Raul Ruiz's Mysteries of LisbonRuiz's film is a display of filmmaking class with every shot meticulously framed and every movement of the camera elegant and graceful. The prior film or two of Ruiz's that I had seen left me completely unprepared for the force and effect of this extraordinary achievement. It leaves no doubt that a sort of classicism in filmmaking (beautiful acting, immaculate set design, repetitive, symphonic score) when done in the highest manner can reach the soul every bit (if not more) than any of the more contemporary techniques.
Celine Sciamma's Tomboy
A very strong addition to the kid in peril genre that includes 400 Blows, Kes and Germany, Year Zero. This one is effective and incredibly unsettling, particularly for the way it takes the audience's experience with past movies and uses those memories of what could possibly happen to create relentless and nearly unbearable tension. The end credits mention Ferran and Lvovsky, which come of no surprise as influences and reaffirm the cinematic world in which Sciamma is operating.
Jacques Rivette's Out 1
Richard Price and Steven Zaillian's The Night Of
The closest television has come for me in terms of approach and execution and challenging the better cinema since 2014's True Detective. The acting, particularly Ahmed's, was endlessly impressive and the way the two creators handled the final episode confirmed the subtlety, grace and amount of care I had felt since the beginning.