The Top 10 Most Anticipated Films of 2015 (My Weird Edition)

This isn’t a criticism of those that run most anticipated films lists. I’m game to them myself, both the writing and reading of them. We in the movie watching world tend to consume movies on a January through December mindset, getting all amped up for what’s to come, knowing full well that half the best pictures to come out in a given year are on very few radars in the opening weeks.

What I’m trying to say is no blog or critic really is made up of only the new movies that hit theatres. Most of my favorite movies I see tend to be older works that are hitting my eyes for the very first time. We can all jot down that a new Scorsese, Bigelow or Linklater movie is something to get amped about. What I want to know is what are the features which are going to be crack into personal favorites from yesteryear.

Personally, I’m making an effort to dig into a number of auteurs whose only works I have seen are their undisputed classics of (Ozu) or recent works (Hsiao-Hsien), plus filmmakers whose efforts I’ve never been truly taken by (Tati). So, might I present a slightly askew most anticipated list; my top ten films I’m most anticipating that aren’t coming out in 2015.

Equinox Flower (1962)

Of history’s most cherished directors, Ozu is probably the one I love the most whose work I’m only a beginner at. Usually, once I find someone whose releases hit the mark, it’s all binging all the time. Perhaps it’s the delicacy of Ozu’s tales, but I’m fixing this and doing it with a quickness.. It begins with his first color feature.

Phantom of the Paradise (1974)

Other than Carrie, I am entirely unfamiliar with Brian de Palma’s 70s filmography. A crazy looking cult classic that restructures the Phantom of the Opera story seems a good of place to start as any I presume.

Jour de fete (1949)

Heretical as it is to say, I’ve never quite “got” Jacques Tati. I respect his playfulness and eye for visuals. I also have never been able to find his movies as more than well-staged set-pieces. Perhaps starting where it all began will be the key to it all.

Yi Yi (2000)

Not a single person I’ve ever met has said Edward Yang’s Yi Yi is anything less than masterful. The shame has dug too deep. This wrong will not endure.

A Summer at Grandpa’s (1984)

Every picture by Taiwanese legend Hou Hsiao-Hsien that has entered my radar has been a pleasure. However, all of those blips into my vicinity have been in the back-half of his thirty-five year career. A Summer at Grandpa’s is typically cited as his first major achievement, so a wandering I shall go.

The Phantom Carriage (1921)

Regularly cited as a major influence on Bergman (who I love uncontrollably) and with a classically gothic flare (which I love with minor control), this silent film by Victor Sjostrom seems ripe for a gloomy evening.

A Woman Under the Influence (1974)

I’ve already begun my year of Cassavates, watching his debut Shadows already. The plan is to dig through his entire directing career, though it’s the epic A Woman Under the Influence that has me especially giddy.

The Werckmeister Harmonies (2000)

I’ve checked this out from the library once a year since 2009 and never have the time to watch it/make the time to watch it. 2015 this will occur; the watching part of it I mean.

Pather Panchali (1955)

By all accounts the so-called “Apu Trilogy’ is one of the great cinematic achievements. I haven’t seen one, let alone all three. No day like today to fix that.

Cleo from 5 to 7 (1962)

Somehow, I’ve seen the enchanting Agnes Varda documentary but none of her many films, which are right up my alley. Come on me, get with it.

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