The top 10 best films of 2020 according to Premiere

They are American, French and Chinese. They have been released in theaters or have been discovered in streaming. Here are our favorite movies from this very, very special cine year.

  1. Aaron Sorkin’s Chicago Seven
    ” If you’ve never heard of the Chicago Seven’s trial, don’t worry: Aaron Sorkin just spent the promotion of his new film explaining that when Steven Spielberg, in 2007, suggested that he write a film about this decisive episode in contemporary American history, he did not see what it was at all. wanted to talk… And if Aaron Sorkin, creator of the series A la Maison-Blanche, eminent commentator on US political life, he himself doesn’t know anything about it, then you’re quite sorry… A little history lesson s’ imposes, therefore, as a preamble: in 1969, a year after the very violent clashes between the anti-Vietnam war demonstrators and the police on the sidelines of the Chicago Democratic Convention, the Nixon administration, newly elected, accused a handful of activists and leftists of conspiracy and incitement to riot. “


  1. The things we say, the things we do by Emmanuel Mouret
    ” It was in 1999 that the work of Emmanuel Mouret was discovered in theaters. Just graduated from the Fémis, his graduation film, Walk around naked!, Indeed enjoys the honors of the big screen. He himself plays a young man subject to an ultimatum (24 hours to decide whether or not he lives with his girlfriend) and whom his best friend offers to play to be his girlfriend during this day to prove to him that all girls are equal. Walk around naked! is warmly greeted by the critics, praising the humor and the lightness of this devilishly romantic divertimento. But there is no doubt then that Mouret’s cinema is entirely contained in these 50 minutes. His taste for marivaudage, his relationship to the language, its apparently nonchalant and yet never loose rhythm and this enveloping sweetness which hides a cruelty as tasty as it is unstoppable. Twenty years to come to this The things that have said, the things that we do, his most successful film, the most fluid, the lightest, the deepest and the most brilliant. “


  1. Stay in the Fuchun Mountains of Gu Xiaogang
    ” Gu Xiaogang, Chinese director of the impressive Stay in the Fuchun Mountains, is 31 years old and is already at the foot of Everest, of which he has already largely passed the base camp. His film, borrowing its title from an ancestral painting from the 14th century, is a contemporary family chronicle that sees siblings cross and uncross over four seasons. It is presented by its author as the first part of a trilogy. Sin of pride as a young filmmaker with an overwhelming ego? At the end of the 2 h 20 min of this film, we want to project ourselves a little further. With this feature film, Xiaogang walks nothing less than in the footsteps of Edward Yang, Hou Hsiao-Hsien or Jia Zhangke. It all starts in a small restaurant. We celebrate the birthday of a matriarch. Around her, her sons, grandsons, daughters-in-law … The camera at a good distance lets everyone move in their frame and find their place. The sound directs our attention to the heart of this hubbub. The characters emerge. And then the party is over. “


  1. I Just Want To End Charlie Kaufman
    ” When we discover it, at the bend of a winter chromo seizing of beauty, it is nevertheless in full crisis. She wants to end it, as the title says. But to end with what, exactly? Probably from his relationship with Jake, a good guy, cultivated and funny, who still has this tendency to listen to himself talk a little too much. A little quirk to discover during the first half hour of the film, where locked in the passenger compartment of a car that takes him to his parents, he will evoke in bulk his fascination for the English poet William Wordsworth, the kitsch musicals of Broadway and suicidal insects. She listens to him, really, even participates in the conversation, except that she’s not really there. His voice-over hammers him: she wants to end it. Very short. Goodbye idiots; it is the time that must want that. “


  1. The Climb by Michael Angelo Covino
    “ This was one of the beautiful surprises of this Cannes Film Festival 2019 which will definitely remain an exceptional vintage. However, on paper, this first American feature film was all about the perfect little bean that ticked two boxes, making its selection inevitable. It opens onto the slopes of the Col de Vence, not far from Cannes, which de facto makes it a sort of regional stage. Its two main characters are working to climb them by bike, a cute sin of the head of the selection, Thierry Frémaux! We do not know to what extent these two major assets have contributed tothe presence of The Climb in the Un Certain Regard section, but the choice proved Particular è surely wise. One of those moments of relaxation unpretentious always do good in the heart of a selection tr è s intense o ù resonate all the misfortunes of our plan è you. Director Michael Angelo Covino (also found on camera with Kyle Marvin, his friend of ten years in the “real” life) said s’ ê be much inspired film fran ç ais for the debut and quotes of elsewhere on the screen the too little known Le Grand Amour by Pierre Étaix, shown in a cinema. “


  1. Dark Waters by Todd Haynes
    ” Where’s Todd Haynes in Dark Waters? A priori, one might think that this project was not necessarily for him. Haynes, normally, has fun telling the story of pop stars with dolls (Superstar: the Karen Carpenter Story), celebrates the idols of the fringes (Rimbaud, Bowie, Bob Dylan), modernizes the old codes of the great melodies of yesterday (Far from Heaven, Mildred Pierce, Carol…). We did not expect it in the field of the paranoid thriller “based on a true story”, the portrait of a green whistleblower, the kind of film “File of the screen” which is less aimed at our sensibility. fetishist cinephile than to our conscience as citizen spectator. But when Mark Ruffalo asked him to bring to the screen the New York Times article recounting Rob Bilott’s fight against DuPont, industrial giant responsible for large-scale poisoning (because of the harmful effects of C8, a derivative of fluorine used in the coating of Teflon stoves), Haynes did not hesitate. Signing a film as straight as Dark Waters does not mean falling into line, on the contrary, it is another way for him to be rebellious and “counter-cultural”. “


  1. Farewell to the idiots of Albert Dupontel
    “ After a multi-Caesarized detour by adapting a pre-existing work (Au revoir là-haut), here is Albert Dupontel at the head of a film entirely written by him. But from one project to another, whether he initiated it or not, Dupontel above all builds an increasingly consistent work celebrating in his own way – empathetic and well shaken up -, a cousin of that of the duo Délépine-Kervern, the victims of life, the marginalized by a society too cynical for them. Goodbye idiots features a duo which, a priori, should never have met. On the one hand, Suze, a hairdresser suffering from an incurable disease who wants to use the time remaining to her to find the child she had, as a teenager, given birth under X. On the other JB, a depressed official who decides to commit suicide after being deprived in a humiliating way of a position which he thought to obtain in view of his skills. And these two solitudes will suddenly collide when, coming to make her request for research, Suze finds herself embroiled in spite of herself in the headlong rush of JB – chased by the police and his bosses – who will very quickly do everything to help him. ‘help find the famous child who has grown up. “


  1. Teenage Sébastien Lifshitz
    ” Late last year è re, filmmaker Sébastien Lifshitz exhibited at the Center Pompidou in Paris his massive collection of photographs called vernacular, barbarous name to refer to non artistic photos: family photos, advertising, scientific … the filmmaker foam from an early â ge flea markets in search of this production a priori disposable therefore “unclean” and “discredited” we had then said: “There is a derri memory ère each of these images. They deliver incomparable documentary truth. All these seemingly insignificant little things are essential to understanding the world. “The Premi è res images Teenage girls are just a succession of faded photos of two children that are seemingly ê be both hero ï born of this new documentary of the author of Invisible. Ana ï s and Emma, ​​taken like everyone else in the shapeless flow of a family memory via a corpus of souvenir photos. “Understanding the world” will be here to across the universe, and therefore the eyes of these two teens Brive-la-Gaillarde, in Corr thze. A universe in expansion since the filmmaker followed them for five years, the filming for their 13 years up to their majority. “


  1. The Richard Jewell Case of Clint Eastwood
    ” On July 27, 1996, a homemade bomb exploded in Atlanta’s Centennial Olympic Park, which hosted the Summer Olympics that year. Clint Eastwood’s film does not tell the story of the preparation for the attack or the journey of the terrorist (an anti-abortion activist who will not be arrested until seven years later). The filmmaker takes an interest in security guard Richard Jewell, who on the night of the explosion found a bag full of explosives under a bench, raised the alarm and avoided the worst. The anonymous hero became a media star, but he unleashed the paranoia of the FBI, the predatory greed of the press and mostly found himself the victim of a plot that would in part destroy his life. It is this spiral that is at the heart of the Richard Jewell Case. Since the start of his career, the American hero has been the quintessential Eastwoodian character, the one who draws a country advancing between shadow and light, between Huston and Ford. But with American Sniper, things started to move a bit: the exceptional beings were gradually replaced by the man in the street, a boy next door turning into a savior almost in spite of himself. “


  1. Uncut Gems by Benny and Josh Safdie
    ” A map and a territory. The Safdie brothers (Joshua and Ben) who appeared eleven years ago at the Cannes Directors’ Fortnight with their first feature film with a magnificently heady title, The Pleasure of Being Robbed, have become the unhoped-for representatives of an indie New York cinema. ‘we had believed lost forever in the name of the rampant gentrification of the Big Apple. The messy heart of Manhattan (The Pleasure …, Lenny and the Kids), the dirty squares of the Upper West Side (Mad Love in New York) or even Queens and its pale lights (Good Time). Perhaps only James Gray still managed to (re) show the authenticity and diversity of this world-city that became a village again (Little Odessa, The Yards, Two Lovers …). Joshua and Ben have always sought to capture the energy of the place they invest. Hence the permanent tension that emerges from each shot where the characters struggle in a space that is most often confined with no possible line of flight. Their highly mobile camera seeks to experience every nook and cranny of these micro-territories, creating a feeling of extreme confinement. New York is a fragmented setting never considered on a large scale. “
To Top