
12 Years a Slave
The first Best Picture from a Black director, and the least evasive film ever made about American slavery: McQueen holds shots long past comfort and refuses to look away.

The first Best Picture from a Black director, and the least evasive film ever made about American slavery: McQueen holds shots long past comfort and refuses to look away.

The third film is the one that hurts: Linklater and his two actors let nine more years pass, then take it somewhere the first two politely refused to go.

Rodgers' guitar, Pharrell's vocal, Nathan East on bass, and disco walked back onto the radio wearing robot helmets.

The Coens made the saddest film about failure that anyone has managed to make funny: a folk singer plays beautifully, sleeps on couches, and gets absolutely nowhere at all.

A stomping riff, a desert studio in Joshua Tree, and the band's first single to reach the Billboard Hot 100.

Three hours of pure excess that never once slow down: Scorsese was seventy-one years old, and it moves faster than films made by directors a third his age.

Sixteen years old, the lyrics done in half an hour, the title from a 1976 photo of George Brett.

Nothing else has made space feel this physically dangerous: Cuaron opens on a shot running almost thirteen minutes, and ninety minutes later you notice you stopped breathing.

Detail's beat was called "Drunk" before Beyoncé heard it; she and Jay-Z freestyled their verses in Manhattan.

The closest anyone has come to remaking La Dolce Vita and surviving it: an aging Roman journalist drifts through parties and ruins, and the city has never looked better.

Drake wanted a record that weddings would still play in ten years, and Majid Jordan's synths delivered exactly that.

Miyazaki announced his retirement with it, a retirement he later took back: a young man designs beautiful aircraft that become weapons, and nothing about that is resolved.

They put the drum machines away and hired session players who had made the records they grew up on. Giorgio Moroder narrates his own life.

Written first for CeeLo Green, whose label passed, cut in Miami, and given pop's first 24-hour video.

Piketty mined two centuries of tax records for the engine of inequality: capital grows faster than the economy, so fortunes pull away from wages. It made inequality the West's central political question.
Nina Simone's 1965 Strange Fruit against TNGHT's blaring horns, a breakup rendered enormous; platinum without ever being a single.

Barkhad Abdi had never acted and was cast out of a Minneapolis open call: he holds the screen against Tom Hanks through the last hour on a lifeboat off Somalia, and never blinks.

A wordless hum to open, then distortion flooding the chorus; lead single from the Mercury-winning Overgrown.
I did it for me. I liked it. I was good at it. And... I was... Really-I was alive.