As Voltaire wrote: Le mieux est l’ennemi du bien. The perfect is the enemy of the good. I take something similar away from the 2014 year in film: while the year was, I think, short on absolute masterpieces, 2014 constituted a varied, dynamic year in cinema, a year possessing a greater depth of high-quality offerings than almost any I remember. Just as Hollywood continued its obsession with war films and stodgy scientist-biopics (or combinations thereof), noteworthy auteurs took chances, creating idiosyncratic works of unique beauty, if not of hands-down perfection. Visually rigorous cinematography loomed large (Winter Sleep, Leviathan, Birdman, Ida, Inherent Vice, amongst others) just as thoughtful romantic-relationship films impressed (Love Is Strange, Top Five) and hipster vampires haunted our dreams (A Girl Walks Home Alone At Night, Only Lovers Left Alive). But in the end, it was simple old solidarity which prevailed.
As with any year, there are some promising films I have not yet seen which may have easily found a place on this list. To name a few: Mr. Turner (Mike Leigh); Manakamana (Stephanie Spray & Pacho Velez); Stray Dogs (Tsai Ming-liang); Citizenfour (Laura Poitras); Foxcatcher (Bennett Miller).
Without further ado, here is the 2014 film list:
Two Days, One Night (Jean-Pierre and Luc Dardenne): Marion Cotillard paces this superb parable of the dog-eat-dog globalized economy as observed in rugged, industrial Belgium, with nearly every move by the brothers Dardenne coming off as pitch-perfect. Vive la solidarité!
Winter Sleep (Nuri Bilge Ceylan): This Palme d’Or winner may lack the mesmerizing mystery and poetry of Bilge Ceylan’s recent otherworldly effort, Once Upon A Time in Anatolia, but he astonishes here with this potent character study of a compromised, half-intellectual landowner in Cappadocia.
Inherent Vice (Paul Thomas Anderson): Smoked up and dazed and confused, P.T. Anderson’s ode to Thomas Pynchon, shady crooks and corrupt cops, and early 70s Los Angeles druggie, beach and low-life cultures captivates with numerous stand-out scenes, consistently powerful imagery, and a pervasive moody, wistful tone.
Grand Budapest Hotel (Wes Anderson): Anderson, for the first time in years, insists on providing his finely cultivated cinematic menagerie with compelling stakes – in this case an interbellum Europe about to explode – and the result is a spry, sensitive work seeped in an undercurrent of sad, regret-soaked loss.
Boyhood (Richard Linklater): The annual installments of this twelve-year-in-the-making film ebb and flow in quality and interest, but the sum of these dozen vignettes is nothing short of outstanding in terms of the scope of Linklater’s accomplishment.
Birdman (Alejandro González Iñárritu): This zany movie detailing a shambolic, doomed theatrical production helmed by a fallen action flick hero brims with punchy, unhinged energy. Its long tracking shots through tight backstage hallways and its tête-à-têtes in cramped dressing rooms dazzle.
Ida (Pawel Pawlikowski): A journey toward deeper self-identity leads a 1960s young Polish nun to learn of family secrets tangled in the tragic events of Europe’s recent past. Painterly camerawork, masterfully efficient writing.
Love Is Strange (Ira Sachs): A gem of a film, understated in its emotional intensity, precisely, subtly performed, and memorable for a poignant third-act ellipsis.
Under the Skin (Jonathan Glazer): A finely rendered, offbeat sci-fi thriller. Scarlett Johansson handles alien material perfectly as Glazer’s film becomes progressively more uncomfortable and bleak.
A Girl Walks Home Alone At Night (Ana Lily Amirpour): The most inventive American indie of the year is this Farsi-language, art-school-kid vampire movie, sardonic in tone, cleverly cultured, proudly singular in vision.
HONORABLE MENTION (in alphabetical order): Leviathan (Andrey Zvyagintsev); Only Lovers Left Alive (Jim Jarmusch); Selma (Ava DuVernay); Top Five (Chris Rock); We Are The Best! (Lukas Moodysson)
2014 Best Film list compiled by Brendan Rose