skopia
Oppenheimer asked the men who carried out Indonesia's mass killings to restage them as movie scenes, and they agreed gladly: no documentary has ever been braver or harder to sit through.
The film everyone should see once and nobody wants to see twice: Haneke barely leaves one Paris apartment while a marriage of decades reaches its last stretch.
Tarantino turned American slavery into a spaghetti western and got away with it: a freed slave rides with a German bounty hunter, and the dialogue never stops crackling.
Bigelow filmed a decade-long manhunt as pure procedure and let the audience sit with what it cost: the torture scenes started an argument that has never been settled.
Few films are this hard to endure: a kindergarten teacher is accused of something he did not do, and Vinterberg shows how fast a village makes up its mind.
Roger Deakins photographed a James Bond film and the series has never looked the same: the Shanghai fight plays out in silhouette against neon, and the plot finally asks what Bond is for.
Twelve-year-olds run away together across a New England island in 1965: Wes Anderson's warmest film, and the adults chasing them are lonelier than the children they are trying to catch.
The CIA really did produce a fake science fiction movie to get six Americans out of Tehran, and kept it classified until 1997: Affleck plays the operation completely straight.
The tiger is almost entirely digital and you will not be able to tell: Ang Lee made the most beautiful 3D film there is, about a boy sharing a lifeboat with a predator.
Day-Lewis found a high, reedy voice for Lincoln because the historical accounts describe one: Spielberg and Tony Kushner build a whole film out of counting votes for the Thirteenth Amendment.
A widow and a man just out of a state hospital strike a deal: David O. Russell keeps the camera close enough to be uncomfortable, and Jennifer Lawrence shot it at twenty-one.
Quvenzhane Wallis was five when she auditioned and became the youngest Best Actress nominee ever: a bayou community below the levee refuses to leave, filmed like a child's own mythology.
Five years of separate films paid off in one: nobody had tried a shared universe at this scale, and the circling shot of the assembled team explains why every studio copied it.
Stephen Chbosky wrote the novel, wrote the screenplay and directed it himself, which almost never works: a freshman is taken up by two seniors, and the tunnel scene earned its reputation.
Every note was sung live on set instead of lip-synced to a recording, which nobody had attempted at this scale: the camera sits inches from faces the entire time.