Within the messy entanglement of power and status, Yasujirō Ozu’s formal mirroring of fathers and sons in I Was Born, But… reveals the conflict at the root of our common insecurities, as well as the sweet, liberating affirmation we never stop pursuing from infancy through adulthood.
The best cinematographers of the last ten years, from IMAX pioneers to monochrome nostalgists.
The subdued melodrama of Tokyo Chorus stands as a delicate testament to those teachers who not only educate us, but sagely guide us through our lowest moments, as Yasujirō Ozu cultivates his craftsmanship through the tender-hearted tale of an unemployed family man.
The best film editors of the last ten years, from masters of formal structure to offbeat action lovers.
In Destiny’s eternal struggle between love and death, a young woman bargains to win her fiancé back from the afterlife itself, navigating a series of tragically romantic tales through Fritz Lang’s extraordinary Gothic anthology.
The best screenwriters of the last ten years, from adapters of unconventional tales to sharp-tongued wordsmiths.
What Mission: Impossible – The Final Reckoning lacks in deftness it makes up for in raw impact, unleashing a heart-pounding conclusion to the nuclear threat posed by a rogue AI parasite, and standing as an overstuffed, operatic monument to what practical filmmaking can still achieve when pushed to its edge.
The best actresses of the last ten years, from intricate anti-heroines to magnetic scene stealers.
Luchino Visconti masterfully merges neorealism with the dark, fatalistic tension of film noir in Ossessione, unravelling a deadly affair between a pair of down-on-their-luck strangers, and revealing the inescapable consequences of passion, resentment, and poverty.
The best actors of the last ten years, from stoic underdogs to deranged lunatics.
