#cinema 2011

[keesvandijkhuizen]

I never wanted any of you to die for me.

Harry Potter and the Deathly Hallows: Part II (2011), as featured in Cinema 2011

[thatgirlfrommars]

Every time I watch one of these "Cinema [Year]" videos, I'm reminded that no matter what I do with my future career, it must include film. Beautiful.

[themovieaffection]

Cinema 2011 (by keesvdijkhuizen)

By keesvdijkhuizen: !!!

Cinema 2011, the fourth episode of the Cinema series, is a tribute to the amazing films that came out in 2011.

A mix of laughs, kisses, fights, tears and everything in between. Here's what brought us together this year. List of films and music used in the description. More about 'Cinema 2011': http://www.keesvandijkhuizen.com/cinema2011 God, I love cinema. Each year I'm reminded of the sheer force a couple of frames can hold, and it's something only found in film. It seems to just fly by, and if you don't pay attention, you might miss it all. A gorgeous masterpiece about one family coping with the end of the world, the portrait of a young man diagnosed with cancer, the end of a ten-year adventure that reached millions, a cynical writer discovering the magic of Paris... No matter how you look at it, 2011 had something to offer for everyone. After Cinema 2008, 2009 and 2010, I decided to take a new approach. Artists like Gen and Matt have explored new terrain of the end-of-the-year montage and the urge to keep Cinema's identity intact became bigger than ever. After experimenting with a more personal vision last year, I decided to focus more on the year itself rather than my vision on it. The Cinema series has a special place for me because bringing so many films together makes it so very clear why we want to spend hours and hours in a dark room filled with strangers. As always, thanks a million to my wonderful subscribers and viewers, everyone who I've had the joy of sharing my passion with and everyone else who've made my YouTube career such a wonderful success. This one's for you. List of films and music used:http://www.keesvandijkhuizen.com/cinema2011list Now comes all the boring stuff. Go on, get out of here. 'My Fear #1 (UK Version)', written and performed by Cloud Control, taken from the album 'Bliss Release', remains courtesy of Infectious, ℗ 2011 'Civilization', written and performed by Justice, taken from the album 'Audio, Video, Disco.', remains courtesy of Ed Banger Records under exclusive license to Because Music., ℗ 2011 'Young Blood', written and performed by The Naked and Famous, taken from the album 'Passive Me, Aggressive You', remains courtesy of Somewhat Damaged under exclusive license to Polydor UK Ltd., ℗ 2011 'Spanish Sahara (with London Contemporary Orchestra)', written and performed by Foals with the London Contemporary Orchestra, taken from the EP 'Spanish Sahara', remains courtesy of Warner Music UK Limited, ℗ 2010 'Cinema 2011' was a non-profit project made solely for entertainment purposes, not aimed at breaking copyright law. No monetary gain was relevant for any of the parties involved. All rights to all material remain courtesy of their respective owners, none of which were involved with or notified of this project.

[likeitdoesinbadfilms]

If I picked the 2012 Oscars

The nominees and winners in bold

Best Picture:

Hugo Shame Drive Bridesmaids The Tree of Life Midnight in Paris Martha Marcy May Marlene The Guard Beginners Attack the Block

Best Actor:

Michael Fassbender (Shame) Jean Dujardin (The Artist) Brendan Gleeson (The Guard) Gary Oldman (Tinker Tailor Soldier Spy) George Clooney (The Descendants)

Best Actress:

Tilda Swinton (We Need to Talk About Kevin Charlize Theron (Young Adult) Juliette Binoche (Certified Copy) Rooney Mara (The Girl with the Dragon Tattoo) Elizabeth Olsen (Martha Marcy May Marlene)

Best Supporting Actor:

Christopher Plummer (Beginners) Nick Nolte (Warrior) Albert Brooks (Drive) Christoph Waltz (Carnage) Tyler Dawson (Bellflower)

Best Supporting Actress:

Shailene Woodley (The Descendants) Melissa McCarthy (Bridesmaids) Jodie Foster (Carnage) Leila Hatami (A Seperation) Jessica Chastain (Take Shelter)

Best Screenplay:

Midnight in Paris (Woody Allen) Martha Marcy May Marlene (Sean Durkin) Tinker Tailor Soldier Spy (Bridget O'Connor & Peter Straughan) Submarine (Richard Ayoade) A Seperation (Asghar Farhadi)

Best Director:

Steve McQueen (Shame) Nicolas Winding Refn (Drive) Terrence Malick (The Tree of Life) Sean Durkin (Martha Marcy May Marlene) Tomas Alfredson (Tinker Tailor Soldier Spy)

Best Animated Feature:

Rango Arthur Christmas Kung-Fu Panda 2 Winnie the Pooh The Adventures of Tin-Tin

Best Foreign Language Feature:

A Seperation Certified Copy I Saw the Devil Le Havre The Skin I Live In

Best Documentary:

Senna Bill Cunningham: New York The Interrupters Into the Abyss Project Nim

Best Original Score:

Cliff Martinez (Drive) Trent Reznor (The Girl with the Dragon Tattoo) Howard Shore (Hugo) The Artist (Ludovic Bource) Tinker Tailor Soldier Spy (Alberto Iglesias)

Best Original Song:

Man or Muppet - Bret McKenzie (The Muppets) Life's a Happy Song - Bret McKenzie (The Muppets) Think You Can Wait - The National (Win Win) So Long - Zooey Deschanel (Winnie the Pooh) Star-Spangled Man - Alan Menkin (Captain America: The First Avenger)

Best Editing:

We Need to Talk About Kevin The Girl with the Dragon Tattoo Shame The Tree of Life Martha Marcy May Marlene

Best Cinematography:

The Tree of Life Bellflower Hugo The Girl with the Dragon Tattoo Jane Eyre

Best Sound:

Super 8 Drive We Need to Talk About Kevin The Girl with the Dragon Tattoo Fast Five

Best Art Direction:

Tinker Tailor Soldier Spy The Girl with the Dragon Tattoo Drive Bridesmaids Hugo

Best Visual Effects:

Attack the Block Super 8 Harry Potter and the Deathly Hallows: Part 2 Rise of the Planet of the Apes The Tree of Life

[harkashark-blog]

Cinema 2011 (Every film from 2011)

[sweetpotatopie-blog]

[everything-is-possible]

Cinema 2011

63! try to beat me...

[brokenmirrorsbrokenminds]

The Pains of Living Dangerously: FILM IN 2011

If you trawl through the mire of sequels, remakes, and lazy reimagining’s that took up most of 2011’s cinematic output, there was a lot of brilliant and diverse offerings to be had. For the UK alone, a prolific output, full of richness, was better than anything these shores has offered in recent memory (and I am not referring to those US funded British films manufactured for the Oscar market). This fact alone puts pay to David Cameron’s recent idiotic call to aspire to be more Hollywood-like. Still……. “great spirits have always encountered violent opposition from mediocre minds” as Uncle Albert once said.

Purely opinion based the following are some of my best personal moments that cinema offered in 2011. Clearly many films were not viewed (just not enough hours in the day) and do not appear (I’d imagine The Artist would feature if seen), with some films maybe released pre-2011 outside of the UK or yet to be released. But hey, leave that for others to worry about.

20. Trollhunter

Never slipping into parody or taking itself too seriously, this ace run around the Norwegian countryside was one of the year’s most fun cinematic experiences. Using CGI to great effect and some hilariously knowing humour it was the surprise genre hit if 2011.

19. Upside Down: the Story of Creation

A timely reminder that whilst self-indulgence and a distinct lack of inspiration was the order of the day in the 80s, a few strived for more. A true reflection of the punk ethic that puts other pretenders to shame, this documentary offers some excellent rare footage of bands aiming for something more through music.   

18. Secuestrados

An outstanding exercise in horror that utilises long takes to ratchet up the tension. The home invasion narrative has been used many times but this is as affecting as the sub-genre gets, shredding the nerves and twisting the viewer’s moral compass right up to its cynical finale.

17. Tyrannosaur

Based on his own short film (which arguably is a lot more successful than this full length feature), Paddy Considine shows his directorial talent. It’s a tough look at British kitchen sink culture, but ultimately has the emotional back up to provide meaning and hope to the characters on display here.

16. Bedevilled

This cruel, disturbing slice of Korean exploitation mixes in some serious observational drama that covers friendship; family ties; gender power; and sexuality. It’s very refusal to play to conventions, and that the audience demands a degree of sympathy for its characters that never comes only heightens the nihilistic atmosphere.

15. Marwencol

This documentary of a man striving to find identity and redemption of his own past proves one of the year’s most emotional documentary films. Never is the approach exploitative, with our own questions proving to be the back bone of the subject matter.

14. The Last Circus

 The best, most exciting opening credits of the year and although by no means De La Iglasia’s finest hour, this again proves there are not many directors working today with as much skill and enthusiasm for cinema. It may frequently fall apart but at times this is breathtakingly unique.

13. Confessions

Excellent Japanese offering that is full of ideas and invention. Its moral stance also refreshing, never afraid to ask the questions that others would not dare confront.

12. The Innkeepers

A film where rarely anything happens, but Ti West is quickly becoming a master of manipulation as the viewer is put through a series of events that forces interaction. Because of this the reviews were mixed, but this is everything the much misunderstood horror genre is all about.

11. Red, White, and Blue

Relocating to the US after the Living & the Dead, Simon Rumley proves that he is one of the UK’s leading directors with this tightly crafted tale. Great performances give the characters on display here a genuine emotional depth, as they continually try to bring meaning to their lives. Often challenging, it’s gritty for sure, but there is a lot going on here. Not so much the American Dream, as the American Nightmare.

10. Animal Kingdom

This tense Australian drama captures your breath and doesn’t let go until the end. Utilising excellent naturalistic performances and an edgy minimalist soundtrack, it’s an experience many will find uncomfortable but one not to be missed.

9. 13 Assassins

It’s been a long time coming but this director finally gets the recognition he deserves. It’s easy to point out that Miike has been prolifically directing cinema of this quality for many years now, but this polished and (almost) restrained period piece is some of the best work that the Japanese maverick has ever produced. Best ‘climatic’ fight sequence?…….without a shadow of doubt.

8. Melancholia

Audiences were divided, as is always the case whenever a Von Trier release comes along. Yet most who witnessed his end-of-the-world would not deny hurting their jaw as it hit the floor. It could well be the director’s most cruel joke he has yet played on his audience, but there can be little disagreement that this is a pure cinematic spectacle.

7. Drive

As cool and calculated as anything Refn has yet done, he continues to craft his directorial talent by once again exploring the inner psyche of humanity. It’s character study and romantic development of its lead characters (Gosling and Mulligan both brilliant) would undoubtedly fall apart in the usual strandard contemporary Hollywood tradition but it’s a testament to the director that this remains one of the year’s most hypnotising cinema experiences.

6. Kaboom

Araki’s subversive critic baiting, again cleverly disguised as a standard teen comedy drama, is hugely entertaining. The director’s usual staples are all in check here (cool soundtrack; sexual anxiety; etc) and comes across as b-movie science fiction, selfishly and knowingly fucking the hell out of the cast of 90210, whilst taking a vacation near to Twin Peaks. Kinda. And if anyone other than you-know-who should film the planet’s demise this year, then thank our lucky stars it was Gregg Araki.

5. Embargo

This Portuguese gem will hopefully get a wider release, as its Coen-esque approach is a wonder to behold. Full of quirky sequences with some of the strangest moments of surrealism you will see for a long time, this odyssey is well worth the trip that ultimately proves highly observed about how we go about our daily lives.

4. Kill List

Ben Wheatley’s second feature is a shot in the arm for the British film industry. The less you know about this film the better, but if anything it is a highly affecting journey into the heart of darkness. The whole thing may well be a metaphor for the many international events and atrocities that have been committed over the past few decades, but taken on its own merit it is a polished, claustrophobic horror film with the ability to stun and confuse the viewer that leaves many questions open to interpretation - something quite rare in genre cinema these days. Outstanding.

3. Cold Fish

 Sion Sono’s latest, (very) loosely based on actual events, confirms the director as being one of the most inventive currently working in cinema today. This bleak tale of repressed, inhibited tropical fish store owner Mr. Shamoto, who when coerced into business partnership by fellow tropical fish vendor Mr. Murata, eventually leads him to violence and serial murder. It may be the blackest of black comedies you will see all year, but it is also the most furiously original and thought provoking. This years Visitor Q, if you will.

2. Snowtown

Nothing in 2011 is able to stand in the same room as this film. A completely unique approach to cinema both visually and in its own sound design. Using non-professional actors, this tale of a family constantly at breaking point, influenced by the arrival of the mothers’ new boyfriend, is often highly challenging. Yet the biggest achievement is how easily identifiable and sympathetic the characters are, particularly Lucas Pittaway’s ‘Jamie’. Not for the easily offended for sure (many walk outs have been reported), it can no doubt be filed next to Kargl’s ‘Angst’ and Villaronga’s ‘Tras El Cristal’ in the comfort stakes.

1. Guilty of Romance

Sono’s second release of 2011 is the most perplexing and intelligent pieces of cinema all year. A heady mix of the crime drama and pinku film, it is a confrontational exploration that continues the directors’ exhibition of human morals and shortcomings. Dazzling, erotic, surreal, and darkly amusing, where next for this phenomenally talented and original director………goodness knows what he could make of the often touted portrayal of a Norwegian death metal band.

Other notable films of the year included the polished, yet familiar Julia’s Eyes; bizarre Brit-doc Knuckle; unlikely romance in Monsters; The Violent Kind, which gave a refreshing take on horror that felt akin to those unique and unpredictable 80s films (Night of the Comet; et al); the ace Red Hill; tension galore in The Reef which will frighten anyone with a fear of open water and/or sharks; Lucky McKee’s brilliant and controversial The Woman; La Pacte which almost brought the best of Fulci into the modern age; the excellent triptych Little Deaths (Simon Rumley’s short the highlight, although Sean Hogan’s entry must be seen to be believed!); A Lonely Place to Die; and the slightly overrated We Need to Talk About Kevin, which by anyone else’s standards would make a top 20 list but Lynne Ramsey is definitely capable of more.

Hangover II and I hate to say it, The Ward, John Carpenter’s latest probably the least enjoyable films of the year.

But a special fuck off goes to Darren Aronofsky, who exposed himself as the shallow, cinematic tourist that many suspect. His Black Swan is perhaps the year’s most unintentionally hilarious offering, which unashamedly rips Satoshi Kon’s astounding Perfect Blue. No matter how much visual flair Aronofsky throws his dollars at, it is apparent that he is punching above his weight with his frequent psuedo-intellectual narrative faux pas.