1. Mad Max Fury Road
["World of Tomorrow"]
2. Inside Out
3. It Follows
4. Creed
5. Spotlight
6. The Big Short
7. The Revenant
8. 99 Homes
9. Entertainment
10. Kingsman: The Secret Service
[]
Printable View
1. Mad Max Fury Road
["World of Tomorrow"]
2. Inside Out
3. It Follows
4. Creed
5. Spotlight
6. The Big Short
7. The Revenant
8. 99 Homes
9. Entertainment
10. Kingsman: The Secret Service
[]
1 Mad Max: Fury Road
2 It Follows
3 The Gunman
4 The Hateful Eight
5 The Death of “Superman Lives”: What Happened?
6 Wild Card
7 Bone Tomahawk
8 Avengers: Age of Ultron
9 Last Shift
10 Inside Out
[]
1. Sicario
2. It Follows
1. Tangerine
2. Theeb
3. The Revenant
4. Mad Max: Fury Road
5. Beasts of No Nation
6. The Forbidden Room
7. Partisan
8. Güeros
9. Heaven Knows What
10. Star Wars: The Force Awakens
1. World of Tomorrow
2. The Martian
3. Mad Max
4. Bridge of Spies
5. MI 5
6. The Revenant
7. Bone Tomahawk
8. Sicario
9. Slow West
10. Best of Enemies
11. White God
1. The Assassin (Hou Hsiao-hsien)
2. Eden (Mia Hansen-Løve)
3. Clouds of Sils Maria (Olivier Assayas)
4. Mad Max: Fury Road (George Miller)
5. Mustang (Deniz Gamze Ergüven)
6. Taxi (Jafar Panahi)
7. Hard to Be a God (Aleksei German)
8. A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson)
9. R100 (Hitoshi Matsumoto)
10. Mission: Impossible – Rogue Nation (Christopher McQuarrie)
1. The Assassin (Hou Hsiao-hsien)
2. No Home Movie (Chantal Akerman)
3. Field Niggas (Khalik Allah)
4. Knight of Cups (Terrence Malick)
5. Sicario (Denis Villeneuve)
6. Duke of Burgandy (Peter Strickland)
7. Mad Max: Fury Road (George Miller)
8. Ex Machina (Alex Garland)
9. Star Wars: The Force Awakens (J. J. Abrams)
10. Creed (Ryan Coogler)
Really, dude? Maybe the fact of Akerman killing herself shortly after the film's premiere makes it more interesting to sit through (though I can't imagine how), but when I saw this at TIFF in September, it bored the bejesus out of me. But then I'd always admired Akerman's films for their structural rigour and visual beauty, of which this movie has none whatsoever.
Akerman's death certainly colors the film for me, particularly the ending. You can see her despair in the film.
I disagree with you about the beauty of the film, but I acknowledge it's one of her most trying films and breaks from her traditional technique in important ways (although it's continuous with a certain shift marked by Almayer's Folly). I think it's one of her best films.