The L’s Best Films of 2010

by |
12/08/2010 4:00 AM |

Mark Asch’s Top 10


#1 Carlos

Olivier Assayas

Assayas maps recent history with synaptic complexity, his perspective gradually shifting from the titular free radical to the modern world that works him out of its system.



#2 Wild Grass

Alain Resnais

The heart wants what it wants, unto death, a state of affairs which moviemaking cinephile Resnais is delighted to indulge. (A brighter flipside to #10.)



#3 Everyone Else

Maren Ade

Praising its shade-perfect emotional veracity feels transparent: with this movie on my list, you probably know some things about me I wish you didn’t.



#4 Dogtooth

Yorgos Lanthimos

A self-contained allegory for religion, politics, patriarchy, or artmaking—the year’s most pickapartable film, and, with its repurposing of domestic-sphere familiars, the most dreamlike.



#5 White Material

Claire Denis

Denis’s gift for rendering skin seemingly environmental—like Isabelle Huppert’s sundressed translucence—is made scarring as whites and blacks stake disputed claims on what they consider their home.



#6 Marwencol

Jeff Malmberg

An investigation into the uses and limitations of art therapy to top Shutter Island; and, as trustworthy, unobtrusive Malmberg brokers a meeting between his subject and audience, a testament to basic documentary technique.



#7 The Father of My Children

Mia Hansen-Love

For the second half even more than the breezily inexorable first, as Alice de Lencquesaing (thrower of the Summer Hours house party) explores a teen’s conditional autonomy in matters of adult relationships, culture and death, with a determined openness recalling… well, Hansen-Love herself, in her future partner Olivier Assayas’s Late August, Early September.



#8 Greenberg

Noah Baumbach

James Murphy’s Nilsson-esque AM pop and Harris Savides’s smoggy telephoto lensing of a movie star walking (in Los Angeles!) conjure the appropriately anachronistic feel of movie-colony-based 70s auteur cinema at its most idiosyncratic.



#9 Black Swan

Darren Aronofsky

Stylish, silly symbolism, but grounded in Natalie Portman’s tendony, revulsed portrait of self-disciplined young womanhood.



#10 You Will Meet a Tall Dark Stranger

Woody Allen

In contemplating the gap between artistic ambition and ability, the Wood Man stands shoulder-to-shoulder with a generation of filmmakers who’ve got all the time in the world—which is why he’s on this list and Lena Dunham’s not.