by Jaime Grijalba.
As announced, here are the 10 best films released in 2013 on theaters in Chile. For a full list of the films released in Chile in 2013, you can go here. The films will be accompanied with brief excerpts from earlier reviews or short capsule reviews if such things don’t exist for certain movies. There’ll be also some links to writing of the movies themselves, if they exist. Hope you enjoy this humble list.
1. Django Unchained (2012, Quentin Tarantino)
“The whole film is plagued with references to the act of performance, either be literal, like when Dr. King Schultz asks Django to perform the role of his servant when they are looking for the Brittle brothers, or later when he is asked to play the role of a black slaver, the deepest in the barrel, and he specially emphasizes that he needs to play the part with the furious anger that he feels to that kind of people.”
2. Amour (2012, Michael Haneke)
“…and there were certain moments in the film where that exact same feeling was bestown upon me, this was a great woman and she has been reduced to this mess. It was a hard watch, there were elements that were identhical to certain aspects of my grandmother’s illness, and that is not a pretty sight, it was… yes, cathartic.”
3. The Master (2012, Paul Thomas Anderson)
Still one of the most obscure watches of the year, one that is filled with mysteries regarding its meaning, yet at the same time so emotionally enthralling and passionate that you can’t keep your eyes away from the masterful exectutions of the characters, the situations, and the gorgeous cinematography.
4. The Hobbit: The Desolation of Smaug (2013, Peter Jackson)
I literally just came out of seeing this movie, and I loved it. It’s on the same level as the first one and it only amazes me how much he can change the source material and not make me angry, just because it feels so natural to the world of Tolkien for much of these things to be happening. The amount of action sequences and set pieces are incredible and the quality of them all is astounding, specially everything regarding Smaug itself.
5. Stoker (2013, Chan-wook Park)
“This movie is a tense psychological test to the senses and to your own soul, directed with a clean and at the same time sinister visual style that at times rivals the references made to the masterful director Alfred Hitchcock.”
6. Jodaeiye Nader az Simin (2011, Asghar Farhadi)
“It tells a lot about Iranian society and how a family works in that country, as well as revealing some issues about what people can say and do in a country that seems liberal and free, but you may have to look again to really see what is happening there. Movies like this are brave and evolve into greater cinema.”
7. Cloud Atlas (2012, Andy Wachowski, Lana Wachowski, Tom Tykwer)
“It’s also like having a lot of genre movies for the price of one: a sea adventure, a cop thriller, a escape tale, a love story, science fiction and post-apocaliptic film, all combined and connected in a deep way that you just can’t understand on your first viewing, you have to see it again, and I just can’t wait to do that again…”
8. The Cabin in the Woods (2012, Drew Goddard)
“Aunque durante muchas escenas de la película la experiencia se puede convertir en un juego de ‘reconozca la referencia’, sobre todo en sus últimos veinte minutos, esto no significa que su único carácter autorreferente sea el del pastiche, como el que realiza Quentin Tarantino, sino un recurso fílmico-idiomático que da a conocer las debilidades del género de terror, específicamente las constantes referencias a clásicos y los remakes que saturan el mercado, extrañamente atenidos a este específico género, usando ese escenario familiar de las cintas que le precedieron para poder hablar de las fallas de las misma.”
9. Le Havre (2011, Aki Kaurismäki)
This movie is special, filled with autorial flourishes that actually help the plot and the visuals of the movie, with a special kind of acting from all the performers (and here’s when you realize the importance of a director like Kaurismaki in this picture, as he conducted all of them as similar beings with a similar attitude). He maintains a rythm of sorts, something to follow along, as if everything were so real that you can come up with most of the solutions and happenstances that would come in the future, and that doesn’t make the movie predictable or worse in this case, it makes it sensible to the people… you could say that its morally correct, one of the best movies of this young decade out of sheer real representation of the human emotions in all of their spectrums.
10. Blue Jasmine (2013, Woody Allen)
There’s been some surge of discontent towards this movie, and I don’t get it, it’s maybe the best Woody Allen film of the past 8 years or so. The performance of Cate Blanchett alone should rank it above anything that he’s done, but not only that, the filmmaking is intelligent and congruent with the mindset of the main character, with wide and composite shots for the flashbacks and more closeups and enclosed environments for the scenes taking place in the present. It’s one of the best of the year for sure, though not in my top 10 for a minor margin. I think there are some loose plot elements that are never fully adressed, and some that are but we didn’t need, like the whole thing with the adopted son, it had no weight and suddenly it had.
Movies I missed that I wanted to see: Prisoners, The Hunger Games: Catching Fire, Jurassic Park (3D)