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2. Toni Erdmann
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3. Manchester by the Sea
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4. The Lobster
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5. I Am Not Your Negro
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(Raoul Peck, U.S.) — This thought-provoking and emotionally powerful film about race in America is an innovative variation on the documentary form. In some ways, it’s a portrait of the author James Baldwin, but it’s really more of a personal and poetic essay by Baldwin himself — brought to life on the screen with archival footage as well as actor Samuel L. Jackson reading Baldwin’s words. There’s a striking clarity to Baldwin’s thoughts, and Peck’s movie shows how relevant they remain in today’s America.
(Keith Maitland, U.S.) — Another film that stretches the boundaries of the documentary form. The brilliant Tower uses animation and actors’ voices to re-create many scenes from the 1966 mass shooting at the University of Texas in Austin, blending those simulations with actual movies, photos and audio from the horrifying historical event. The sniper, Charles Whitman, is not the focus of Tower. Instead, the movie shows what was happening on the ground as he fired his rifle. With the terror and tragedy playing out almost in real time, stirring stories of heroism and survival emerge.
7. April and the Extraordinary World
(Christian Desmares and Franck Ekinci, France) — A delightful animated adventure, filled with memorable characters and clever visions of a steampunk world parallel to our own.
(Cristi Puiu, Romania) — A dysfunctional family’s gathering for a memorial service goes disastrously wrong in this claustrophobic black comedy, which screened last fall at the Chicago International Film Festival. Some viewers may find Sieranevada to be taxing and exasperating; to me, it was a mesmerizing picture of a taxing and exasperating ordeal.
(Denis Villeneuve, U.S.) — A thoughtful and emotionally engaging science-fiction drama anchored by a typically great Amy Adams performance, Arrival subverts our expectations of how time unfolds on the screen.
(Jim Jarmusch, U.S.) — A poetic film about a poet, this is an almost perfect distillation of Jarmusch’s cinematic style. Is Paterson a realistic depiction of a New Jersey community or an idealized vision of what America could be? Whatever — I feel like living inside this movie’s world.
Loving (Jeff Nichols, U.S.)
The Happiest Day in the Life of Olli Mäki (Juho Kuosmanen, Finland)
The Salesman (Asghar Farhadi, Iran)
Lost in Paris (Dominique Abel and Fiona Gordon, Belgium/France)
Fences (Denzel Washington, U.S.)
The Garbage Helicopter (Jonas Selberg Augustsén, Sweden)
Hail, Caesar! (Ethan and Joel Coen, U.S.)
20th Century Women (Mike Mills, U.S.)
The Witch (Robert Eggers, U.S.)
Midnight Special (Jeff Nichols, U.S.)
Graduation (Cristian Mungiu, Romania)
O.J.: Made in America (Ezra Edelman, U.S.)
Hell or High Water (David Mackenzie, U.S.)
La La Land (Damien Chazelle, U.S.)
The Red Turtle (Michaël Dudok de Wit, Netherlands)
Jackie (Pablo Larraín, U.S.)
One More Time With Feeling (Andrew Domnik, U.K.)
Mountains May Depart (Jia Zhangke, China)
Notfilm (Ross Lipman, U.S.)
Silence (Martin Scorsese, U.S.)