Accompanying some friends to the recent film, “Bohemian Rhapsody,” it occurred to me that it had been the first time I’d gone to an actual theater in at least a couple of years. So unsurprisingly, I wasn’t all that familiar with too many of the films discussed during the trip home, especially those of the “romantic” genres.
Not being much for passive-entertainment in general, most of my familiarity with movies is as a result of distracting myself during long flights. However, I’ll also admit to occasionally parking myself on the sofa with a husband and something combustible, and absorbing (or falling asleep) to a streaming service.
So in considering recent film awards nominations, here’s my own (unsolicited) list of a dozen films that over a life-time as a pretty much non-movie-viewer have impressed me enough to remember:
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2001: A Space Odyssey (1968 American, filmed primarily in England) – The classic. Released two-years before I was even born, I still love this film for its stark, technical beauty. A visual meditation on the interface between humans and our technology, it was probably what first raised an awareness during my youth of how we evolve ourselves through the act of disciplined creation. As an artwork, it’s even more impressive when considering its having been produced with such extraordinary quality in the years before CGI. Read Arthur C. Clarke’s “The Sentinel,” for some background to its underlying premise.
50th Anniversary Re-Release Clip
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Blade Runner (1982 American)– Somewhat screwed by its editing, this was admittedly a film likely too geeky and filled with symbolisms for most audiences who reveled merely in its extraordinary visuals, music and action sequences. And the story from which it was drawn, Philip K. Dick’s, “Do Androids Dream of Electric Sheep,” was among the more challenging reads of my high-school years. Still, it had something to say… even if it was removed from the original theatrical ending. Thankfully, Rutger Hauer’s completely unscripted last words to a young Harrison Ford’s character were left in the film.
Rutger Hauer and a young Harrison Ford, “Tears in Rain”
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Ghost in the Shell (1995 Japanese anime) – A dive into the existential question… Yeah, it was made with young male audiences in mind. But it’s nevertheless a beautiful and thought-provoking film, addressing the inevitable convergence of humanity with its machines. Its characters exist along a sliding-scale from “human” to “machine” within the backdrop of a fully fleshed-out future. Twenty-plus years later, it’s still relevant. Sadly, a recent American, live-action/CGI remake (while perhaps visually stimulating) traded the original’s thought-provoking perspective for a considerably more shallow presentation.
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Cloud Atlas (2012 German) – It has been said that if Dostoevsky could have made a film, this would have been it… Flawed and controversial, it’s a three-hour long epic that follows six, seemingly unrelated stories over a five-hundred year time span. You’ll either love it, or hate it for completely wasting three hours of your life. Admittedly, I first saw it while captive to an eleven-hour flight. Regardless, I ended up spending another half-hour watching the character trailer, and I consider it to be among the very best films I’ve ever seen.
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Apocalypse Now (1979 American, filmed in Thailand) and Apocalypto (2006 American, filmed in Mexico and Guatemala) – Aside from the similarities in their titles, both films are dark ruminations on the inevitable demise of civilizations that expend themselves in the contradictions of violence. In that regard, Apocalypse Now as Joseph Conrad’s, Heart of Darkness, retold in the context of the Vietnam War, becomes the source of idioms to describe the absurdities in modern societies attempting to achieve their goals through warfare. Likewise, Apocalypto considers the implication of applying fear to the maintenance of civilization. Both films might be justly criticized for variously inaccurate, if not uncomfortable portrayals of history, but their messages are nevertheless poignant and well-conveyed.
The Smell of Napalm in the Morning
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Grave of the Fireflies and Spirited Away (Japan)– These are classically ethical Japanese films, both animated by Studio Ghibli. Isao Takahata’s 1988, “Grave of the Fireflies,” was long screened at Japanese public schools, and is among the reasons that Japanese don’t leave rice grains after a meal. Roundly criticized by some Westerners for its one-sided depiction of the results of war, I think many perhaps miss its point as an uncompromising anti-war film. There was a live-action TV-drama remake in 2005 which I have never seen. Hayao Miyazaki’s 2001, “Spirited Away,” is meanwhile a coming-of-age story that conversely criticizes the over-consumption of a modernizing Japan within the backdrop of a traditional Shinto and Buddhist spirit-world. Both films are iconic introductions to Japanese culture through anime.
Japanese Trailer for “Grave of the Fireflies”
The Japanese Trailer for “Spirited Away”
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Idiocracy (2006 American) – Yep… a cheesy comedy. An ordinary guy wakes up 500-years in the future, to a world where the human population is the result of centuries of socially influenced, unnatural-selection. In a sort of self-reinforcing Dunning-Kruger effect, Americans have become too stupid to know how stupid they actually are. Ridiculous and cheesy, the film nevertheless hides a serious theme beneath its superficial exterior. I’ve almost come to the conclusion that it should be mandatory viewing for Americans.
President Camacho’s State of the Union Address
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Dark Waters (2002 Japan) – Subtle, psychological horror in the form of an unusual, but very Japanese Buddhist, “hungry ghost.” Watching the film carefully, every image has some deep meaning for all of its main characters, each of whom is fundamentally motivated by nothing more or less than a search for love and belonging. This is the only time I’ve ever seen a film where I could empathize so deeply with every character, including the story’s terrifying antagonist. The purposeful message that we must always endeavor to be there for one another is communicated right up the film’s very last seconds. Not usually a fan of the genre, I sincerely liked this film.
Original Japanese Trailer for “From the Bottom of Dark Water”
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Crouching Tiger, Hidden Dragon (2000 Chinese) – The new millennium’s Asian epic. Someone once explained to me that in much of China, a family may be able to afford travel to a city and seeing a movie once-a-year. Consequently, big Chinese films will be everything… drama, comedy, action, love-story, morality-play, fantasy… And that pretty much describes this film. One thing I found particularly refreshing were the film’s powerful female characters. However, as with most Asian films, viewers shouldn’t expect to be spoon-fed an ending.
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Samsara (2011 American Art Film) – Filmed over five-years in twenty-five countries, this is a beautifully cinematic, non-narrative “documentary” about the human condition. A follow-up to the 1985 “Chronos” and 1992 “Baraka”, Samsara is intended to convey the conceptual imagery of “impermanence” in the Buddhist sense of cycles of birth, death, and re-birth. With music by Michael Stearns, Lisa Gerrard, and Marcello De Francisci, it is sometimes beautiful, and sometimes a little disturbing, but always thought-provoking. This is one of those sofa moments.




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