From great biographical films to spectacular superhero movies western moved, 2018 took big productions on the big screen.
And the film critic for BBC Culture, Nicholas Barber, chose 10 films as the best this year ending.
Do you agree with your choice? Which would you like to add?
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"A place in silence" (a quiet place)
Co-written and directed by John Krasinski – who also plays the lead with his wife, Emily & # 39; Mary Poppins & # 39; Blunt – "A place in silence" is an absolutely stressful survival movie.
Fimeet uses astral a devilish concept: The alien monsters have disappeared to the majority of humanity, but because they do not see, they chase their prey as they listen to the sounds they make.
It does the hero, the heroine and their children have to speak in sign language and go barefoot. Even the harvest of a cup or a laughter can result in a frightening and almost instantaneous death.
Krasinski takes the term low budget cinema very seriously, and also the threat to the family: he finds new ways to torture the characters and spectators, but everyone logically arises from the premise and scenario.
"Somewhere in silence" makes you laugh with his joke as he twists you with constant tension.
"A Family Business" (Shoplifters)
From a certain point of view, the heroes of "A family affair" are not just thieves: they are scammers, kidnappers of children and much more.
But Dickensian socio-political drama off Hirokazu Kore-eda, winner of Palme d & # 39; Or at this year's Cannes Film Festival, has a more comprehensive vision.
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It presents three generations of a loving family led by Osamu (Lily Franky) and Nobuyo (Sakura Ando).
Tight in a small Tokyo bungalow, his insignificant honest profits add up to small scams and robberies, and even though Kore-eda does not romanticize his crimes, his layered story and his wonderful cast show how kind and well-meaning family members are.
Finally, his actions seem necessary, even heroic, and his setbacks will make the spectator more difficult to sob.
The definition of two lovers who cannot live together but who cannot live without one another is in "Cold War".
Wiktor (Tomasz Kot) and Zula (Joanna Kulig) are inside Poland in the 1950s, when Wiktor recruits singers and musicians to a people's emblem paid by the government.
Their passionate adventures take them from one side to another through the iron curtain, but despite how much fun they have in jazz clubs and concert halls, they are never quite happy.
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Work to Pawel Pawlikowski"Having won the" Ida "Oscar, is based on the parents' memories:" Both were strong and wonderful people, but as a couple was an endless disaster, "he says.
In general, "Cold War" is a sharp investigation of a historical period and a timely comment on the lives of immigrants.
Also, no other movie this year has had such a dazzling black and white photograph, or so many catchy songs.
"The Beale Street Blues" (If Beale Street Could Talk)
This movie is adapted by the director Barry Jenkins James Baldwin's novel may well have claimed a major controversy: the story of a young couple (Stephan James, KiKi Layne) torn by poverty, police brutality and institutionalized racism.
but If Beale Street could speak It really is a tender ballad that praises the healing love who come from romantic couples, family and friends.
"I like people who love each other," says Dave Franco's character. "Black, white, greens, purple, I don't care."
What is even more miraculous is the impression that Jenkins had just discovered cinema as a medium.
That is, one can almost believe that he had no predetermined ideas about chronology, color or sound, so he had discovered how to combine music and moving pictures.
He has done a dream movie like no other.
Yorgos Lanthimos He specializes in distorted views of modern society (Dogtooth, The Hummer, The Kill of a Sacred Deer), so it was difficult to imagine what he would do with a historic drama of English royal.
The "favorite" turns out to be as idiosyncratic as her other films, but none of them has been so fun, lavish or touching.
It is in the early 1700s, when Queen Ana (Olivia Colman), who is ill, relies on her best friend Sarah (Rachel Weisz), Duchess of Marlborough, to negotiate with aristocrats who are fighting over the land.
But when Sarah's ambitious cousin, Abigail (Emma Stone) moves into the castle, the scene is set for a production style Everything about Eva, except that with more sex and vomiting.
The script by Deborah Davis and Tony McNamara is a banquet with delicious insultsAnd three of their stars deserve to be favorites in the price season.
"Spider-Man: A New Universe" (Spider-Man: Into the Spider-Verse)
It has been a startling year for superhero films, with "Pantera Negra" opening new paths to the role of Afro descendants, and Avengers: Infinity War Gather dozens of star ratings in a single movie.
But none of them is as special as "Spider-Man: A New Universe", a psychedelic pop art masterpiece which mixes digital animation and manual art.
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With the use of split screens, subtitles and illustrations, it is closer to being a cartoon than most superhero movies, but it is also dazzling cinema.
And using superheroes of several alternative realities, is the bold postmodern, but also in the background is the story of a charming teenager from Brooklyn.
The creators of Spider-Man, Stan Lee and Steve Ditko, they died in 2018. But with "Spider-Man: a new universe" they have a perfect monument.
"The Rider" (The Rider)
The other movie of Chloé Zhao as a writer and director is one western modern about a young rodeo rider, Brady Jandreau, who was kicked in the head of a horse.
He knows that if he returns to the rodeo, he risks life – he has a close friend with even more serious brain damage – but he can't imagine doing anything else.
it human history of its slow recovery, it has fascinating things to say about the macho pressure, the iconography of the wild west and the people with large open spaces around it, but without a place to go.
But what is really impressive is the way Zhao unites reality and fiction.
Don't make a mistake, "The Rider" is a well-polished drama, but gets its power from being based on Jandrea's own experience, and most in it interpret versions by itself.
Rarely, if it existed so, documentary realism and poetic greatness they have combined so skillfully or with such a desperately moving effect.
"Leave No Tracks" (leave no traces)
Eight years after "Lazos de sangre", its director and co-author, Debra Granik, triumphantly turns to another mature drama, irreconcilable, but accessible, and another view of the marginalized lives of the American foreigners.
Ben Foster is very convincing as the war veteran with successors living deep in a forest in a national park.
Thomasin McKenzie is her teenage daughter, Tom, who reminds us when Principal Granik gave Jennifer Lawrence his leading role.
The film It's exciting and full of events, but it's also hot and discreet: A bittersweet story of a loving daughter who realizes that her father's survival must never be his.
His great farewell speech goes like this: "Dad, I know you would be if you could." And there's nothing to add.
"The first man on the moon" (First man)
The director and protagonist of La La Land, Damien Chazelle and Ryan Gosling, respectively, they meet again for a biographical story centered on Neil Armstrong, the first person to go on the moon.
The film is vigorously conveying how stressful it was to be a pioneer in space in the 1960s, and the courage that had to be required was one of the most unpleasant and dangerous modes of transport that have been spoken.
But Chazelle and her team refuse to enter Armstrong an American hero.
For some viewers, stoicism made it boring, but for others (including myself), Armstrong's modesty and reserve in the face of tremendous personal tragedy and professional challenges they are heartbreakingace.
A melancholy recreation of an ambiguous victory, the film leaves you wondering if the first man on the moon could be happy on earth.
"Sweet Country" (Sweet Country)
it western southerner Warwick Thornton It is located in Australia in the 1920s.
His hero Sam (Hamilton Morris) is an aboriginal farmer who kills his wife's rapist in self-defense and then flies through the desert.
The pursuit that follows is very ingenious, with flashbacks misleading and progress exhibited with much action.
Each shot and every word has a purpose, in line with aboriginal signs that tend to be silent while "whites" (including Sam Neill and Bryan Brown) vocalize and flow.
Include themes of assimilation, slavery, religion, the military, the law and the cinema itself, this scenic tale of justice and injustice is one of the best and most important films about Australia's history.
You can read the original note in English at BBC Capital.
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