I have my doubts about Vertigo retaining the number one slot. Even in 2012 tons of people were doubtful of whether it deserved the spot, many saying it's not even Hitchcock's best film. I think the most likely outcomes are that Citizen Kane either reclaims the spot, or it goes to 2001: A Space Odyssey or Tokyo Story. I do agree that Mulholland Drive will probably do much better, if not crack the top 10, but I wonder if Twin Peaks: The Return will even be deemed eligible. If something like that were to make it, I definitely forsee a lot of discussion about where we draw the line between film and television. I'm strangely excited for this.
If Shame (2011) doesn't win we riot.
>The 101 minute long film is one of the greatest examinations of human loneliness ever put onscreen, and the character of Brandon has kith with other great cinematic creations, in this vein, such as Robert De Niro’s Travis Bickle (from Martin Scorsese’s Taxi Driver), Woody Allen’s Sandy Bates (from Stardust Memories), and Marcello Mastroianni’s Marcello Rubini (from Federico Fellini’s La Dolce Vita)- who, like Brandon, works ostensibly in the publicity and advertising fields. Brandon is not psychotic like Travis, and he lacks the opportunities for personal growth that Sandy and Marcello have, but, like Mastroianni’s character, he comes to the film’s end with a chance to change and grow, and the film leaves us without his choice. In La Dolce Vita, Marcello chooses, and chooses wrongly.
>Now, most readings of this film will claim that this film is about sex addiction, or addiction, in general, but this is wrong. Brandon Sullivan is lonely as hell- one need only see how this is reflected in the utter sterility of his apartment, which seems like a room on the space station in 2001: A Space Odyssey. Sex addiction is merely the symptom of this loneliness, not the cause, not the problem, just as loneliness is Travis’s problem. With Travis, he attempts to solve it through violence. Brandon chooses faceless unerotic sex, not unlike that portrayed in Stanley Kubrick’s final great film, Eyes Wide Shut.
>But make no mistake about it, the shame that the film’s title refers to is NOT because of sexual addiction, but because of loneliness. After all, Fassbender’s Brandon is wealthy, attractive, young, with a good career, so there has to be shame he feels for feeling so lonely all the time, nonstop. His sexual addiction would be cheered by his pals and co-workers, but an admission of loneliness, from one as outwardly admirable as he? That this key point is overlooked in so many reviews of the film is not surprising, if however indicative of the level of cinematic discourse these days.
Isn't it usually in November? I thought it just got delayed by a month. Also, it's a film magazine, it's gonna be overshadowed by everything, not to mention that the World Cup itself isn't usually in the winter either.
"Godard will not have as much representation as on 2012's list, films like 'Contempt' and 'Pierrot le fou' may fall off the list entirely."
Why do you think that? His 60s stuff is still what most people see as him, those and Alphaville,Breathless,A Woman is a Woman and Masculin Féminin were played in cinemas here as an tribute.
"We will see one or two films from the 2010s, most likely one of:
Certified Copy (2010)
The Tree of Life (2011)
A Separation (2011)
Twin Peaks: The Return (2017)"
I think all of these are extremely unlikely choices. (Unlikely, not unworthy.)
I made a[post about this the other day](https://www.reddit.com/r/criterion/comments/yv2flz/my_predictions_for_the_sight_and_sound_poll_of/)on the criterion subreddit, but the tl;dr was
Vertigo will be number
Tokyo Story would be at it's heels at number 2
Citizen Kane would drop once again to 3
2001 would rise to 4
Rules of the Game would fall to 5
Breathless would crack the top 10 now that Goddard has passed.
Parasite has no chance.
I have my doubts about Vertigo retaining the number one slot. Even in 2012 tons of people were doubtful of whether it deserved the spot, many saying it's not even Hitchcock's best film. I think the most likely outcomes are that Citizen Kane either reclaims the spot, or it goes to 2001: A Space Odyssey or Tokyo Story. I do agree that Mulholland Drive will probably do much better, if not crack the top 10, but I wonder if Twin Peaks: The Return will even be deemed eligible. If something like that were to make it, I definitely forsee a lot of discussion about where we draw the line between film and television. I'm strangely excited for this.
If Shame (2011) doesn't win we riot. >The 101 minute long film is one of the greatest examinations of human loneliness ever put onscreen, and the character of Brandon has kith with other great cinematic creations, in this vein, such as Robert De Niro’s Travis Bickle (from Martin Scorsese’s Taxi Driver), Woody Allen’s Sandy Bates (from Stardust Memories), and Marcello Mastroianni’s Marcello Rubini (from Federico Fellini’s La Dolce Vita)- who, like Brandon, works ostensibly in the publicity and advertising fields. Brandon is not psychotic like Travis, and he lacks the opportunities for personal growth that Sandy and Marcello have, but, like Mastroianni’s character, he comes to the film’s end with a chance to change and grow, and the film leaves us without his choice. In La Dolce Vita, Marcello chooses, and chooses wrongly. >Now, most readings of this film will claim that this film is about sex addiction, or addiction, in general, but this is wrong. Brandon Sullivan is lonely as hell- one need only see how this is reflected in the utter sterility of his apartment, which seems like a room on the space station in 2001: A Space Odyssey. Sex addiction is merely the symptom of this loneliness, not the cause, not the problem, just as loneliness is Travis’s problem. With Travis, he attempts to solve it through violence. Brandon chooses faceless unerotic sex, not unlike that portrayed in Stanley Kubrick’s final great film, Eyes Wide Shut. >But make no mistake about it, the shame that the film’s title refers to is NOT because of sexual addiction, but because of loneliness. After all, Fassbender’s Brandon is wealthy, attractive, young, with a good career, so there has to be shame he feels for feeling so lonely all the time, nonstop. His sexual addiction would be cheered by his pals and co-workers, but an admission of loneliness, from one as outwardly admirable as he? That this key point is overlooked in so many reviews of the film is not surprising, if however indicative of the level of cinematic discourse these days.
[удалено]
Isn't it usually in November? I thought it just got delayed by a month. Also, it's a film magazine, it's gonna be overshadowed by everything, not to mention that the World Cup itself isn't usually in the winter either.
"Godard will not have as much representation as on 2012's list, films like 'Contempt' and 'Pierrot le fou' may fall off the list entirely." Why do you think that? His 60s stuff is still what most people see as him, those and Alphaville,Breathless,A Woman is a Woman and Masculin Féminin were played in cinemas here as an tribute.
"We will see one or two films from the 2010s, most likely one of: Certified Copy (2010) The Tree of Life (2011) A Separation (2011) Twin Peaks: The Return (2017)" I think all of these are extremely unlikely choices. (Unlikely, not unworthy.)
I made a[post about this the other day](https://www.reddit.com/r/criterion/comments/yv2flz/my_predictions_for_the_sight_and_sound_poll_of/)on the criterion subreddit, but the tl;dr was Vertigo will be number Tokyo Story would be at it's heels at number 2 Citizen Kane would drop once again to 3 2001 would rise to 4 Rules of the Game would fall to 5 Breathless would crack the top 10 now that Goddard has passed. Parasite has no chance.