PRINT December 2016

Film: Best of 2016

Amy Taubin

Bruce Conner, Breakaway, 1966, 16 mm, black-and-white, sound, 5 minutes. © Estate of Bruce Conner.

1 “BRUCE CONNER: IT’S ALL TRUE” (Museum of Modern Art, New York) MoMA delivered for Conner with this staggering retrospective that underscored the reciprocity between his moving-image and static work by giving seven films optimum projection within the 250-piece exhibition.

“Bruce Conner: It’s All True” is currently on view at the San Francisco Museum of Modern Art, through January 22, 2017.

2 & 3 MOONLIGHT (Barry Jenkins) and TONI ERDMANN (Maren Ade) The two best films of the year could not be less alike except in their embrace of unconditional love, briefly experienced in childhood, then denied, betrayed, and rediscovered by burdened, imperfect adults in moments of pure radiance. Fairy tales, perhaps, but what we desire beyond reason.

4 EVERYTHING ELSE (Natalia Almada) The simplicity of the filmmaking and the subtlety of observation in Almada’s first fictional narrative allows

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