The Year in Lists, Part I: 2005's Top Ten Unreleased Films

After several complaints and cries of foul over my 2004 list, I have decided to create two lists this year -- one for films that had a US theatrical release, and one for those that didn't (and probably never will). And though Manderlay, Tristram Shandy: A Cock and Bull Story, Bubble, The Death of Mr. Lazarescu, and Sympathy for Lady Vengeance were five of the best films I saw this year, I've held off on including them as they are all slated for a 2006 US release. Over half of the titles in the following list were seen at the 2005 Berlinale, where I watched a frightening number of films in just under two weeks. The remainder were seen either at local festivals (NYFF, NY Asian Film Festival) or, in two cases, on DVD only. In reverse order: 10. The Love Crimes of Gillian Guess. Bruce McDonald, Canada I've always found Bruce McDonald's tiny road pictures somewhat interesting (Highway 61, Hard Core Logo, Roadkill), but this hyperkinetic, loud, somewhat mess of a film really stuck with me for months on end. Based on the true story of Gillian Guess, a Canadian juror who was sent to prison for having an affair with the defendant, McDonald's candy colored fever dream is an often witty quasi-musical parody of tabloid media. Imagine a cross between Oliver Stone's Natural Born Killers and Jim Sharman's Shock Treatment, and you've got a rough idea of what to expect. Plus, the lead actress, Joely Collins, is Su-su-sudio Phil's daughter. What more can you ask for? 9. The Sun. Aleksandr Sokurov, Russia It's doubtful that this, arguably Sokurov's best film, will ever find its way to the multiplex. However, if by some chance it did, here's how the US trailer would go: [Cue funereal music.] "In a world ravaged by war. In a land brought to its knees. Two men -- one, a five star general, the other, a descendent of the Sun Goddess -- will meet and forever change the course of history." [Cue seizure-inducing montage that includes explosions and other scenes not found in the film.] "Alexander Sokurov's, The Sun." Full review here. 8. Der Irrationale Rest (The Irrational Rest). Thorsten Trimpop, Germany Small, but heartfelt documentary about three friends who had planned to escape from East Germany together. One backed out at the last minute, while the other two were captured and sent to prison. Though not the greatest of tragedies in the grand scheme of things, Trimpop's simple, straightforward approach results in a moving story of betrayal that also offers a non-sensationalized portrait of what life was like on the other side of the wall. The sequence that has one of the three reading through her Stasi file is at once both haunting and absurd. 7. Jestem (I Am). Dorota Kedzierzawska, Poland I Am was one of the least popular films at this year's NYFF. Many found it sappy, dull, or simply a festival film about a boy left on his own. Yet as the director herself stated, it's a film about what it means to be a sensitive, feeling person in a cold, uncaring world. A film that is visually beautiful, yet emotionally heartbreaking. A scene between the boy and his mother, which begins tenderly but ends vulgar and ugly, is my single favorite cinematic moment of 2005. If I'm a softie for liking this film so much, then so be it. 6. Survive Style 5+. Gen Sekiguchi, Japan / Yaji & Kita: The Midnight Pilgrims. Kankuro Kudo, Japan Two debut films from Japanese directors worth watching. Both are highly stylized genre mashups that offer so much more than visual thrills. Full reviews here and here. 5. Peacock (Gu Changwei, China) That the winner of the Silver Bear at the 2005 Berlinale has all but disappeared is quite surprising. This beautifully scripted drama about a poor family is the kind of film that would appeal to both the avid Asian film fan as well as the occasional foreign-film viewer. Gu, who is best known as the cinematographer on films like Ju Dou, Farewell My Concubine, and even Altman's The Gingerbread Man, turns in an impressive debut directorial effort that has clearly been influenced by the masters he shot for. Full review here. 4. Green Chair. Park Cheol-su, Korea / This Charming Girl. Lee Yoon-ki, Korea Two smaller Korean films from 2005 that got lost amidst the ever-increasing number of Hollywood-influenced action films, RomComs, and weepies. The simplicity of the story in This Charming Girl is given great depth by the wonderful, almost wordless performance by its lead actress, Kim Ji-su (making her feature film debut). Green Chair is a darkly comical and somewhat surreal look at a May-December romance that is also one of the sexiest films of 2005. Full review here. 3. Tale of Cinema. Hong Sang-soo, Korea Many people have written wondering why I haven't yet reviewed Hong's latest film. Honestly, it took multiple viewings for me to fully grasp what Hong was saying, though I'm still conflicted about the ending. On the surface, there's something about it that doesn't feel like a Hong film, but closer study reveals that it actually is a re-working of themes and ideas he's addressed in past films (including some direct references to his earlier works.) Perhaps I'll cobble something meaningful together in the near future. In the meantime, Michael Sicinski (with whom I battled over Sympathy for Lady Vengeance earlier this year) has written an excellent review of the film in the latest issue of Cinema Scope. 2. Princess Raccoon. Seijun Suzuki, Japan Forget Memoirs of a Geisha. This is the film that truly brings Ziyi Zhang to Japan, where she plays not a courtesan, but a raccoon that sings, dances, and falls in love. Manohla Dargis captured it best -- the film is two hours of pure joy. It's Seijun Suzuki by way of an MGM musical. Full review here. 1. The Wayward Cloud. Tsai Ming-liang, Taiwan Drought. Watermelon. Porn. Genius.