Year-end lists are arbitrary, reductive, and tedious. This one’s mine! I’ll start by rattling off my loose, alphabetical #25-11: Approaching the Elephant, Brooklyn, Buzzard, Crimson Peak, The Forbidden Room, Hard to Be a God, L for Leisure, The Look of Silence, Mad Max: Fury Road, The Mend, Mistress America, Queen of Earth, Shaun the Sheep, Tangerine, and Timbuktu.
The following movies didn’t receive theatrical distribution this year, but (1) Adam Curtis’s documentary Bitter Lake was released online by the BBC in January; (2) the neo-noir music video Bitch Better Have My Money, co-directed by Rihanna and the filmmaking team Megaforce, premiered on YouTube in July; and (3) Alexandre Larose’s Brouillard-Passage #14 may have played at festivals in 2013 and ’14, but I caught it at the Ann Arbor Film Festival this past March. All three stretch the definition of “2015 cinema,” but all three also struck me as abrasive, essential experiences.
Ten runner-up performances: Jason Bateman, inverting his “nice guy” persona in The Gift; Mamie Gummer in Ricki and the Flash, playing another of the unkempt women who define Diablo Cody’s patchy oeuvre; Blackhat’s Chris Hemsworth, using the whole of his Norse god bulk for brooding and grief; Rinko Kikuchi, holding Kumiko, the Treasure Hunter together with sheer conviction; Sidse Babett Knudsen, playing submissive in The Duke of Burgundy with both emotional delicacy and sexual vim; Kitana Kiki Rodriguez and Mya Taylor, bouncing off one another through the thick and thin of a friendship in Tangerine; Mark Rylance in Bridge of Spies, so inviting even as he gives away so little; Michael Stuhlbarg, showing once again what character acting is all about as an Apple second banana in Steve Jobs; and lastly Taika Waititi: goofy and benign even as he leads a ring of bloodthirsty vampires in What We Do in the Shadows.
Every year I name a Best Performance in a Documentary. The past winners have been Thierry Guetta (Exit Through the Gift Shop), Joyce McKinney (Tabloid), Frédéric Bourdin (The Imposter), Anwar Congo (The Act of Killing), and Actress star Brandy Burre. This year, the award goes the pseudonymous Adi Rukun in another Joshua Oppenheimer movie, The Look of Silence. Just behind him, though, is 11-year-old hellraiser Jiovanni in Approaching the Elephant.
If, for some reason, you want to read more of my opinions on the year in film, I voted in the Village Voice and #12FilmsaFlickering polls. I also provided a couple of suggestions for MUBI Notebook’s annual collection of “fantasy double features.” And now, with all that preamble out of the way, onto my list proper: