As if it isn’t enough to be shopping and wrapping and cooking and unwrapping and eating and searching for lost dogs and blocking our ears to keep out the piped carols, it’s the season for drawing up Best-Of lists.
The Art Student’s best five movies (with links to the movies’ IMDb pages):
A Separation (Asghar Farhadi 2011): ‘Definitely the best movie this year. We got to see how complex it all is for secular Muslims in Iran.’
Lore (Cate Shortland 2012): ‘Up there with A Separation. You don’t believe you can watch yet another film about Jews and Nazis, yet here it was, original and fresh. I hope it wins an Oscar. I liked Somersault too.’
The Skin I Live In (Pedro Almodóvar 2011): ‘Creepy,’ she said, ‘but good.’
This Must Be the Place (Paolo Sorrentino 2011): ‘I loved the great humour, the art, the spectacular musical event.”
The Sessions (Ben Lewin 2012): ‘I liked having nudity and sex without it being voyeuristic.’
My best five movies, chosen fairly arbitrarily (with arbitrary reason given) from a short list of 19 that included all five of the Art Student’s picks:
Liberal Arts (Josh Radnor 2012) features a main character who walks around the city reading. I identified. It also reminded me of the pleasures of Eric Rohmer movies.
Sing Me the Songs that Say I Love You: A Concert for Kate McGarrigle (Lian Lunson 2012) pips The Sapphires (Wayne Blair 2012) at the post for my musical of the year. It’s a concert movie that invites us into extraordinary intimacy with a brilliantly musical family. Martha Wainwright sings ‘First Born’, which her mother wrote for her brother, and which we played a lot when our firstborn son was being ‘the first to crawl’.
Le Havre (Aki Kaurismäki 2011) made me feel irrationally pleased with myself or recognizing the oddly deadpan directorial style from Drifting Clouds, which I saw and loved decades ago.
The Artist (Michel Hazanavicius 2011) was a moderately enjoyable film until the final moment, which resolved a plot point I had been half-awarely worrying over, and vastly expanded the movie’s meaning.
Weekend (Andrew Haigh 2011): In spite of the phenomenal consumption of alcohol and other drugs, which would normally be enough to put me right off, I loved the unsentimental, unprurient portrayal of two characters who are completely taken with each other, including sexually.
The worst movie: We both picked Sophie Lellouche’s bland, self-indulgent Paris–Manhattan. But don’t take this as a solid judgement on the film as it might have miraculously picked up after the first hour, which is all we could bear. If we had to name a movie we stayed the course for, the Art Student would pick Skyfall, which she just plain hated, and I might have to pick Bernie, because Jack Black’s creepiness and the creepiness of the subject matter were from different universes.
The Art Student’s best books (she wouldn’t be limited to five), listed here in no particular order, with links to my blog entries or the book’s LibraryThing page:
Irfan Orga, Portrait of a Turkish Family (©1950, Eland & Galeri Kayseri 2004): ‘Compellingly tells of the transition from a feudal society to modernity as a result of war. Also wonderful was the insider child’s view of life under the veil.’
Hilary Mantel, Bring Up the Bodies (2012): ‘I’m glad it won the Booker. I’m completely hooked on the story, and looking forward to the third book, although having fallen in love with Cromwell I’m not looking forward to his death.’
Stephen Gilchrist, editor, Crossing Cultures: The Owen and Wagner Collection of Contemporary Aboriginal Australian Art at the Hood Museum of Art (2012): ‘I’m only half way through this but it’s a great, accessible introduction to the complexity of Australian Indigenous art.’
Richard Holmes, The Age of Wonder (2008): ‘Fascinating portraits of scientists in the late 18th century, when science and romanticism were closely joined. Particularly good on Banks and the Herschels.’
Sebastian Barry, The Long Way Home (2005) and On Canaan’s Side (2011): ‘Two completely absorbing novels. The first is probably the best novel of the First World War I’ve read, and the second extends the story to Irish immigration to the USA, and the past catching up with you, written convincingly in the voice of an 80 year old woman.’
My best books, which I’ve kept down to just five by declaring the AS’s list off limits:
Yalata and Oak Valley Communities with Christobel Mattingley, Maralinga, the Anangu Story (2009): it was a toss-up between this and Tohby Riddle’s miraculous Unforgotten for my picture book of the year. This is a different kind of miracle from Tohby’s – it opens a space for a multitude of voices to speak about the lethal indifference to Indigenous Australians on the part of he British atomic test at Maralinga, and about the resilience of the Anangu people.
Ross Gibson, Seven Versions of an Australian Badland (2002): I choose this over Gibson’s brilliant 26 Views of the Starburst World, which was published this year, because the earlier book made me understand something of the colonisation of my North Queensland home that I had read about previously but managed not to grasp.
Jennifer Maiden, Liquid Nitrogen (2012): I read quite a bit of poetry this year. Possibly the major revelation was Byron’s Don Juan, but I haven’t finished reading that, and I might have chosen Liquid Nitrogen anyway, as I feel that Jennifer Maiden’s stories, meditations and dialogues help me to live in the modern world.
A note on the gender balance front: I would have thought my reading was fairly every spread between male and female writers, but numbers don’t cater to wishful thinking. According to my blog statistics, I read 34 books by men and 22 by women.