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Préservatifs Manix - Le Roi de la Capote - Le N°1 du préservatif en France pandora encantos EUA

Manix 

Manix

Manix est une marque appartenant au groupe australien Ansell, depuis 1995. Ce groupe est beaucoup plus connu pour être l'un des leaders mondiaux de la fourniture de gants pour le monde médical, comme les chirurgiens, les infirmières, l'obstétrique et plus généralement des produits à base de latex.

Manix est également la deuxième marque de préserv...

Manix est une marque appartenant au groupe australien Ansell, depuis 1995. Ce groupe est beaucoup plus connu pour être l'un des leaders mondiaux de la fourniture de gants pour le monde médical, comme les chirurgiens, les infirmières, l'obstétrique et plus généralement des produits à base de latex.

Manix est également la deuxième marque de préservatif la plus connue en France, juste après Durex , son concurrent français historique. Les aficionados de la marque ont grandi avec elle et sont souvent les meilleurs représentants des différents modèles.

Après quelques succès retentissant comme l'Infini, le Super ou l' Endurance , Manix dégaine son "Durex Killer" au début de 2010, la marque Skyn : fini le latex de caoutchouc naturel, vive le Polyisoprène (appelez également à cette époque, le Sensoprène), nouveau matériau, sans protéine de latex allergisante et très confortable.

Le futur de Manix ? Peut-être une fusion des marques Manix et Skyn pour n'avoir plus que Skyn, sait-on jamais… ou bien le super-préservatif antiviral à base de VivaGel (bien sûr ! pour les nostalgiques de la pub…) qui est en fait un gel qui permet de lutter contre le virus HIV et le virus de l'Herpès type 2, contenant du Sodium Astodrimer. Celui-ci étant déjà sur le marché Australien, ce n'est qu'une question de mois pour qu'il arrive en Europe et donc chez votre revendeur Manix préféré.

Restez connectés, vous aurez à votre disposition l'ensemble de la gamme Manix, sans oublier  les préservatifs Skyn !

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2009 World Poll

Various January 2010 2009 World Poll, Feature Articles Issue 53

Everyone Else

The Entries

Acquarello

Michael J. Anderson

Geoff Andrew

Martyn Bamber

Lynden Barber

Michael Bartlett

Raphaël Bassan

Paolo Bertolin

Pamela Biénzobas

Vassily Bourikas

Christopher Bourne

Serge Bozon

Stephen Brower

Thomas Caldwell

Michael Campi

Michelle Carey

Conall Cash

Lesley Chow

Ian Christie

Matthew Clayfield

John Conomos

Francis Cruz

Michael Da Silva

Adrian Danks

Dustin Dasig

John Demetry

Jorge Didaco

Wheeler Winston Dixon

Matthew Flanagan

Donal Foreman

Gwendolyn Audrey Foster

Patrick Friel

Jean-Michel Frodon

Geoff Gardner

Antony I. Ginnane

Chiranjit Goswami

Paul Grant

Jim Hemphill

José Sarmiento Hinojosa

Alexander Horwath

Peter Hourigan

Brian Hu

Christoph Huber

Dominik Kamalzadeh

Daniel Kasman

Simon Killen

Gabe Klinger

Rainer Knepperges

Kevyn Knox

Violeta Kovacsics

Marc Lauria

Maximilian Le Cain

Kevin B. Lee

Dennis Lim

J.B. Mabe

Miguel Marías

David Melville

Olaf Möller

Richard Moore

Bill Mousoulis

Thure Munkholm

Peter Nagels

James Naremore

James L. Neibaur

Cyril Neyrat

Sarah Nichols

Darragh O’Donoghue

John Orr

Volker Pantenburg

Jit Phokaew

Andréa Picard

Richard Porton

Bérénice Reynaud

Marcos Ribas de Faria

Peter Rist

Ben Russell

Dan Sallitt

Howard Schumann

David Schwartz

Mark Spratt

Brad Stevens

Richard Suchenski

Gerwin Tamsma

Ignatiy Vishnevetsky

Robert von Dassanowsky

Virginia Wright Wexman

Deane Williams

Barbara Wurm

Neil Young

ACQUARELLO

NASA Design Engineer and author of the Strictly Film School website.

Favourite films (in preferential order)
Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)
Zum Vergleich (In Comparison, Harun Farocki, 2009)
Independencia (Raya Martin, 2009)
35 rhums (35 Shots of Rum, Claire Denis, 2008)
Villa Amalia (Benoît Jacquot, 2009)
Ghost Town (Zhao Dayong, 2009)
Alle Anderen (Everyone Else, Maren Ade, 2009)
Sense of Architecture (Heinz Emigholz)
Los abrazos rotos (Broken Embraces, Pedro Almodóvar, 2009)
Les Plages d’Agnès (The Beaches of Agnès, Agnès Varda, 2008)

Honourable mentions
Bellamy (Claude Chabrol, 2009)
Singularidades de uma Rapariga Loura (Eccentricities of a Blond Hair Girl, Manoel de Oliveira, 2009)
Liverpool (Lisandro Alonso, 2009)
Les Herbes folles (Wild Grass, Alain Resnais, 2009)
Politist, adj. (Police, Adjective, Corneliu Porumboiu, 2009)

MICHAEL J. ANDERSON

PhD candidate in Film Studies and History of Art at Yale University. He also maintains the weblog Tativille.

1. Politist, adj. (Police, Adjective, Corneliu Porumboiu, 2009)
2. L’Heure d’été (Summer Hours, Olivier Assayas, 2008)
3. Liverpool (Lisandro Alonso, 2008)
4. 36 vues du Pic Saint Loup (Around a Small Mountain, Jacques Rivette, 2009)
5. 35 rhums (35 Shots of Rum, Claire Denis, 2008) and White Material (Claire Denis, 2009)
6. Two Lovers (James Gray, 2008)
7. Fantastic Mr. Fox (Wes Anderson, 2009)
8. Aruitemo aruitemo (Still Walking, Hirokazu Kore-eda, 2008)
9. Una semana solos (A Week Alone, Celina Murga, 2007)
10. The Limits of Control (Jim Jarmusch, 2009)

Runners-up: Bright Star (Jane Campion, 2009), El cant dels ocells (Birdsong, Albert Serra, 2008), Jerichow (Christian Petzold, 2008), Madeo (Mother, Bong Joon-ho, 2009), Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)

To provide some context for my choices, I included 2009 US commercial releases La mujer sin cabeza (The Headless Woman, Lucrecia Martel, 2008) and Tôkyô sonata (Kiyoshi Kurosawa, 2008) on my 2008 list (they were #1 and #2 respectively), while I have yet to see Cahiers du cinéma favourites Les Herbes folles (Wild Grass, Alain Resnais, 2009) and Vincere (Marco Bellocchio, 2009).

GEOFF ANDREW

Geoff Andrew is Head of Film Programme at BFI Southbank.

Five absolute standouts
Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)
A Serious Man (Joel and Ethan Coen, 2009)
Shirin (Abbas Kiarostami, 2008)
Vincere (Marco Bellocchio, 2009)
Politist, adj. (Police, Adjective, Corneliu Porumboiu, 2009)

And 20 very fine works indeed
Les Herbes folles (Wild Grass, Alain Resnais, 2009)
The Limits of Control (Jim Jarmusch, 2009)
Gigante (Adrián Biniez, 2009)
Madeo (Mother, Bong Joon-Ho, 2009)
Lourdes (Jessica Hausner, 2009)
35 rhums (35 Shots of Rum, Claire Denis, 2008)
Ander (Roberto Castón, 2009)
The Informant! (Steven Soderbergh, 2009)
The Girlfriend Experience (Steven Soderbergh, 2009)
Bright Star (Jane Campion, 2009)
Barbe Bleue (Bluebeard, Catherine Breillat, 2009)
Köprüdekiler (Men on the Bridge, Asli Özge, 2009)
Un Prophète (A Prophet, Jacques Audiard, 2009)
Cea mai fericita fata din lume (The Happiest Girl in the World, Radu Jude, 2009)
Morfiy (Morphia, Alexei Balabanov, 2008)
In the Electric Mist (Bertrand Tavernier, 2008)
Jal aljido Mothamyeonseo (Like You Know It All, Hong Sang-Soo, 2009)
Fish Tank (Andrea Arnold, 2009)
Aya Seyahat (Journey to the Moon, Kutlug Ataman, 2009)
A l’ouest de Pluton (Henri Bernardet, Myriam Verreault, 2009)

One film which I greatly admire but have reservations about
Kinatay (Brillante Mendoza, 2009)

Two arthouse turkeys
Antichrist (Lars Von Trier, 2009)
Soudain le vide (Enter the Void, Gaspar Noé, 2009)

Discovery of the year
Pas koji je voleo vozove (These Earthly Days Keep Rolling By, Goran Paskaljevic, 1979)

MARTYN BAMBER

Martyn Bamber is the Head of Subtitling at the European Captioning Institute, and provides subtitles for a variety of films and television programmes. He is also a freelance writer and has contributed several articles to Senses of Cinema.

Favourite films from 2009 seen in the UK (in alphabetical order)
En la ciudad de Sylvia (In the City of Sylvia, José Luis Guerín, 2007)
Funny People (Judd Apatow, 2009)
The Hurt Locker (Kathryn Bigelow, 2008)
Inglourious Basterds (Quentin Tarantino, 2009)
The International (Tom Tykwer, 2009)
Låt den rätte komma in (Let the Right One In, Tomas Alfredson, 2008)
Le Silence de Lorna (The Silence of Lorna, Jean-Pierre Dardenne and Luc Dardenne, 2008)
A Serious Man (Ethan Coen and Joel Coen, 2009)
Two Lovers (James Gray, 2008)
Where the Wild Things Are (Spike Jonze, 2009)

LYNDEN BARBER

Lynden Barber is a freelance film journalist contributing to publications and websites including The Australian, Limelight, SBS Film, Lumina (AFTRS), ABC Unleashed, australianscreen (National Film and Sound Archive) and newmatilda.

Not in order of preference
Låt den rätte komma in (Let the Right One In, Tomas Alfredson, 2008)
An Education (Lone Scherfig, 2009)
Two Lovers (James Gray, 2008)
Inglourious Basterds (Quentin Tarantino, 2009)
Le Père de mes enfants (The Father of My Children, Mia Hansen-Love, 2009) seen at the Filmfest Muenchen 2009
Samson and Delilah (Warwick Thornton, 2009)
L’Instinct de mort (Mesrine: Killler Instinct, Jean-François Richet, 2008)
L’Ennemi public n°1 (Mesrine: Public Enemy No. 1, Jean-François Richet, 2008)
Alle Anderen (Everyone Else, Maren Ade, 2009) seen at the Melbourne International Film Festival
Disgrace (Steve Jacobs, 2009)
L’Heure d’été (Summer Hours, Olivier Assayas, 2009)
Last Ride (Glendyn Ivin, 2009)
In Search of Beethoven (Phil Grabsky, 2009)
Wake in Fright (Ted Kotcheff, 1971)
Tulpan (Sergei Dvortsevoy, 2008)
Of Time and the City (Terence Davies, 2009)
Balibo (Robert Connolly, 2009)
Food, Inc. (Robert Kenner, 2009) seen at the Melbourne International Film Festival
Moon (Duncan Jones, 2009)
Avatar (James Cameron, 2009)
Der Baader Meinhof Komplex (The Baader Meinhof Complex, Uli Edel, 2009)
Away We Go (Sam Mendes, 2009)
Les beaux gosses (The French Kissers, Riad Sattouf, 2009)
Three Blind Mice (Matthew Newton, 2009)
The Boys Are Back (Scott Hicks, 2009)
Genova (Michael Winterbottom, 2009)
Rachel Getting Married (Jonathan Demme, 2008)
Louise-Michel (Gustave de Kevern, Benoît Delépine, 2009)
Dean Spanley (Toa Fraser, 2009)
(500) Days of Summer (Marc Webb, 2009)

Like You Know It AllMICHAEL BARTLETT

Michael Bartlett is a freelance film writer living in London.

Bellamy (Claude Chabrol, 2009)
Helen (Joe Lawlor and Christine Molloy, 2008)
Lat den rätte komma in (Let The Right One In, Tomas Alfredson, 2008)
Jal aljido mothamyeonseo (Like You Know It All, Hong Sang-soo, 2009)
Moon (Duncan Jones, 2009)
Shirin (Abbas Kiarostami, 2008)
35 rhums (35 Shots of Rum, Claire Denis, 2008)
Two Lovers (James Gray, 2008)
Vicky Cristina Barcelona (Woody Allen, 2008)

Tie for 10th: In The Loop (Armando Iannucci, 2009) / Tulpan (Sergei Dvortsevoy, 2008) / Valhalla Rising (Nicolas Winding Refn, 2009)

Two of the most riveting films of the year – for very different reasons – were Fish Tank (Andrea Arnold, 2009) and A Religiosa Portuguesa/La Religieuse portugaise (The Portuguese Nun, Eugène Green, 2009) but I don’t include them in my top ten because, for all their directorial flair, they represent for me an ideological and formal dead end for cinema.

Guilty pleasures included Le Donk and Scor-zay-zee (Shane Meadows, 2009) and the ubiquitous Paranormal Activity (Oren Peli, 2007), while the best “new” films I saw all year were three I’d already seen in 2008 (a much richer year for film): Encounters at the End of the World (Werner Herzog, 2007), La vie moderne (Modern Life, Raymond Depardon, 2008) and Aruitemo aruitemo (Still Walking, Hirokazu Kore-eda, 2008).

A great year for (re)discoveries, though. Here’s a Top 15: After Hours (Martin Scorsese, 1985); Akarui mirai (Bright Future, Kiyoshi Kurosawa, 2003); BBC – The Voice of Britain (Stuart Legg, 1935); The Bed Sitting Room (Richard Lester, 1969); Chocolat (Claire Denis, 1988); Contes immoraux (Immoral Tales, Walerian Borowczyk, 1974); Decision at Sundown (Budd Boetticher, 1957); Il grido (The Cry, Michelangelo Antonioni, 1957); Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975); The London Nobody Knows (Norman Cohen, 1967); M (Joseph Losey, 1951); Mayis sikintisi (Clouds of May, Nuri Bilge Ceylan, 1999); Nihon no yoru to kiri (Night and Fog in Japan, Nagisa Ôshima, 1960); Le Silence de la mer (The Silence of the Sea, Jean-Pierre Melville, 1949); Subida al cielo (Ascent To Heaven/Mexican Bus Ride, Luis Buñuel, 1951)

RAPHAEL BASSAN

Raphaël Bassan is a French film critic who has written, since 1970, on avant-garde cinema (and other forms of cinema) in specialised reviews such as Écran and La Revue du Cinéma, in national dailies such as Libération, and in dictionaries and encyclopaedias, for example L’Encyclopaedia Universalis.

In alphabetical order
La Danse: Le ballet de l’Opéra de Paris (La Danse: The Paris Ballet Opera, Fred Wiseman, 2009)
Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)
Homecoming (Narcisa Hirsch, 1980) short film presented at the Festival des cinémas différents de Paris
Gabbla (Inland, Tariq Teguia, 2008),
Irène (Alain Cavalier, 2009),
Jeder für sich und Gott gegen alle (The Enigma of Kaspar Hauser, Werner Herzog, 1974) seen at the Herzog retrospective at the Centre Pompidou
Meditations on Revolution part 1: Lonely Planet (1997), Meditations on Revolution part II: The Space in Between (1997), and Meditations on Revolution part III: Soledad (2001) (Robert Fenz) seen at the Festival Cinéma du Réel, Centre Pompidou
My Brother’s Wedding (Charles Burnett, 1983, reissue in 2009 in French theatres
New York Portraits (chapter one, 1978, chapter two, 1980, chapter 3, 1990) (Peter Hutton) seen at the Festival Cinéma du Réel, Centre Pompidou
Playtime (Jacques Tati, 1967) seen at the Tati retrospective at the Cinemathèque française
Qu’un seul tienne et les autres suivront (Silent Voice, Léa Fehner, 2009)

It’s a real challenge to write this kind of list, but I play the game by expressing the broad spectrum of my taste. I have selected eleven films, some are internationally recognised, such as The White Ribbon, while others, like the first film by Léa Fehner, Qu’un seul tienne et les autres suivront, or Gabbla by Tariq Teguia, have had only a limited visibility in the area of French film criticism. If I have to sum up my intellectual voyage as a film critic, I can say that I never thought there was only one way to think and write about cinema, its aesthetics or philosophy. For each category of film, I adopt a specific way to translate the images, their continuity, and their secret or hidden meanings. I think that we are able to like, at the same time and in the same lifetime, works by Jean-Luc Godard, Hollis Frampton or Mario Bava. We have the simple obligation to not make abusive comparisons between the films, and to consider each of them in its own ecosystem.

In different countries (and in France especially) we can see all kinds of films (in festivals or retrospectives). I chose two trilogies of avant-garde documentary films by Peter Hutton and by the young Robert Fenz, and a film by a veteran Mexican female filmmaker, Narcisa Hirsch, born in 1928 and largely unknown, to indicate simply that these artists also exist and have an importance in the history of cinema, just as the authors of fictional mainstream oeuvres.

PAOLO BERTOLIN

Paolo Bertolin works as a programmer for a number of international film festivals (among them, Venice, Bratislava and the Udine Far East Film Festival). This year, he curated the Paolo Benvenuti retrospective at the 38 th International Film Festival Rotterdam.

My favourite films of 2009*
Lola (Brillante Mendoza, 2009)
White Material (Claire Denis, 2009)
Strella (Panos H. Coutras, 2009)
Sawan Baan Na (Agrarian Utopia, Uruphong Raksasad, 2009)
Engkwentro (Pepe Diokno, 2009)
casting a glance (James Benning, 2007)
Gran Torino (Clint Eastwood, 2008)
Woman On Fire Looks For Water (Woo Ming Jin, 2009)
Petition: The Court of the Complainants (Zhao Liang, 2009)
Ahasin Wetei (Between Two Worlds, Vimukthi Jayasundara, 2009)

*I include here only films I have seen for the first time during the last year

Most overrated films in 2009
1. Slumdog Millionaire (Danny Boyle, 2008) – probably the decade’s biggest fraud…
2. Soul Kitchen (Fatih Akin, 2009)
3. Un Prophète (A Prophet, Jacques Audiard, 2009)

Three unanswered questions
1. Why is Andrzej Wajda’s Tatarak (Sweet Rush, 2009) regarded by so many European critics as “innovative”?
2. Why were Clint Eastwood’s equally masterful Changeling (2008) and Gran Torino (2008) both (almost) completely shut out of the Oscar run?
3. Why did the Venice Film Festival jury completely overlook a masterpiece like Brillante Mendoza’s Lola (2009)?

PAMELA BIENZOBAS

Pamela Biénzobas is a Paris-based Chilean film critic, co-founder of Revista de Cine Mabuse, and outgoing vice-president of FIPRESCI, the International Federation of Film Critics.

Since I feel I need a criterion for this kind of exercise, I decided to limit this list (or these lists) to films commercially released in France during 2009 (no matter where or when I saw them).

Ten French films (+1 bonus)
Surprisingly, many of the films I shortlisted are French:

The most shattering
(Quebecois bonus): J’ai tué ma mère (I Killed My Mother, Xavier Dolan, 2009)

The most inventive
Léger tremblement du paysage (A Faint Trembling of the Landscape, Philippe Fernandez, 2008)

The most compelling
Irène (Irene, Alain Cavalier, 2009)

The most heart-warming
35 rhums (35 Shots of Rum, Claire Denis, 2008)

The most hilarious
Les Beaux gosses (The French Kissers, Riad Sattouf, 2009)

The most playful
Les Herbes folles (Wild Grass, Alain Resnais, 2009)

The most nonjudgmental
La Fille du RER (The Girl on the Train, André Téchiné, 2009)

The most virtuoso
La Danse: Le ballet de l’Opéra de Paris (La Danse: The Paris Ballet Opera, Fred Wiseman, 2009)

The most sensually (and absurdly) apocalyptic
Les Derniers jours du monde (Happy End, Jean-Marie Larrieu and Arnaud Larrieu, 2009)

The most subtly elliptical
Yuki and Nina (Nobuhiro Suwa and Hyppolite Girardot, 2009)

The most effectively constructed
Un Prophète (A Prophet, Jacques Audiard, 2009)

Three confirmed masters (+2 bonus):
(Younger talent bonus): Revolutionary Road (Sam Mendes, 2008)
(New master bonus): Gabbla (Inland, Tariq Teguia, 2009)
Public Enemies (Michael Mann, 2009)
Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)
Vincere (Marco Bellocchio, 2009)

Three tales of three cities
Of Time and the City (Terence Davies, 2008)
My Winnipeg (Guy Maddin, 2007)
Joy Division (Grant Gee, 2007)

Three fables of a child’s soul
Where the Wild Things Are (Spike Jonze, 2009)
Coraline (Henry Selick, 2009)
Gake no ue no Ponyo (Ponyo on the Cliff, Hayao Miyazaki, 2008)

Three portraits of Chile
Tony Manero (Pablo Larrain, 2008)
Huacho (Alejandro Fernández Almendras, 2009)
Navidad (Sebastián Campos, 2009)

Two Australian wonders
Mary and Max (Adam Elliot, 2009)
Samson and Delilah (Warwick Thornton, 2009)

The two most unfairly dismissed (when presented in Cannes 2008)
La mujer sin cabeza (The Headless Woman, Lucrecia Martel, 2008)
Synecdoche, New York (Charlie Kaufman, 2008)

The single most overrated
Gran Torino (Clint Eastwood, 2008)

VASSILY BOURIKAS

Filmmaker and cinephile, living in Berlin and Greece.

These are some films I really enjoyed in the last year, including some that resurfaced. I am sure I forgot some.
Stara Škola Kapitalizma (Old School of Capitalism, Želimir Žilnik, 2009)
Strella (Panos H. Coutras, 2009)
Zum Vergleich (In Comparison, Harun Farocki, 2009)
Tweet’s Ladies of Pasadena (Timothy Carey, 1973)
Public Enemies (Michael Mann, 2009)
Trypps #6 (Malobi) (Ben Russell, 2009)
Par dzimtenīti (Three Men and a Fishpond, Laila Pakalnina and Maris Maskalans, 2008)
Zoom Doku (Ludwig Schönherr, 1967-69)
Kentaur (Centaur, Tamás St. Auby, 1973-75)
Un Prophète (A Prophet, Jacques Audiard, 2009)
Materialfilm Performance, Ein 35mm Cinemascope Expanded Cinema Event
(Material Film Performance, A 35mm Cinemascope Expanded Cinema Event, Wilhelm Hein, 2009)
Zasto ne govorim srpski (na srpskom) (Phil Collins, 2008)
Spirit house (Robert Todd, 2008)
Ramses (Romuald Karmakar) segment of Deutschland 09 – 13 kurze Filme zur Lage der Nation (Germany 09: 13 Short Films About the State of the Nation, 2009)
Pression (18fps version) (Ljubomir Šimunić, 1970-75)
((((())))) (Leslie Thornton, 2009)
Tabiaah Samitah (Still Life, Akram Zaatari, 2008)
Scrap Vessel (Jason Byrne, 2009)
La Rabbia di Pasolini (Rage by Pasolini, Pier Paolo Pasolini and Giuseppe Bertolucci, 2008)

CHRISTOPHER BOURNE

Christopher Bourne is a writer and cinephile based in New York City. He blogs on film at The Bourne Cinema Conspiracy.

2009 was an embarrassment of cinematic riches, so much so that I refuse to submit myself to the “tyranny of ten”, as the estimable critic Jonathan Keifer terms it, since there were far more than ten films that deserve recognition as great achievements. Therefore, in a nod to the great Casey Kasem, here is a Top 40 countdown of the year’s best films. Everyone has their own rules for inclusion, and these were mine: if a film had or began its commercial run, or played for at least a week in New York during the calendar year 2009, it was eligible. The vagaries of film distribution being what they are, many of the films on my list were not actually made in 2009.

1. 35 rhums (35 Shots of Rum, Claire Denis, 2008)
2. Meotjin haru (My Dear Enemy, Lee Yoon-ki, 2008)
3. Liverpool (Lisandro Alonso, 2008)
4. Du levande (You, the Living, Roy Andersson, 2007)
5. Hyazgar (Desert Dream, Zhang Lu, 2007)
6. Bam gua nat (Night and Day, Hong Sang-soo, 2008)
7. Hunger (Steve McQueen, 2008)
8. Up in the Air (Jason Reitman, 2009)
9. Medicine for Melancholy (Barry Jenkins, 2008)
10. Adventureland (Greg Mottola, 2009)
11. Tôkyô sonata (Kiyoshi Kurosawa, 2008)
12. Aruitemo aruitemo (Still Walking, Hirokazu Kore-eda, 2008)
13. Goodbye Solo (Ramin Bahrani, 2008)
14. Babi buta yang ingin terbang (Blind Pig Who Wants to Fly, Edwin, 2008)
15. Treeless Mountain (So Yong Kim, 2008)
16. Tulpan (Sergey Dvortsevoy, 2008)
17. Munyurangabo (Lee Isaac Chung, 2007)
18. Import/Export (Ulrich Seidl, 2007)
19. The Hurt Locker (Kathryn Bigelow, 2008)
20. Er shi si cheng ji (24 City, Jia Zhangke, 2008)
21. Tyson (James Toback, 2008)
22. Les Plages d’Agnès (The Beaches of Agnès, Agnès Varda, 2008)
23. Somers Town (Shane Meadows, 2008)
24. Flower in the Pocket (Liew Seng Tat, 2007)
25. Adela (Adolfo Alix Jr., 2008)
26. Yasukuni (Li Ying, 2007)
27. Dai-Nihonjin (Big Man Japan, Hitoshi Matsumoto, 2007)
28. Rembrandt’s J’Accuse (Peter Greenaway, 2008)
29. Of Time and the City (Terence Davies, 2008)
30. The Pervert’s Guide to Cinema (Sophie Fiennes, 2006)
31. Two Lovers (James Gray, 2008)
32. Fantastic Mr. Fox (Wes Anderson, 2009)
33. Valentino: The Last Emperor (Matt Tyrnauer, 2008)
34. Where the Wild Things Are (Spike Jonze, 2009)
35. Humpday (Lynn Shelton, 2009)
36. Wonangsori (Old Partner, Lee Chung-ryoul, 2008)
37. Inglourious Basterds (Quentin Tarantino, 2009)
38. L’Heure d’été (Summer Hours, Olivier Assayas, 2008)
39. The Informant! (Steven Soderbergh, 2009)
40. Zombieland (Ruben Fleischer, 2009)/Drag Me to Hell (Sam Raimi, 2009)

Honourable mentions (in alphabetical order): Antichrist (Lars von Trier, 2009), The Bad Lieutenant: Port of Call New Orleans (Werner Herzog, 2009), Bronson (Nicolas Winding Refn, 2008), Brüno (Larry Charles, 2009), Chugyeogja (The Chaser, Na Hong-jin, 2008), District 9 (Neill Blomkamp, 2009), The Limits of Control (Jim Jarmusch, 2009), Observe and Report (Jody Hill, 2009), Paper Heart (Nicholas Jasenovec, 2009), Politist, adj. (Police, Adjective, Corneliu Porumboiu, 2009), Pontypool (Bruce McDonald, 2008), Gake no ue no Ponyo (Ponyo on the Cliff by the Sea, Hayao Miyazaki, 2008), Precious: Based on the Novel Push by Sapphire (Lee Daniels, 2009), Revanche (Götz Spielmann, 2008), Rudo y Cursi (Rough and Vulgar, Carlos Cuarón, 2008), Serbis (Service, Brillante Mendoza, 2008), Sin Nombre (Without Name, Cary Fukunaga, 2009), Taxidermia (György Pálfi, 2006), Tokyo! (Michel Gondry, Léos Carax, Bong Joon-ho, 2008), The Yes Men Fix the World (Andy Bichlbaum, Mike Bonanno, Kurt Engfehr, 2009).

SERGE BOZON

Filmmaker and critic for Cahiers du Cinéma.

All Around a MountainBad Biology (Frank Henenlotter, 2008)
Espelho Mágico (Magic Mirror, Manoel de Oliveira, 2005)
Jitsuroku rengô sekigun: Asama sansô e no michi (United Red Army, Kôji Wakamatsu, 2007)
Aquele Querido Mês de Agosto (Our Beloved Month of August, Miguel Gomes, 2008)
La Famille Wolberg (The Wolberg Family, Axelle Ropert, 2009)
Le Roi de l’évasion (The King of Invasion, Alain Guiraudie, 2009)
36 vues du Pic Saint Loup (Around a Small Mountain, Jacques Rivette, 2009)
Je ne suis pas morte (I Did Not Die, Jean-Charles Fitoussi, 2008)
L’Idiot (The Idiot, Pierre Léon, 2008)
Bellamy (Claude Chabrol, 2009)

STEPHEN BROWER

Stephen Brower (Santa Monica, CA) is Vice President of AandR and Marketing for Vanguard Records and is the publisher of the film blog pocketcinephile.com.

The top 10 + 1 films of 2009
1. Inglourious Basterds (Quentin Tarantino, 2009)
Tarantino cements his legacy as a singular visionary with Inglourious Basterds, a masterful series of tête-à-têtes birthed of the director’s own peculiar universe, wherein claustrophobic chamber dramas masquerade as populist action set pieces with the audience none the wiser.
2. Trash Humpers (Harmony Korine, 2009)
Korine’s is a baldly experimental, near-confrontational, primal scream of a film. The director commits wholly to a primitivist film-as-found-object conceptualisation, relentlessly suppressing the notion of artifice throughout, and, in turn, producing a highly artful and expressive work.
3. The Hurt Locker (Kathryn Bigelow, 2008)
Following in a straight line from the revelatory, war-defining combat films of Samuel Fuller, Bigelow’s equally relentless and unapologetically non-contextual film seems poised to stand as the authoritative soldier’s-eye-view document of contemporary, post-millennial conflict.
4. The House of the Devil (Ti West, 2009)
In an era of garishly over-styled horror films, West’s satanic chiller is something of a revelation. The year’s most surprising film wrings its near-constant restless mood from an unsettling scenario, efficient plotting, and smart, loaded compositions.
5. Public Enemies (Michael Mann, 2009)
Mann’s film is an epic hail of tommy gun fire. As with his similarly under-appreciated Miami Vice (2006), the director’s relative inattention to the execution of cops-and-robbers conventions throws into relief that this is large-scale filmmaking at its most composed, controlled and masterful.
6. La mujer sin cabeza (The Headless Woman, Lucrecia Martel, 2008)
Over the course of three remarkable features, Lucrecia Martel has proven a master of hazy, somnambulant tones, an approach that is perfectly fitted to this elliptical pseudo-mystery. María Onetto is thrust into the foreground (both literally and figuratively) as the much-troubled Verónica, and her expressive, often expressionless, performance provides a canvas for the director’s suggestion and innuendo.
7. Stellet licht (Silent Light, Carlos Reygadas, 2007)
Invoking by turns Terrence Malick’s painterly compositions, Ingmar Bergman’s stark solemnity, and Bruno Dumont’s agrarian primitivism, Reygadas’ metaphysical domestic tale is a striking, singular and difficult work.
8. L’Heure d’été (Summer Hours, Olivier Assayas, 2008)
Assayas’ is a small, well-mannered film about big, ill-mannered themes. Nothing less than youth, family, nostalgia, death and the detritus of life are assayed in this composed, elegant piece.
9. The Bad Lieutenant: Port of Call New Orleans (Werner Herzog, 2009)
Herzog, operating within the skeleton of a police procedural, and directing as if from the unconscious, unleashes a manic, magnetic Nicolas Cage in an unsettling and wholly absurd world of the director’s making.
10. Adventureland (Greg Mottola, 2009)
Mottola’s stoned carnival workers, both intellectually and chronologically, fall somewhere between Richard Linklater’s varsity slackers and Whit Stillman’s neurotic Fourierists. More importantly, they reside in the same casual, lived-in space that makes this naturalist Summer’s tale as eminently watchable as either Dazed and Confused (1993) or Metropolitan (1990).
11. Los abrazos rotos (Broken Embraces, Pedro Almodóvar, 2009)
Simply put, Almodóvar re-confirms his standing as a contemporary master with this yarn of guilt, performance, and longing. Aside from an assured wrangling of the film’s many-headed plot, the director paints every inch of his frames with a precision that lays plain an incredible skill.

And two major disappointments
Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)
Haneke turns a sharply critical (and sumptuous) eye on pre-War Germany in this deliberately paced cultural indictment. The director’s austere relation of severe, near-Calvinist village life is exacting, but at times undermines his film’s narrative tension in its coldness.
Antichrist (Lars von Trier, 2009)
Antichrist is a veritable black hole of psychological tumult and visceral eruption oddly married with cabin-in-the-wood slasher film conventions. Lars von Trier’s characters, however, are too narrowly drawn to bear the weight of such ravenous activity. The director’s own staging of Euripides’ Medea is a far more fully realised portrait of unfettered, vindictive angst.

THOMAS CALDWELL

Freelance writer and broadcaster who specialises in film criticism and educational writing on film. He writes Cinema Autopsy, reviews for The Big Issue, and is the author of Film Analysis Handbook (Insight Publications, 2005).

Instead of writing the usual apology or disclaimer for creating a Best Of List, I’m just going to confess that I love creating these lists as they provide a snapshot of what films I was most immediately impressed by from the year that has just finished. As time passes many of these films will fade from memory while some continue to resonate and establish themselves in film history so it will be nice to be able to refer back to such a list and remind myself of films that may be forgotten.

Top ten films with a theatrical release in Melbourne, Australia in 2009
1. Balibo (Robert Connolly, 2009)
2. Rachel Getting Married (Jonathan Demme, 2008)
3. Avatar (James Cameron, 2009)
4. Genova (Michael Winterbottom, 2008)
5. Antichrist (Lars von Trier, 2009)
6. Samson and Delilah (Warwick Thornton, 2009)
7. Up (Pete Docter and Bob Peterson, 2009)
8. Two Lovers (James Gray, 2008)
9. The Imaginarium of Doctor Parnassus (Terry Gilliam, 2009)
10.  Every Little Step (Adam Del Deo and James D. Stern, 2008)

The film that left the biggest impression on me in 2009 was Balibo, which left me initially feeling completely shattered and later left me in awe of how skilfully crafted it is with its combination of human drama, international politics and historical detail. The only two films I saw twice in the cinema in 2009 were Rachel Getting Married and Avatar; films at almost the opposite end of the spectrum to one another in representing what cinema can achieve. The ultra small scale Rachel Getting Married provided a deeply emotional examination of family dynamics and my love of cinema that captures a sense of place and something deeply human is further reflected by my inclusion of Genova, Samson and Delilah, Two Lovers and Every Little Step. The extravagant spectacle Avatar created one of the most immersive cinema experiences to date and my love of cinema as a visual art form is further reflected by my inclusion of Antichrist, Up and The Imaginarium of Doctor Parnassus.

Honourable mentions
11. Milk (Gus Van Sant, 2008)
12.  The Wrestler (Darren Aronofsky, 2008)
13.   Låt den rätte komma in (Let the Right One In, Tomas Alfredson, 2008)
14.  District 9 (Neill Blomkamp, 2009)
15. Moon (Duncan Jones, 2009)
16.  Bright Star (Jane Campion, 2009)
17. Gomorra (Gomorrah, Matteo Garrone, 2008)
18.  L’Heure d’été (Summer Hours, Olivier Assayas, 2008)
19.  Mary and Max (Adam Elliot, 2009)
20. The Limits of Control (Jim Jarmusch, 2009)

Top Ten unreleased films
While Melbourne is a tremendous city for film, especially with cinemas such as Cinema Nova that are very much committed to independent releases, a number of exceptional films still miss out on getting general theatrical releases. Fortunately for the Melbourne based film lover there is the Australian Centre for the Moving Image (ACMI) and what seems like an endless stream of film festivals picking up the slack. For this reason I’ve separately listed films screened in Melbourne in 2009 but not given a general theatrical release (and to date not scheduled for a 2010 release).

1. Ai no mukidashi (Love Exposure, Sion Sono, 2008)
2. 35 rhums (35 Shots of Rum, Claire Denis, 2008)
3. Bumazhnyy soldat (Paper Soldiers, Aleksei German Jr., 2008)
4. Bakjwi (Thirst, Park Chan-wook, 2009)
5. Joheunnom nabbeunnom isanghannom (The Good, the Bad, the Weird, Kim Ji-woon, 2008)
6. L’instinct de mort (Public Enemy Number One (Part 1), Jean-François Richet, 2008)
7. Madeo (Mother, Bong Joon-ho, 2009)
8. Bronson (Nicolas Winding Refn, 2009)
9. JCVD (Mabrouk El Mechri, 2008)
10.  T Is for Teacher (Rohan Spong, 2009)

Melbourne also benefits from a wide range of retrospective screenings and in a year that was already spectacular for Australian cinema it was an added bonus to have screenings and then long overdue DVD releases of Richard Lowenstein’s 1986 masterpiece Dogs in Space and Ted Kotcheff’s ‘lost’ 1971 classic Wake in Fright. Watching a newly restored print of Sergio Leone’s C’era una volta il West (Once Upon a Time in the West, 1968) at The Astor Theatre was another highlight on the cinematic year as was visiting ACMI’s Dennis Hopper and the New Hollywood exhibition. The Melbourne Cinémathèque once again provided a terrific program in 2009 and it was great to finally catch-up on some previously unseen films by Ingmar Bergman and Samuel Fuller as well as discovering for the first time the under-appreciated cinema of Frank Borzage.

MICHAEL CAMPI

Under the spell of moving images for many decades, Michael Campi has been involved with film exhibition events and is a programming consultant to the Melbourne International Film Festival as well as being a full-time health professional in Melbourne.

35 rhums (35 Shots of Rum, Claire Denis, 2008)
Gran Torino (Clint Eastwood, 2008)
A Serious Man (Joel and Ethan Coen, 2009)
Madeo (Mother, Bong Joon-ho, 2009)
Vincere (Marco Bellocchio, 2009)
My Year Without Sex (Sarah Watt, 2009)
Jal aljido mothamyeonseo (Like You Know It All, Hong Sang-Soo, 2009)
Les Plages d’Agnès (The Beaches of Agnès, Agnès Varda, 2008)
Entre les murs (The Class, Laurent Cantet, 2008)
Darbareye Elly (About Elly, Asghar Farhadi, 2009)
Nanjing! Nanjing! (City of Life and Death, Lu Chuan, 2009)

Other works encountered for the first time in 2009 and happy reunions anticipated
Piotr Anderszewski – Voyageur Intranquille (Piotr Anderszewski – Unquiet Traveller, Bruno Monsaingeon, 2009)
Sawan baan na (Agrarian Utopia, Uruphong Raksasad, 2009)
Er Dong (Yang Jin, 2008)
Ming Mei Shi Kwong (Glamorous Youth, Philip Yung, 2009)
Banjir Kemarau (Flooding in the Time of Drought, Sherman Ong, 2009)
Ai no mukidashi (Love Exposure, Sion Sono, 2008)
Bu Neng Mei You Ni (No Puedo Vivir Sin Ti, Leon Dai, 2008)
Yu Yan (Fish Eyes, Zheng Wei, 2009)
Heosuabideuleui ddang (Land of Scarecrows, Roh Gyeong-tae, 2008)
Jang-rae-sig-ui member (Members of the Funeral, Baek Seung-bin, 2008)
Optical Vacuum (Dariusz Kowalski, 2008)
1428 (Du Haibin, 2009)
Xunzhao zhimei gengdeng (The Search, Pema Tseden, 2009)
Guangban (Sun Spots, Yang Heng, 2009)
Kûki Ningyô (Air Doll, Kore-eda Hirokazu, 2009)
Sham moh (At the End of Daybreak, Ho Yuhang, 2009)
Karaoke (Chris Chong Chan Fui, 2009)
Hwioribaram (Eighteen, Jang Kun-jae, 2009)
Los abrazos rotos (Broken Embraces, Pedro Almodóvar, 2009)
Singularidades de uma Rapariga Loura (Eccentricities of a Blond Hair Girl, Manoel De Oliveira, 2009)
The Time that Remains: Chronicle of a Present Absentee (Elia Suleiman, 2009)
Sonbahar (Autumn, Özcan Alper, 2008)

Other special memories of filmgoing in 2009
The Ichikawa Jun retrospective at the Hong Kong International Film Festival, in particular Byôin de shinu to iu koto (Dying in a Hospital, 1993)
The Eros and Massacre sidebar of Japanese rarities at the Melbourne International Film Festival
Three films by Yesim Ustaoglu: Pandora’nin Kutusu (Pandora’s Box, 2008), Bulutlari beklerken (Waiting for the Clouds, 2003), Günese yolculuk (Journey to the Sun, 1999)

Special DVD releases this year include the Criterion Nikkatsu noir set of invaluable Japanese riches from the seemingly bottomless magic well of cinema history in Japan, the continuing releases from the Korean Film Archive, particularly the Yoo Hyun Mok set and the collected work of Joris Ivens from the Netherlands. It’s also gratifying to see an almost complete set of the work of the late Solrun Hoaas released by Ronin Films. May her insights, perseverance and determination be now appreciated by an increasing and appreciative audience.

MICHELLE CAREY

Head of Programming for the Melbourne International Film Festival, Co-programmer for the Melbourne Cinémathèque and Festivals Editor for Senses of Cinema.

Cinematic highlights of 2009 (in alphabetical order)
1428 (Du Haibin, 2009)
36 vues du Pic Saint Loup (All Around a Mountain, Jacques Rivette, 2009)
Adventureland (Greg Mottola, 2009)
Alle Anderen (Everyone Else, Maren Ade, 2009)
Carcasses (Denis Côté, 2009)
Ddongpari (Breathless, Yang Ik-june, 2009)
Fish Tank (Andrea Arnold, 2009)
Die Frau mit den 5 Elefanten (The Woman with the 5 Elephants, Vadim Jendreyko, 2009)
Ice (Robert Kramer, 1969)
Indepencia (Raya Martin, 2009)
Jal aljido mothamyeonseo (Like You Know It All, Hong Sang-soo, 2009)
Karaoke (Chris Chong Chan Fui, 2009)
Maynila: sa mga kuko ng liwang (Manila: In the Claws of Light, Lino Brocka, 1975)
Morfiy (Morphia, Alexei Balabanov, 2008)
Morrer como um homem (To Die Like a Man, João Pedro Rodrigues, 2009)
Ne Change Rien (Pedro Costa, 2009)
Un lac (A Lake, Philippe Grandrieux, 2009)
Le Père des mes enfants (The Father of My Children, Mia Hansen-Løve, 2009)
Petition: The Court of the Complainants (Zhao Liang, 2009)
Politist adj. (Police, Adjective, Corneliu Porumboiu, 2009)
Proshchanie (Farewell, Elem Klimov, 1983)
Samson and Delilah (Warwick Thornton, 2009)
Todos mienten (They All Lie, Matias Piñeiro, 2009)
Trash Humpers (Harmony Korine, 2009)
Trypps #6 (Malobi) (Ben Russell, 2009)
Tweet’s Ladies of Pasadena (Timothy Carey, 1973)
Villalobos (Romuald Karmakar, 2009)
Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)

and, less specifically…

Arthur and Corinne Cantrill’s expanded cinema performance at MIFF (co-presented by OtherFilm)
The Experimental Forum at Thessaloniki International Film Festival especially Zdravi ljudi za razonodu (Litany of Happy People, Karpo Godina, 1969-71)
Roberto Rossellini and Jerzy Skolimowski seasons at the Melbourne Cinémathèque
Post-Punk mixtapes program at MIFF
Films of Artavazd Pelechian especially Obitateli (Inhabitants, 1970)
Len Lye exhibition at ACMI
Rainer Werner Fassbinder DVD releases in Australia through Madman Entertainment

CONALL CASH

Conall Cash has been a student in the humanities at universities in the United States and Australia. He writes about film for a few publications, and maintains the website Catabloguing.

This year I had the good fortune to be able to travel to a few film festivals in Europe and the United States, and also to be around for two of the major festivals in my native Australia, at Sydney in May and Melbourne in July/August. My list reflects these geographical movements, and hence represents a fairly idiosyncratic view of what constituted a “new” film in 2009. For whatever reason, there are 21 films on this list. No order of preference is given, I am very fond of them all, however I will indicate here that the really astonishing, devastating, “stand-out” films were those by Grandrieux, Kiarostami, Tsai, Denis and Brisseau.

35 rhums (35 Shots of Rum, Claire Denis, 2008)
36 vues du Pic Saint Loup (All Around a Mountain, Jacques Rivette, 2009)
À L’Aventure (Jean-Claude Brisseau, 2009)
Adventureland (Greg Mottola, 2009)
Barbe Bleue (Bluebeard, Catherine Breillat, 2009)
Walang Alaala ang mga Paru-paro (Butterflies Have No Memory, Lav Diaz)
Independencia (Raya Martin, 2009)
Un Lac (A Lake, Philippe Grandrieux, 2008)
Choepcheopsanjung (Lost In The Mountains, Hong Sang-soo)
Ai no mukidashi (Love Exposure, Sion Sono, 2008)
Napoli, Napoli, Napoli (Abel Ferrara, 2009)
Ne Change Rien (Pedro Costa, 2009)
Nang mai (Nymph, Pen-ek Ratanaruang, 2009)
Bumazhnyy soldat (Paper Soldier, Alexei German Jr., 2008)
Les Plages d’Agnès (The Beaches of Agnès, Agnès Varda, 2008)
Shirin (Abbas Kiarostami, 2008)
Singularidades de uma Rapariga Loura (Eccentricities of a Blond Hair Girl, Manoel de Oliveira, 2009)
Aruitemo aruitemo (Still Walking, Kore-eda Hirokazu, 2008)
Two Lovers (James Gray, 2008)
Visage (Face, Tsai Ming-liang, 2009)
What Happened on 23rd Street in 1901 (Ken Jacobs, 2009)

LESLEY CHOW

VengeanceWriter on film for Bright Lights, photography for Photofile, and other arts for Spark.

Films of the year
1. Vengeance (Johnnie To, 2009)
2. Un Lac (A Lake, Philippe Grandrieux, 2008)
3. L’Heure d’été (Summer Hours, Olivier Assayas, 2008)
4. Sell Out! (Yeo Joon Han, 2008)
5. I Could Never Be Your Woman (Amy Heckerling, 2007)
6. The Girlfriend Experience (Stephen Soderbergh, 2009)
7. Julia (Erick Zonca, 2008)
8. Shirin (Abbas Kiarostami, 2008)
9. Jay (Francis Xavier Pasion, 2008)
10. Watching the Detectives (Paul Soter, 2007)

IAN CHRISTIE

Ian Christie is a film historian, curator and broadcaster, currently Professor of Film and Media History at Birkbeck, University of London.

The following aren’t in order, except of recall (and there are a lot of new films I’ve not seen this year…)

Bright Star (Jane Campion, 2009)
No mean achievement to have found a way of making Keats and his poetry come alive, through filling the historical void that is Fanny Brawne. Wonderful performance by Abbie Cornish, and a tremendous sense of the materiality of early 19th-century life. Surprisingly, the film needs defending against both high and lowbrow detractors.

The Imaginarium of Doctor Parnassus (Terry Gilliam, 2009)
Gilliam getting back to what he does best, which is creating rich Arabian Nights worlds of wit and fantasy, yoking together unlikely actors in a movie that revels in mixing homemade settings and effects with some high-concept design.

Fish Tank (Andrea Arnold, 2009)
Quite simply the best-conceived and best-made British realist film of the year, and a real advance on Arnold’s debut, Red Road (2006). A film that shows and tells us what we need to know about life in Britain today, with the same urgency as Kes (Ken Loach, 1970).

Låt den rätte komma in (Let the Right One In, Tomas Alfredson, 2008)
Smouldering Scandinavian reinvention of the old vampire yarn, suffused with real adolescent poetry.

Sleep Furiously (Gideon Koppel, 2008)
Life in a remote Welsh village distilled by Koppel with wry affection in haunting images.

Antichrist (Lars von Trier, 2009)
Another kind of horror movie, delving back into the Scandinavian roots of the genre (Benjamin Christiansen, Carl Theodor Dreyer): deep, dark and unforgettably disturbing.

plus an honourable mention for Poltory komnaty ili sentimentalnoe puteshestvie na rodinu (Room and a Half, Andrey Khrzhanovsky, 2009), a beautiful, fantastic evocation of the world of poet Joseph Brodsky, which includes animated sequences that match the best in Russian animation. Astonishingly, this is the first feature by 69 year-old Khrzhanovsky (father of Ilya, the director of 4 [2005]), who was one of Kuleshov’s last pupils.

MATTHEW CLAYFIELD

Matthew Clayfield is a journalist, critic and screenwriter currently based in Sydney, Australia.

Best new film
A Serious Man (Joel Coen and Ethan Coen, 2009)

Runners-up
Barbe Bleue (Bluebeard, Catherine Breillat, 2009)
Fantastic Mr. Fox (Wes Anderson, 2009)
Milk (Gus Van Sant, 2008)
Van Diemen’s Land (Jonathan Auf Der Heide, 2009)

Other highlights
Che: Part One and Che: Part Two (both Steven Soderbergh, 2008)
The Girlfriend Experience (Steven Soderbergh, 2009)
La nana (The Maid, Sebastián Silva, 2009)
Les Plages d’Agnès (The Beaches of Agnes, Agnès Varda, 2008)
Pontypool (Bruce McDonald, 2008)
Rachel Getting Married (Jonathan Demme, 2008)
Samson and Delilah (Warwick Thornton, 2009)
Singularidades de uma Rapariga Loura (Eccentricities of a Blond Hair Girl, Manoel de Oliveira, 2009)
Valentino: The Last Emperor (Matt Tyrnauer, 2008)
Visage (Face, Tsai Ming-liang, 2009)
The Wrestler (Darren Aronofsky, 2008)

Best retrospective screening
Sátántangó (Béla Tarr, 1994) at the Metropolitan Museum of Modern Art

Runners-up
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) as part of the “Girls 24/7” season at the Sydney Film Festival
Wake in Fright (Ted Kotcheff, 1971) at the Sydney Film Festival

Other retrospective highlights
The Big Parade (King Vidor, 1925) at the Sydney Film Festival
Cléo de 5 à 7 (Cleo from 5 to 7, Agnès Varda, 1962) as part of “Girls 24/7”
Flickorna (The Girls, Mai Zetterling, 1968) as part of “Girls 24/7”
Overlord (Stuart Cooper, 1975) at the Sydney Film Festival

Best television series
Mad Men Season 3 (Created by Matthew Weiner)

Runners-up
Community Season 1 (Created by Dan Harmon)
Curb Your Enthusiasm Season 7 (Created by Larry David)

JOHN CONOMOS

An artist, critic and writer who lectures at the Sydney College of the Arts, University of Sydney. His most two recent books are Mutant Media (Artspace/Power Publications, 2008) and, co-edited with Brad Buckley, Rethinking the Contemporary Art School (NASCAD University Press, 2010). He is presently in Paris at the Cité on a Power Institute residency researching early surreal documentaries.

What follows is my selection of ten films that I have found worth seeing. They are not in any preferential order. Doing lists is a highly problematic but addictive thing for me. All my life I have been very interested in doing lists – the ten best, the twenty best and so forth – including favourite “desert island” lists of films, records, and such like. But in the last twenty odd years my passion for lists has greatly dwindled for many different reasons. At the core of my cinephilia (and bibliophilia) lies the Borgesian view of the world as a labyrinth (something that is wonderfully suggested in Alberto Manguel’s recent book as Borges’ teenage reader). Truth be told, I am not in any such shape or form a “completist”. I use to be in my own teen and early adult years, now I still engage doing “ten best film lists” as a kind of fugitive echo of my earlier cinephilic years. Now it seems that cinephilia is all the rage and cinema as we knew it has passed onto another mutable form of existence. These are complex issues that can not be adequately addressed here given the brevity of my context, nevertheless, I should make it quite clear that poll lists like these are extremely “Rashamon-type” affairs of one’s own occupational, cultural and personal encounters with cinema itself.

1. Shirin (Abbas Kiarostami, 2008)
Cinema that is refreshingly inventive. Kiarostami always surprises you.

2. Examined Life (Astra Taylor, 2008)
A walking and talking film.

3. Edward Said: The Last Interview (Mike Dibbs, 2007)


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    David Melville

    Olaf Möller

    Richard Moore

    Bill Mousoulis

    Thure Munkholm

    Peter Nagels

    James Naremore

    James L. Neibaur

    Cyril Neyrat

    Sarah Nichols

    Darragh O’Donoghue

    John Orr

    Volker Pantenburg

    Jit Phokaew

    Andréa Picard

    Richard Porton

    Bérénice Reynaud

    Marcos Ribas de Faria

    Peter Rist

    Ben Russell

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    Howard Schumann

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    Brad Stevens

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    Neil Young

    ACQUARELLO

    NASA Design Engineer and author of the Strictly Film School website.

    Favourite films (in preferential order)
    Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)
    Zum Vergleich (In Comparison, Harun Farocki, 2009)
    Independencia (Raya Martin, 2009)
    35 rhums (35 Shots of Rum, Claire Denis, 2008)
    Villa Amalia (Benoît Jacquot, 2009)
    Ghost Town (Zhao Dayong, 2009)
    Alle Anderen (Everyone Else, Maren Ade, 2009)
    Sense of Architecture (Heinz Emigholz)
    Los abrazos rotos (Broken Embraces, Pedro Almodóvar, 2009)
    Les Plages d’Agnès (The Beaches of Agnès, Agnès Varda, 2008)

    Honourable mentions
    Bellamy (Claude Chabrol, 2009)
    Singularidades de uma Rapariga Loura (Eccentricities of a Blond Hair Girl, Manoel de Oliveira, 2009)
    Liverpool (Lisandro Alonso, 2009)
    Les Herbes folles (Wild Grass, Alain Resnais, 2009)
    Politist, adj. (Police, Adjective, Corneliu Porumboiu, 2009)

    MICHAEL J. ANDERSON

    PhD candidate in Film Studies and History of Art at Yale University. He also maintains the weblog Tativille.

    1. Politist, adj. (Police, Adjective, Corneliu Porumboiu, 2009)
    2. L’Heure d’été (Summer Hours, Olivier Assayas, 2008)
    3. Liverpool (Lisandro Alonso, 2008)
    4. 36 vues du Pic Saint Loup (Around a Small Mountain, Jacques Rivette, 2009)
    5. 35 rhums (35 Shots of Rum, Claire Denis, 2008) and White Material (Claire Denis, 2009)
    6. Two Lovers (James Gray, 2008)
    7. Fantastic Mr. Fox (Wes Anderson, 2009)
    8. Aruitemo aruitemo (Still Walking, Hirokazu Kore-eda, 2008)
    9. Una semana solos (A Week Alone, Celina Murga, 2007)
    10. The Limits of Control (Jim Jarmusch, 2009)

    Runners-up: Bright Star (Jane Campion, 2009), El cant dels ocells (Birdsong, Albert Serra, 2008), Jerichow (Christian Petzold, 2008), Madeo (Mother, Bong Joon-ho, 2009), Das weisse Band – Eine deutsche Kindergeschichte (The White Ribbon, Michael Haneke, 2009)

    To provide some context for my choices, I included 2009 US commercial releases La mujer sin cabeza (The Headless Woman, Lucrecia Martel, 2008) and Tôkyô sonata (Kiyoshi Kurosawa, 2008) on my 2008 list (they were #1 and #2 respectively), while I have yet to see Cahiers du cinéma favourites Le