Another year full of surprises, good movies, flops and disappointments has ended. But what were the features in 2017 that will be treated as a cultmovie in ten years or more? Before continuing with the list that ONEG magazine offers you, let’s clarify once and for all what is meant by cultmovie. A cultmovie is an artwork that overturns the usual patterns of cinematic spectacle, an almost mysterious object that has the task of undermining banality and remaining, in years, in the mind and culture of the society in which we live. Obviously we do not want to say that the movies that will follow below are completely adapted to this definition of Cultmovie but in one way or another we have managed to get out of the usual movies proposed to the cinema.
The square, Ruben Ostlund
Awarded with the Golden Palm at the last Cannes Film Festival The Square stands as perhaps the most critical film to society this year. Despite being a comedy in all aspects the work of Ostlund launches the evaluation of a respectable society that has lost the trust towards the others. Sociological analysis is a constant in the cinema of the Swedish director, son of the great tradition that has always accompanied Scandinavian cinema. The film that talks about contemporary art is not focused purely on it but uses this theme as a magnifying glass to argue the crisis of Western civilization.
Dunkirk, Christopher Nolan
On the debut with the historical genre the well-known English director C. Nolan surpasses himself and decrees Dunkirk as film of the year 2017. After the levels of the dream of Inception and after the paradoxes of the spacetime of Interstellar, here the discourse on the director English becomes more delicate. No one as with Dunkirk the viewer enters into a real emotional journey that makes the film an all-round sensory experience, which passes through the stomach even before the eyes. The sensoriality combined with the story makes this film the true cult neighbour of contemporary cinema, the director of Memento uses the classic lack of linearity of the plot that distinguishes his films to tell more stories simultaneously making a historical film something that goes beyond the simple story historical fact.
Logan, James Mangold
The latest incarnation of Wolverine for the big screen, played by the Australian actor Hugh Jackman, differs from all the films on the X-MAN seen so far. Already the title emphasizes the intention to focus on the less “super” aspect of the character: this is an aged Logan, battered, even more reflective and tries in some way to eradicate his sins in all ways. In a film where the film about super-heroes fill our rooms every week, Logan seems to oppose any cliché telling the drama of the protagonist not as a man with super powers but as a human being with feelings like everyone else.
The Place, Paolo Genovese
In our ranking we decided to make room for a work of our cinema: The Place. The Genovese film with its stellar cast manages to connect the life of every character in the feature film. A ‘filmed theater’ that seems to be made, as in Perfect strangers, to enhance the performance of the actors. Work to close the 12th Rome Film Festival, sees the Roman director face the first dramatic project of his career, displacing with a courageous work all the public and critics. Perhaps the new way that Italian cinema must take is this?
Blade Runner 2049, Denis Villenueve
The film entrusts its fidelity to the themes of the original but in reality it ends up immediately elsewhere, in a territory that fortunately is closer to the cinema of the Canadian director than to the imitation of Ridley Scott. If that of 1982, which later became a true cult film, cheated the viewer through the density of each image, he removed points of reference by filling each frame of elements, this is a film full of nothing. If in the original every room was bright so that the shape could not be clearly distinguished and communicated a claustrophobic idea also through the always mobile light radiation coming from the outside, here everything is clearer and more minimalist. Villenueve overcomes the cult by not imitating the 80s film but creating a new and maybe even overcoming the model.