Ted Fendt

(Leer en castellano)

Quatres aventures de Reinette et Mirabelle (Eric Rohmer, 1987)

None of the most important films I saw in 2011 were made in 2011.

L’Amour fou Jacques Rivette, 1969)
Brazen Hymns (DB Griffith, 2001)
Central Park (Frederick Wiseman, 1989)
The Burbs (Joe Dante, 1989)
Floating Weeds (Yasujiro Ozu, 1959)
Good Night Nurse (Lupino Lane, 1929)
Judge Priest (John Ford, 1934)
Law and Order (Frederick Wiseman, 1969)
Lothringen! (Danièle Huillet, Jean-Marie Straub, 1994)
Love Affair (Leo McCarey, 1939)
Meet Me In St. Louis (Vincent Minnelli, 1944)
My Son John (Leo McCarey, 1952)
Numéro Zéro (Jean Eustache, 1971)
Quatres aventures de Reinette et Mirabelle (Eric Rohmer, 1987)
Le Rayon vert (Eric Rohmer, 1986)
Les Rendez-vous d’Anna (Chantal Akerman, 1978)
Sailor’s Luck (Raoul Walsh, 1933)
The Sun Shines Bright (John Ford, 1952)
Two Tars (James Parrot, 1928)
Trop Tôt, Trop Tard (Danièle Huillet, Jean-Marie Straub, 1982)

The highlights of 2011 for me are the double feature of John Ford’s Judge Priest and The Sun Shines Bright and the screening of the (atrocious) 16mm New Yorker Films print of Trop Tôt, Trop Tard, both at Anthology Film Archives. These brazenly political films feel the pulse of contemporary politics, both in the US and abroad (but most particularly in the Middle East), more so than any other films made this year and are in many ways more relevant than most of the new releases I saw. Most memorable for me, beside Ford’s characters, is Mahmoud Hussein’s warning in the second half of Trop Tôt, Trop Tard in regards to the last Egyptian military coup: «Once again, new concessions were exchanged for new repressions».