TABLE OF CONTENTS

film

the Good, the Bad, and the Overlooked

IN OCTOBER I COMPILED three lists for my own schizoid edification. The first consisted of the 50 best films I had seen this year at festivals in Berlin, Cannes, Locarno, and Toronto and as a member of the New York Film Festival selection committee (which entailed a screening of 100 more films in August). The second was my impression of what comprised the 50 most discussed films released in the United States this year; my third list was a selection of what I considered the 20 most important releases, whether they were widely discussed or not. Only one feature appears on all three lists—Todd HaynesSafe.

One reason for the lack of overlap between my three lists is that, unless it’s a big-studio product, a film usually takes at least a year to open commercially in the United States after its premiere at festivals, ensuring that we remain something of a last-stop backwater when it comes to

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