjects, rarely emphasizing an individual in the midst of others. Instead, we are left with the full scene unfolding before us, left to decide which characters and actions are worth noting. Hou trusts his audience—I love this kind of filmmaking.

Mouchette finds Bresson meditating on the trials of a young teenage girl who lacks love, companionship, and hope. Mouchette’s story is tragic, but the empathy Bresson creates for other human beings remains unmatched.

The House is Black is Forugh Farrokhzad’s poetic chronicle of a leper colony in Iran. Only twenty minutes long, the film remains deeply affecting throughout, as its diseased subjects eat, pray, and play, their humanity shining out through the disfigurement of their broken bodies.

Le Notti Bianche portrays a lonely young dreamer and several encounters he has with a mysterious, troubled, and attractive woman on a bridge. Based on a short story by Dostoevsky (White Nights), Visconti’s film possesses a dreamy quality that only serves to heighten the unreality of the world despite the vibrancy of the man’s encounters.

Half Nelson tells the story of a drug-addicted history teacher in an urban school. It deconstructs the myth of the liberal white savior while creating compelling drama around a budding relationship between the teacher and one of his students, a twelve year-old African-American girl.

Ten. Kiarostami’s film consists of ten dialogues on a variety of issues: sex, marriage, and parenting, to name a few. Yet while Kiarostami keeps our vision limited to a dashboard camera pointed at the front seat of a woman’s car, his film allows us to cross Middle Eastern societal boundaries and hear of life through the eyes of Iranian women and children. Brilliant. Hands down, the best film I’ve seen this year.

Other discoveries I enjoyed: Ace in the Hole (1951), Big Animal (2000), Crimson Gold (2003), Ivan’s Childhood (1962), Limelight (1952), A Moment of Innocence (1996), Shut Up & Sing (2006), Stranger than Fiction (2006), Volver (2006)

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