19. Us
18. Talking About Tress
Sudanese director Suhaib Gasmelbari's film Talk of Trees, which returns with the Best Documentary Award at the Berlin Film Festival, which he had his world premiere with, is a great story of stubbornand resistance, co-production of France, Sudan and Chad. The film focuses on the life of Ibrahim, Suleiman, Manar and Altayib, members of the Sudan Cinema Society, which is the last institutional representative of cinema culture, which was almost destroyed after the capture of dictator al-Bashir in Sudan. The film, which also won the FIPRESCI Award at the Istanbul Film Festival, has an inspiring structure that shows that there are no limits to solidarity, continued imagination and love of cinema.
17. Atlantique
It's a futurustic construction in Dakar, Senegal. The lives of the workers on this construction site and a young woman who is in love with one of these workers, Ada. Suleiman, whom the island has fallen in love with in a naïve way, works hard, but does not even receive his salary, and when he leaves the island behind and one day opens up to the Atlantic to emigrate to Europe, the island's life is turned upside down. From this point on, the film tells the story of both Ada and Solomon with a telepathically connected, highly emotional tone. The film's director, Mati Diop, who had his world premiere at the Cannes Film Festival, is also known as an actor. Diop won the Grand Jury Prize at Cannes for this film.
16. Nan Fang Che Zhan De Ju Hui
Chinese director Yi'nan Diao, who carefully attracted his previous film Slim Ice, Black Coal – Bai ri yan huo by winning the Golden Bear in Berlin, is again making a crime film. The film premiered at the Cannes Film Festival, where it competes for the Palme d'Or, taking it to the centre of an illegal gangster who is after both gangs and security forces. Described as a Chinese noefilm, the south station's visual design, which also inspires The Appointment's dystopian films, makes it one of the most striking films of the year.
15. Kız Kardeşler
The country is the place of a very anticipating state, a feeling of "there is a city far away". It doesn't matter where to go, it's enough to get away from here, not here. In recent Turkish cinema, the country has become an ideal metaphor for the "in-between" halet-i spirit in every sense of the country. However, the films that are getting stuck in this metaphor more and more, as they try to explain "that place that is not here", the more likely the poem of inability to get there begins to fade. Emin Alper's latest film, which tells the story of three sisters who suffer from the feeling of "not here enough", comes up at a time when we have lost this poem and turns the country into a fairy tale space by saving it from being a metaphor.
14. Systemsprenger
German director Nora Fingscheidt has no interest in criticizing the system or making political statements about what happened in his first feature fiction. Indeed, as we see in the film, social services work efficiently in Germany and every way is being tried to help Benni. In this respect, we can say that it differs from its derivatives for the Gamebreaker. While we can't help but think, "What would have happened to Benni if what happened to Benni in Turkey?" Maybe he doesn't reinvent the world narratively, but he completes his journey to describe the character's experiences with his well-written script.
13. Monos
Huge open space, steep rocks, a spooky cliff, clouds covering the sky. Top of a mountain, to say the flattest. It's almost the middle of nowhere. Eight children in the heart of this nothingness. They're armed, spending their days in hypnotic training. He's a dwarf who gets into the frame from time to time and looks like the top rank of these kids, but is far from being an authority figure. Why are these eight children subjected to such physically challenging training, why do they have weapons in this part of the world that Even God doesn't know exists? And the biggest question is, what's the point? Why are they here? Monos, one of Alejandro Landes' signature films that made this year's name famous, begins with big question marks. His film technical virtues, which he exhibited as he searches for the origin of the chaos that follows, turns it into one of the most intense cinematic experiences of the recent era.
12. High Life
Finally, french auteur Claire Denis, whose french auteur Claire Denis, whose inner Sun – Un beau soleil intérieur focuses on the experiences of a Parisian artist in search of true love, is a meditative in his first film, High Life, which is completely in English. taking the audience on a journey. In the spaceship we're going to be in throughout the film, a young man alone with a baby performs his daily routines at the beginning of the film. The audience is not presented with information exactly who this man is, nor exactly what kind of mission this spaceship is on. It's weird that there's a baby on a ship like this. Denis, who previously produced a very original work with 2001's Trouble Every Day, playing in his own style with the codes of the vampire film subgenre, is doing the same for his sci-fi genre.
11. In Fabric
Focusing on two characters wearing a cursed dress, the production takes advantage of the giallo genre, which emerged in the 1970s as a subgenre of horror cinema and is known for the films of directors such as Dario Argento and Mario Bava. The Cursed Fabric, which feeds on the stylized aesthetics of the genre with its bright color palette dominated by its red tones and graphic allotments, is an impressive horror/comedy that meaning gradually disappears into various absurdities. Director Peter Strickland captures the excesses of classics such as Suspiria and Hatchet for the Honeymoon on the occasion of "witches" who work in the store where the red dress was purchased, speak as riddles and perform violent/erotic rituals. On the other hand, the everyday troubles of the main characters of the working class add a humorous side to the film, in an ironic contrast to the stylized world of witches.
10.Midsommar
From its very early days, horror cinema is based on the uneasiness of the unknown on individuals. This state of obscurity is generally achieved by darkness, with a figure of fear coming out of the dark - often with the logic of jump scare -- unsettling the audience. But Aster's style in Midsommar is the opposite. There is never any tendency towards the rituals of this village that increased the dose of violence throughout the film; on the contrary, what is going on, in every detail, the audience also prefers to witness them. Therefore, as the feeling of fear created by violent rituals becomes increasingly empty, Midsommar's unsettling level remains in the same line, which is a terr's greatest achievement in the film.
9. Joker
Todd Phillips' Joker is a film about an iconic comic book character that has a place in our lives since the first issue of the Batman series, which was released in 1940, and will be watched, referenced and talked about for many years. In recent years, when we've almost brought an icon from popular comic book adaptations and superhero movies, the Joker has fallen into the universe of these increasingly depleted films, turning into a snake that's relatively starting to eat its own tail. it certainly offers a possible perspective. The Joker is a film that can change not only the way you look at superhero movies, but also comic book adaptations in general.
8. The Souvenir
Joanna Hogg, whohas become one of the leading directors of British independent cinema with films such as Unrelated and Archipelago, has risen to the league of giants with The Souvenir. The film, which features autobiographical elements, including Martin Scorsese, turns its camera into the emotional devastation that follows a young film student falling in love with an unreassed man. Hogg's The Souvenir, which attempts to do a visually daring work by filming this shocking story set in '80s London with a 16 mm camera, tells the details from its first moment to its memorable finale, repeatedly frustrating the romance movie clichés, it's a traumatic and emotionally intense experience.
7. The Lighthouse
Set in the 1890s, the film also features characters that appear to have emerged from the novels of Melville, Robert Louis Stevenson, inspired by maritime legends, sailors and characters living in oceanfront towns. The unconcealed director, Eggers, dissipates Thomas and Ephraim from the characters that we're used to seeing in these novels, which are on the edge of insanity. The Lighthouse focuses on the struggle for power of two men trapped in a phallic object, a lighthouse, spreading pus over their masculinity, while at the same time convincing both their characters and the viewer of the existence of the extraterrestrial, He goes back and forth between convincing the hallucinosious one, and at some point, he's lifting that boundary altogether.
6. And Then We Danced
Levan Akin, and then we danced, first brings his main protagonist, Merab, in a very conservative environment. The men in the folklore community, their teachers, the master dancers at the head of the national community, the ancients... They are all part of a conservative structure, and they are dominated by a nationalist view that is believed to represent national honor and pride in dance. At this point, the film portrays the relationship between Merab and Irakli as a love that unscathes in such an environment, while in dramatic form it evolves into a kind of impossible love story in which mathematics is very accurate. At some point, he's leaving sugary syrupy dance movies, whether with his love of Merab-Iraqi, who is heading for a state that blows out the lungs, whether with a critique of conservatism and nationalism that sits on a political footing.
5. Dolor y gloria
There are countless masterpieces in the history of cinema that directors have shot based on their personal stories. Pain and Victory is an original and honest film that will take a special position even among the productions in this minval. the pessimistic bitterness and sadness it contains also derives its originfrom this honesty and bravely confronting itself. Almodóvar, who puts himself and a character who mirrors his influence over time, the colors he creates in his works, the passionate touches, the music of life, the rules of his own, is the best work of cinema. He heals with the help of the thing, confronts the sufferings of the past, and finds victory here again. And this time, perhaps only on the screen of cinema, a victory for those who love almodóvar cinema.
4. The Irishman
The Irishman shows how a system on the surface, through a mafia story, where fraud and fraud operate sleuths, can be sustained by legitimate and legal means, and when it is enacted, it does not make such a significant change. Deep layers below the surface present a striking narrative of war, class consciousness, family, legal system and social status. As we have witnessed in many Scorsese works before, the ability to make a cinematic element independent of judgment and beautification, where the complex and violent or violent characters we now see in The Irishman, are It's just one of those things he's skillfully done. Although the director's american cinema, away from blacks and women, can now be regarded as incomplete and problematic in today's cinema tics, we are still lucky to have witnessed a Martin Scorsese pass through this world. We can count.
3. Marriage Story
Sincerity is perhaps the key to Marriage Story's presentation of such a successful narrative. Baumbach presents the same sincerity he has directed at his characters to the audience. The ability to present such a powerful narrative of the kind of marriage drama that we have watched many times, derives from this "unpretentious" style. The narrative does not require major breaks in itself, and the obstacles faced by the characters come directly as part of life. So even the audience, who can't touch charlie or Nicole's experience from the point of fate partnership, can easily empathize with them.
2. Gisaengchung
Bong Joon-ho, known for his films that turned the genre cinema upside down by the blockbuster Creature from Salinui cueok , is again the most obvious, even politically persistent, of the class issue he never gave up. it's based on the foundation. This time, a core focuses on the family and observes them, in his own words, "looking through the microscope." Following the question of "are they rich because they are good or good because they are rich?" asked the question from the mouth of their characters, the director said that the thriller genre relates to details, close-ups and "last-minute moments" in every family, house and city. instead, he's using it to track down class inequality and anger. The film is based on the tragicomic story of the Kims, who started working for the Park family by hiding that they are a family, and is a masterful directorship that deals with inter-class tension in humorous language and stands out in symbolic layouts.
1. Portrait de la jeune fille en feu
Céline Sciamma's characters are real and alive. He's combative, but he's not didactic. Everything is moving towards an end dictated by society, and so it is. But this film never falls into a circle of pessimism. Not cynical or helpless, it points to the existence and possibility of different possibilities, regardless of the end. Otherwise, he says, duly, just like Orpheus and Evridiki revisited the story. Sciamma's script and camera do a lot of work with little lame and few characters, and it does it with a skillful, heartless air.
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