The annual Sight & Sound Films of the Year poll is online and in the January 2017 print magazine. My votes were for:
- Little Sister (discussed in part here during the Edinburgh Film Festival)
- The Invitation
- Flag Without a Country (reviewed at Critic’s Notebook)
- Queen of Earth
- The Neon Demon
Other votes for these films by poll participants: 0, 0, 0, 1, and 4 respectively.
In the comment box, some matters arising:
“Three of these used video-on-demand as their route to a UK audience, either with a momentary theatrical release or doing without that gesture. Should this alter how critics process them? Perhaps. The position and impact of art is criticism’s business, but the opaqueness of streaming revenues and viewing figures leaves the matter of these films’ success vague in economic and cultural terms alike. Faced with terra incognita, critics’ exploratory outlook matters. Saying that a film is in cinemas, when we really mean it’s in two cinemas for a single day, is either a safety-blanket privileging of the cinema experience or a flat parroting of the marketing message; but either way, pointing people towards places where the art isn’t looks a lot like voluntary redundancy. All grist for a rebalancing of our cultural journalism remit, perhaps via conceding that ceaseless personal curation isn’t the same thing.”
The position of art is indeed criticism’s business. Protecting the language of expertise falls to us too, in an age when the default response to any authoritative voice is disdain; so we had better recognise when we’re facing the world and when we’re facing the wall. A blind spot for coherent language when notable art falls on streaming platforms rings an alarm bell on all counts. Flag Without a Country didn’t even make it that far, yet every time the TV beams pictures from the Middle East into my living room, I find myself wondering whether Helly and Nariman are still in a position to draw breath. What exactly is notable art for, if not that?
As always, the idea that we’re curators — scholars, pathfinders — rather than cultural journalists flatters us to bits, but you end up having to justify why something called a Best Films Of 2016 list has no intention of providing the same information as a Best Books Of 2016 list, and little chance of revenue-bearing like one either. Reclaiming our authority over art as it currently exists and its effects on people we don’t already know would be a fine idea at this point — and a more challenging destiny than mapping the world from within the walled garden of a film festival, or falling for the flattering idea that the first person to correctly appreciate any given film is surely me myself and I.
Also: a review of Rogue One: A Star Wars Story will be in the Sight & Sound February print issue and is online here. The major unhappy tendency in current films is still a fixation on content while somehow remaining oblivious to form, which in films with the money to polish each pixel individually turns into a grim metallic certainty that hot visuals matter more than invisible things like narrative and character. As articles of faith go, it’s debatable. It became the Last Temptation Of Lucas as well, but his was a singular vision, for better or worse. And Rogue One is not.
The present manners of the nation would deride authority, and therefore nothing is left but that every writer should criticise himself.
– Samuel Johnson, voting in the 1783 Films of the Year poll.