The script is intelligent rather than flashy, exploring the divide between town and country, and taking a more sophisticated approach to race than your average American movie. This was Franklin’s directorial debut, and great things were predicted. Whatever his future, he’ll always have the best of the modern noirs to his credit. 5. Naked With High Hopes and Life Is Sweet, seemed to have found a successful Taylor Gabriel Jersey groove: gently desperate social comedy. Which made Naked even more shocking. It’s a film that’s easy to hate: women found it misogynist.
But it’s not the film that hates women, it’s – but since dominates pretty much every frame, its easy to the problem. There’s not Tramon Williams Jersey much here the way of plot: accused of rape, escapes from Manchester and goes to London. He wanders the capital like the ancient mariner, buttonholing anyone he can find and ranting sprawling, compelling millennial nonsense at them. Thewlis is extraordinary: he makes, who should be just plain repulsive, fascinating. And, unusually for a film, this one looks good – he abandons suburbia for the strange nightworld of empty office blocks and the edgy streets of recession-hit London. has shown no interest ever making anything like it again. Shame. 6. Buffalo 66 There’s only one thing worse than a self-proclaimed genius, and that’s a self-proclaimed genius who turns out to be right. is a professional loudmouth who has been hanging around New since the late Seventies: he was a band with Jean- Basquiat, had a career as a painter and then decided he was actor. He shocked the apathetically liberal East Village and SoHo scenes by declaring he was a reactionary; a confessed former hustler, he enjoys making homophobic rants. Then, after all the troublemaking, he turned around and made extraordinary film, one that epitomised the inspired verve of the decade’s American independent scene at its best. Buffalo 66 opens with Brown being released from prison, and then asking to go back because he needs to ‘take a piss. The first five minutes – funny and bleak – are devoted to Brown’s search for a toilet. Then he kidnaps a dancer, takes her home to his monstrous parents and tells them she’s his wife. From there on, right up to the end, the film remains genuinely unpredictable. Buffalo 66 is a terrifyingly bitter piece of autobiography: it leaves you feeling very sorry for ‘s parents. But it is also incredibly tender film – shows the vulnerability and absurdity at the heart of his own bluster. It’s hilarious places. And not least, it’s a beautiful film: shot using a rare process had enormous trouble getting developed, it finds loveliness the dingy town of Buffalo. Two scenes – one with and Ricci on a motel bed, the other with Ricci tap-dancing to Crimson a bowling alley – are as elegant as anything Vincent Minnelli ever did. the end, Buffalo 66 stays with you longer than all the other outstanding films that sprang from ‘s burgeoning independent scene, Dazed and Confused included. And people – including those personally insulted by him – give at least this much credit: the bastard sure knows how to make a film. 7. Festen Defenders of our ailing national cinema always point out that we can’t be expected to compete with the Americans. Which is reasonable enough, but the real comparison should be with the Danish and Norwegians. Refn’s Pusher put all US post-Tarantino efforts the shade, while Lars Trier’s made the -it-or-run-screaming Breaking The Waves. Trier was also brave enough, pretentious enough or ironic enough to launch a cinematic movement these cynical times. And if most people are still unsure whether the reasoning behind the Dogme 95 Vows Of – no score, no flashbacks, no props, no lighting, hand-held video cameras only – is tongue–cheek or not, the films make it irrelevant question. Trier’s own The Idiots is a bit of a hippy mess, but Festen is another matter. Festen takes place at the sixtieth birthday party of the pompous Helge, shortly after his daughter has committed suicide. His eldest announces that their father had consistently raped him and his sister when they were children. And this is where the Dogme restrictions become advantage: without music, there’s nothing to tell you how to feel or when to expect a dramatic moment. And that’s what helps Festen avoid being abuse melodrama and become a superbly ambiguous black comedy. Vinterberg is brilliant at controlled chaos, and keeps the film both wild and on the rails. If every film was made according to the Dogme rules, it would quickly become wearing, but right now it’s the most exciting thing happening the movies. 8. Delicatessen These days French films come four basic flavours. There are the ones where people talk too much, the ones where old men stare at Emmanuelle Beart, the swashbucklers and the loud ones directed by Luc Besson or one of his mates. Too simplistic? Yes, but sadly not by much. The glorious exception is Delicatessen. Delicatessen is distantly related to the work of Gilliam and the Coen brothers, but mainly out there on its own. Set a world that is somehow both post-World War II and post-apocalyptic, the bare essence of the plot has a woman trying to save ex-clown from her cannibalistic butcher father. That’s before you get to the woman who keeps failing to kill herself, the underground vegetarian resistance fighters or any of the other bizarre and beautifully rendered characters. Unfortunately the finest scene – based around the rhythm of bed springs – has recently been ripped off for ad, and may never seem as good again. Jeunet and Caro made the inspired City Of Lost Children before Jeunet was lured to Hollywood to make the dismal Alien Resurrection. 9.