The decade of 2010 has been somewhat turbulent in terms of cinema. In these ten years, the rise of streaming has broken with the traditional room model; technology has made the impossible possible on-screen; and a new generation of filmmakers, largely women and non-white people, has challenged the canons of the industry with bold and innovative works. With 2020 just around the corner, we reviewed the ten most decisive and explosive releases of the years 2010.
12 years of slave (2013)
Based on the story of Solomon Northup which is a true story also, this film revolves around the plot of a free man who is sold to the slaves of the pre-war American South, Steve McQueen’s heartbreaking epic illuminates the horrors of the most shameful past in the United States. The plot rests on the powerful performances of Chiwetel Ejiofor and Lupita Nyong’o, plantation workers who have just sold to cruel owners. Humiliated, beaten, and even lynched, endure the unspeakable with hope and the cry not only to survive but to live. Beyond and despite its historical importance, the film proclaims an urgent claim: to dismantle the myths about slavery that Hollywood has instilled for generations.
The exciting initiatory story of Barry Jenkins is a feat of independent cinema: a $ 1.5 million film, shot in less than a month, which won worldwide recognition and won an Oscar for Best Picture. The film, divided into three acts, follows in the footsteps of Chiron, a child raised in Miami who faces his sexuality. The script by Tarell Alvin McCraney is sober and poetic, the soundtrack of Nicholas Britell is exciting and the interpretations of Naomie Harris and Mahershala Ali, they are exceptional. Above all, this film marked by ellipsis and absences – the hidden loss of a father figure, the emotional cost of imprisonment – is a complex portrait of racial discrimination, drug addiction, and poverty in the United States today.
Lady Bird (2017)
The ‘mumblecore’ queen Greta Gerwig captivated critics and audiences alike with her cousin as a solo director: a melancholy teenage comedy that is much more than the sum of its parts. Saoirse Ronan plays Lady Bird, an idealistic Sacramento high school student who deals with friendship, dating, and family quarrels. Set in 2002, the film digs into the nostalgia of the previous decade with cover phones and ballads by Justin Timberlake while delighting in its universality. The result is a classic rite of passage at the height of John Hughes, a rare indie jewel turned into a box office, and that earned Gerwig an Oscar for Best Director (fifth woman in history nominated in the category).
As personal as it is panoramic, Alfonso Cuarón’s declaration of love to Mexico City in the 1970s is a delight. Filmed in a bright black and white and written in Spanish and Mixtec, it gives us countless surreal images: a New Year’s Eve party interrupted by a forest fire, a trip to a furniture store interrupted by imminent disturbances. At its center is Cleo ( Yalitza Aparicio ), a domestic worker who watches the political turmoil from a distance until her life also begins to crumble. In addition to obtaining the Golden Lion in Venice, the film marked a turning point for Netflix, a film premiere that consolidated the power and influence of the platform while gaining the trust of an industry still reticent to the streaming revolution.
The economic inequalities born of the global financial crisis is a topic that many of the 2019 blockbusters ( Hustlers – Wall Street Scammers – of Lorene Scafaria; Daggers in the Back, by Rian Johnson ) explore. But in the award-winning Bong Joon-ho movie, recognized with the Palme d’Or, are the path to Hitchcockian terror. The tape follows in the footsteps of a family that is struggling to make ends meet until they are coupled to a clan of rich benefactors. Hence a social satire soaked in blood and unexpected turns that uncovers not only the injustices of the class system but also the reckless ambition of those who hope to overthrow it. In his home Korea, he has generated infinite memes and has become a cultural phenomenon, praised for both its depth and its populism.