Psychoanalysis has been tormenting society with its uncomfortable conclusions about your mum for the last century. It has had a huge influence on film, giving filmmakers the opportunity to explore the dark dank recesses of the human psyche while still entertaining with vague references to “penis envy” and “momma’s boy”. We here at Best For Film have dedicated our lives to reducing entire film genres, movements and occasionally random objects (like glasses, or zoos) into easy-to-read lists, and as such we have launched a new blog series, starting with this one: Psychoanalysis in 10 Easy Films.
Michael H. Profession: Director is an insightful, intriguing and concise look into the work, motives and personality of Michael Haneke. Yves Montmayeur, the man behind the ‘making of’ extras on Haneke DVDs, uses his exclusive behind-the-scenes access to paint an informative and critical portrait of the man, the myth, the monster. Unmissable for any Haneke fans, or anyone interested in film directing.
Amour has come out top at the London Critics’ Circle, but will it at the Oscars?
Following the pitch-black Dogtooth, Yorgos Lanthimos draws back the curtain on some more theatre of the absurd with Alps. A group of people offer an unusual service, replacing deceased family and friends in an effort to ease the mourning process. When one of them takes her position too far, things start to get messy. Slow, deadpan and unflinchingly weird, Alps is cut from the same cloth as Dogtooth, but lacks any real bite.
Winner of the Palme d’Or for 2012, Amour is a film that truly lives up to its name. Casting aside the fiery passion that most of the rest of cinema is obsessed with, it takes an uncompromising look at a love so deep and enduring that it becomes a prison. Never contrived or manipulative, Amour will wrench something deep inside you and not let go. Bring tissues and bring a lot. You’re going to need every last ply.
A bold directorial debut from Michael Haneke’s long-time casting director Markus Schleinzer, Michael is a remarkably assured piece of work. Dealing with a subject matter certain to create discomfort, the film uses a carefully restrained approach to provide a distressing yet entirely naturalistic portrait of a soft-spoken office worker who keeps a ten-year-old boy locked in his basement.
Why aren’t films of video games ever good? Because the boys in the back room are adapting the wrong goshdarned games, that’s why! We’ve consumed eighty-six thousand Doritos and worn out nine pairs of tracksuit bottoms doing the research for this list: the definitive top 10 games that must be brought to the silver screen.
The latest offering from Paul Andrew Williams (known for 2006’s London to Brighton), it would be difficult to describe Cherry Tree Lane as the sort of film anybody would watch for enjoyment. The story of a London couple held hostage in their own home by some seriously disgruntled youths, it is uncomfortable viewing from start to finish; rarely has there been a film that could make you feel more horrified at what is happening onscreen. You won’t want to watch and yet, curiously, this is precisely why you must.