Film Comment Announces Its 2013 Best Of Year Lists

2011 | 2011 | 2011 | 2011 | 2011 | 2011 | 2011 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2013 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | 2012 | | 2012 | 2012 | 2012 | | 2012 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2013 | 2014 | 2014 | 2014 | 2014 | 2014 | 2014 | 2014 | 2014 | 2014 | 2014

“INSIDE LLEWYN DAVIS,” “12 YEARS A SLAVE” AND “BEFORE MIDNIGHT” ARE 1-2-3 FOR FILMS RELEASED DURING THE YEAR

“JEALOUSY,” “STRAY DOGS” AND “WHAT NOW? REMIND ME” TOP THE FILMS WITHOUT U.S. DISTRIBUTION LIST

NEW YORK – December 16, 2013 – Film Comment’s annual end-of-the-year survey of film critics, journalists, film section editors, and past and present contributors was released today with Joel & Ethan Coen’s INSIDE LLEWYN DAVIS, Steve McQueen’s 12 YEARS A SLAVE and Richard Linklater’s BEFORE MIDNIGHT taking the top spots among films released in 2013. Among films that made appearances at film festivals or special screenings worldwide, but haven’t been picked up for stateside distribution as of yet, Philippe Garrel’s JEALOUSY, Tsai Ming-liang’s STRAY DOGS and Joaquim Pinto’s WHAT NOW? REMIND ME received the top rankings.

Offering the most comprehensive assessment of the year in film, Film Comment received responses from more than 120 participants including (in alphabetical order): David Ansen (LAFF Artistic Director), Richard Brody (The New Yorker), Scott Foundas (Variety), Susan Gerhard (Editor, Fandor), Haden Guest (Director, Harvard Film Archive), Eugene Hernandez (Director of Digital Strategy, Film Society of Lincoln Center), J. Hoberman (The New York Times), Ann Hornaday (Washington Post), Kent Jones (Programming Director of NYFF), Daniel Kasman (MUBI), Eric Kohn (IndieWire), Dennis Lim (FSLC Director of Cinematheque Programming), Scott Macaulay (Filmmaker Magazine), Leonard Maltin (Entertainment Tonight), Todd McCarthy (Hollywood Reporter), Andréa Picard (Programmer, Toronto Film Festival’s “Wavelengths” Curator), Amy Taubin (Film Comment Contributing Editor and NYFF Selection Committee), and Kenneth Turan (LA Times).

Film Comment’s Top 10 Films Released in 2013 

1. Joel & Ethan Coen’s INSIDE LLEWYN DAVIS

2. Steve McQueen’s 12 YEARS A SLAVE

3. Richard Linklater’s BEFORE MIDNIGHT

4. Joshua Oppenheimer’s THE ACT OF KILLING

5. Jia Zhang-ke’s A TOUCH OF SIN

6. Lucien Castaing-Taylor & Véréna Paravel’s LEVIATHAN

7. Alfonso Cuarón’s GRAVITY

8. Andrew Bujalski’s COMPUTER CHESS

9. Noah Baumbach’s FRANCES HA

10. Shane Carruth’s UPSTREAM COLOR.

The rankings of other films making strong showings during the awards season are Spike Jonze’s HER (#17), Alexander Payne’s NEBRASKA (#18), and David O. Russell’s AMERICAN HUSTLE (#19).

Film Comment’s survey also ranks films that have screened and made notable appearances at film festivals throughout the year, but remain without U.S. distribution as of press time:

1. Philippe Garrel’s JEALOUSY

2. Tsai Ming-liang’s STRAY DOGS

3. Joaquim Pinto’s WHAT NOW? REMIND ME

4. Hong Sang-soo’s NOBODY’S DAUGHTER HAEWON

5. Catherine Breillat’s ABUSE OF WEAKNESS

6. Hong Sang-soo’s OUR SUNHI

7. Ramon Zürcher’s THE STRANGE LITTLE CAT

8. Ben Rivers & Ben Russell’s A SPELL TO WARD OFF THE DARKNESS

9. Albert Serra’s STORY OF MY DEATH

10. Fernando Eimbcke’s CLUB SANDWICH.

THE WOLF OF WALL STREET (#37) will serve as the cover story subject of Film Comment Magazine’s Jan/Feb issue, with the top three choices, INSIDE LLEWYN DAVIS (Nov/Dec), 12 YEARS A SLAVE (Sept/Oct), BEFORE MIDNIGHT (May/June) and SOMETHING IN THE AIR  (#28) (March/April)  also landing on Film Comment covers this past year.

 

Film Comment editor Gavin Smith said, “Film Comment’s annual Best Films lists does its best to offer a comprehensive look at the year in film by combining the viewpoints of most of the magazine’s staff and contributors as well as many of America’s most influential film critics, writers and minds. Every year we try to make the poll more inclusive.”

 

The lists of films and poll participants can be found on FilmComment.com and in the January/February issue of Film Comment, which hits newsstands January 7.

 

 

THE COMPLETE FILM COMMENT 2013 BEST-OF FILMS LISTS

 

RELEASED 2013

1. Inside Llewyn Davis, Directors: Joel & Ethan Coen

2. 12 Years a Slave, Director: Steve McQueen

3. Before Midnight, Director: Richard Linklater

4. The Act of Killing, Director: Joshua Oppenheimer

5. A Touch of Sin, Director: Jia Zhang-ke

 6. Leviathan, Directors: Lucien Castaing-Taylor & Véréna Paravel

7. Gravity, Director: Alfonso Cuarón

8. Computer Chess, Director: Andrew Bujalski

9. Frances Ha, Director: Noah Baumbach

10. Upstream Color, Director: Shane Carruth

 

Rankings #11 – #20

11. Museum Hours, Director: Jem Cohen

12. Blue Is the Warmest Color, Director: Abdellatif Kechiche

13. Bastards, Director: Claire Denis

14. Spring Breakers, Director: Harmony Korine

15. Like Someone in Love, Director: Abbas Kiarostami

16. Stories We Tell, Director: Sarah Polley

17. Her, Director: Spike Jonze

18. Nebraska, Director: Alexander Payne

19. American Hustle, Director: David O. Russell

20. The Grandmaster, Director: Wong Kar Wai

 

Rankings #21 – #30

21. At Berkeley, Director: Frederick Wiseman

22. Beyond the Hills, Director: Cristian Mungiu

23. No, Director: Pablo Larraín

24. The Great Beauty, Director: Paolo Sorrentino

25. Blue Jasmine, Director: Woody Allen

26. All Is Lost, Director: J.C. Chandor

27. Post Tenebras Lux, Director: Carlos Reygadas

28. Something in the Air, Director: Olivier Assayas

29. Viola, Director: Matías Piñeiro

30. Fruitvale Station, Director: Ryan Coogler

 

Rankings #31 – #40

31. To the Wonder, Director: Terrence Malick

32. Night Across the Street, Director: Raúl Ruiz

33. Room 237, Director: Rodney Ascher

34. Faust, Director: Aleksandr Sokurov

35. Let the Fire Burn, Director: Jason Osder

36. Le Pont du Nord, Director: Jacques Rivette

37. The Wolf of Wall Street, Director: Martin Scorsese

38. You Ain’t Seen Nothin’ Yet, Director: Alain Resnais

39. The Last Time I Saw Macao, Director: João Pedro Rodrigues

40. The Past, Director: Asghar Farhadi

 

Rankings #41 – #50

41. The Square, Director: Jehane Noujaim

42. The Wind Rises, Director: Hayao Miyazaki

43. Drug War, Director: Johnnie To

44. Cousin Jules, Director: Dominique Benicheti

45. Much Ado About Nothing, Director: Joss Whedon

46. Passion, Director: Brian De Palma

47. Short Term 12, Director: Destin Daniel Cretton

48. Dallas Buyers Club, Director: Jean-Marc Vallee

49. Berberian Sound Studio, Director: Peter Strickland

50. Captain Phillips, Director: Paul Greengrass

 

 

FILMS WITHOUT DISTRIBUTION 2013

1. Jealousy, Director: Philippe Garrel

2. Stray Dogs, Director: Tsai Ming-liang

3. What Now? Remind Me, Director: Joaquim Pinto

4. Nobody’s Daughter Haewon, Director: Hong Sang-soo

5. Abuse of Weakness, Director: Catherine Breillat

6. Our Sunhi, Director: Hong Sang-soo

7. The Strange Little Cat, Director: Ramon Zürcher

8. A Spell to Ward Off the Darkness, Directors: Ben Rivers & Ben Russell

9. Story of My Death, Director: Albert Serra

10. Club Sandwich, Director: Fernando Eimbcke

 

Rankings #11 – #20

11. Closed Curtain, Director: Jafar Panahi

12. Til Madness Do Us Part, Director: Wang Bing

13. Three Interpretation Exercises, Director: Cristi Puiu

14. Stemple Pass, Director: James Benning

15. People’s Park, Directors: Libbie D. Cohn & J. P. Sniadecki

16. The Strange Color of Your Body’s Tears, Directors: Hélène Cattet & Bruno Forzani

17. La Ultima Película, Directors: Raya Martin & Mark Peranson

18. Butter on the Latch, Director: Josephine Decker

19. Blind Detective, Director: Johnnie To

20. Coast of Death, Director: Lois Patiño

 

 

Film Society of Lincoln Center

Founded in 1969 to celebrate American and international cinema, the Film Society of Lincoln Center works to recognize established and emerging filmmakers, support important new work, and to enhance the awareness, accessibility and understanding of the moving image. Film Society produces the renowned New York Film Festival, a curated selection of the year’s most significant new film work, and presents or collaborates on other annual New York City festivals including Dance on Camera, Film Comment Selects, Human Rights Watch Film Festival, LatinBeat, New Directors/New Films, NewFest, New York African Film Festival, New York Asian Film Festival, New York Jewish Film Festival, Open Roads: New Italian Cinema and Rendez-vous With French Cinema. In addition to publishing the award-winning Film Comment Magazine, Film Society recognizes an artist’s unique achievement in film with the prestigious “Chaplin Award.” The Film Society’s state-of-the-art Walter Reade Theater and the Elinor Bunin Munroe Film Center, located at Lincoln Center, provide a home for year round programs and the New York City film community.

 

The Film Society receives generous, year-round support from Royal Bank of Canada, Jaeger-LeCoultre, American Airlines, The New York Times, Stonehenge Partners, Stella Artois, illy café, the Kobal Collection, Trump International Hotel and Tower, the National Endowment for the Arts, and the New York State Council on the Arts.

 

For more information, visit www.filmlinc.com and follow @filmlinc on Twitter.

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon