This film list is like a secondary, supplementary list to something I drafted two, three years ago. This is to expand recognition to these titles which you (most probably) may or (fat chance) may not have heard of, but should already see if you could.

Top Ten

1. Walang Alaala ang mga Paru-Paro (Lav Diaz): This is Diaz surveying a community in its bleakest image, channeling a bit of Tarr, but is always all his own.

2. Syndromes and a Century (Apichatpong Weerasethakul): The genius of this is fully realized in its second half, and of course I won’t tell why. (Get back to me once you’ve seen this.)

3. Laurence Anyways (Xavier Dolan): Dolan’s Titanic. Ferocious in its sentiment, colossal in its passion. My god, you won’t get over it for weeks.

4. Good Bye, Dragon Inn (Tsai Ming-liang): Cinematheque as a nest for ghosts; cinema as their only solitary companion.

5. Last Year at Marienbad (Alain Resnais): I’ve seen this only thrice and it mesmerizes me to no end. The cinematic language completely broken and rebuilt, just like the necessities of certain memories.

6. Forbidden Games (Réne Clément): X. Dolan led me to this, and I could never be more grateful. Best performance of a child – a 6 year old! – I’ve seen.

7. Three Times (Hou Hsiao-Hsien): The first one always kills me, and the last one punctuates it with a subtler, yet equally difficult blow to the chest.

8. Oslo, 31. august (Joachim Trier): My favorite film-portrait, ever. Its simplicity tornadoes to a certain degree of heaviness that doesn’t creep away for a time.

9. Next Attraction (Raya Martin): This is the best Raya I’ve seen so far. His works continue to inspire and ignite fires in me.

10. Certified Copy (Abbas Kiarostami): One of the strongest parting shots I’ve witnessed. There is so much more to it than just that, too. Really.

Honorable Mentions

11. Post Tenebras Lux (Carlos Reygadas): One of the strongest opening shots, on the other hand, I’ve seen. A work so staggering and unlike anything you’ve seen.

12. The Tree of Life (Terrence Malick): The poetry of Malick’s cinema rediscovered and reborn in a hundred ways or so. My god, I’m gushing.

13. I Can Hear the Sea (Tomomi Mochikuzi): An underrated Japanese animated feature that will break your heart like none other.

14. Funny Ha Ha (Andrew Bujalski): The indomitable spirit of independence in its ideal form, in some way, in many ways. 

15. Endo (Jade Castro): This is a reminder that good – or the best of – cinema requires nothing but heart.

Palo Alto
(dir. by Gia Coppola, 2014)

"Blah bleh blah blah bluh bluh," says the angsty teenage kid. The only redeeming quality of this Gia Coppola debut (who co-directed this otherwise fantastic Coconut Records music video) is its propensity to angle away when it emulates further, what I guess, its excessively lacking and ultimately commonplace source material (the Palo Alto short stories by James Franco).