Posted on January 25, 2018 January 25, 2018 by Reggina Zervou 2017 was a good year for indie cinema in the U.S., with some movies turning into theater hits. An alcoholic ex cop finds a woman on the roadside, left for dead. Of course, a great movie is a great movie, and some of these rankings are unlikely to change as the year goes on. It’s definitely one way to make a movie: after meeting a 20-year-old former crack addict on the streets of New York City, Josh and Benny Safdie encouraged her to write a memoir of her experiences—and then cast her in the film version. Robert Greene is fixated on performance; his fine indie-wrestling portrait Fake It So Real and creepy Kate Lyn Sheil showcase Kate Plays Christine are both studies of actors and their process. $13.54M, R Directors: Martel’s movies have always been difficult to parse, and “Zama” is no exception, but as with “The Headless Woman” this movie sympathizes with the state of confusing afflicting its character. This fascinating true story becomes a natural platform for Lee to construct a beguiling polemic on our troubled times. Elsie Fisher, Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is bowled over by the death of her older boyfriend. —EK, Ari Aster’s first feature is more than just a terrifying movie — though it certainly hits its mark in that regard — because it uses the genre to craft a mesmerizing portrait of the grieving process. Director: | Gross: —EK (Review), One of the boldest and most invigorating American films of the 21st century, Josephine Decker’s “Madeline’s Madeline” is an ecstatically disorienting experience that defines its terms right from the start and then obliterates any trace of traditional film language, achieving a cinematic aphasia that allows Decker to redraw the boundaries between the stories we tell and the people we tell them about. Martel’s movies have always been difficult to parse, and “Zama” is no exception, but as with “The Headless Woman” this movie sympathizes with the state of confusing afflicting its character. Jimmy Chin, Besides being wise about its teenage female protagonist’s arc from (not-quite) innocence to (less-than-spectacular) experience, It Felt Like Love perceives its male characters with a devastating acuity. —EK (Review), The latest exploits by the furry city slicker outmatched expectations with a heartfelt adventure about theft and incarceration, mining more universal poignance out of the material than even fans of the children’s books could have anticipated. Alex Honnold, —EK, John Krasinski’s mostly silent monster movie is a riveting survival story that owes as much to its intricate sound design as the script itself. Bo Burnham Now, two adult brothers seek answers after an old videotape surfaces and brings them back to where they began. $3.45M, R Bad Times at the El Royale is a 2018 American mystery thriller film directed by Drew Goddard.... Blindspotting is a 2018 American comedy film directed by Carlos López Estrada. Daniela Vega, Bored, alienated, and at loose ends after the death of her tyrannical mother (Ann Dowd, of course), thirtysomething Nancy happens to catch a local newscast dedicated to exploring the kidnapping of a young girl decades ago, with her still-shattered parents (J. Smith-Cameron and Steve Buscemi) taking to the airwaves to discuss both the scholarship they’ve put in place in memory of young Brooke and to share an aged-up picture of what Brooke might look like today. Chloe Zhao’s Cannes-acclaimed tale of a South Dakota bronco rider recovering from an accident is a delicate, understated achievement that manages to present an underrepresented culture while situating it within the context of cowboy iconography that feels definitively American. It’s also got the best brother-sister act in 21st-century indie (apologies to Alex Ross Perry’s The Color Wheel), with Cris Lankenau and Trieste Kelly Dunn distilling sibling rivalry and affection into a subtle, wordless solidarity, whether whale-watching or listening to a beloved teenage mixtape. Drama, Mystery, Thriller. In 1993, a teenage girl is forced into a gay conversion therapy center by her conservative guardians. Action, Sci-Fi, Thriller. Each scene is so quietly compelling because Haigh doesn’t focus on cruelty, but helplessness. “Widows” embraces its trashy, melodramatic twists while deepening their potential. | Vithaya Pansringarm, And while mainstream juggernauts like GET OUT and IT raked in millions from casual audiences (and rightfully so), it was films such as BETTER WATCH OUT, THE DEVIL’S CANDY, THE LURE, and more that proved horror’s independent roots are still alive and as strong as ever. Painless (II) (2017) | Here are the highlights that give me hope. Ekaterina Samsonov, Kevin Janssens, If the “Slacker” of Pierson’s saga—that’d be Richard Linklater—makes a movie like Last Flag Flying for a studio (Amazon), does that immediately disqualify it from consideration as indie?

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