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THE YEAR IN FILM: Looking back at a triumphant year for African American films
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Real stories, real power: Michael B. Jordan as Oscar Grant in Fruitvale Station
FRUITVALE STATION IMAGE COURTESY OF THE WEINSTEIN COMPANY

Bridging McQueen's explorations of physical and psychological abjection, Hans Zimmer's slow-burning, string-laden score picks up where it left off in McQueen's 2011 Shame, about Fassbender's sex addict enchained to his confused desires. In terms of desire, it's all too clear where Ejiofor's Northup stands ("I don't want to survive — I want to live!" he declares), and to his credit, McQueen makes his nightmarish 172-year-old descent all too relevant, especially at a time when the Obama administration addresses the persistent crime of human trafficking. It's just a small leap of imagination to think of one's story, name, and legal status blotted out and turned around by force and a gnawing "you're nothing but a Georgia runaway" counter-narrative, reminding the viewer that no one is truly free when others are enslaved. *

 

KIMBERLY CHUN'S US-DOMINATED 10 FOR '13 

 

 (in alphabetical order)

Best second time around: 12 Years a Slave (Steve McQueen, US/UK)

Luxe clucks: The Bling Ring (Sofia Coppola, US/UK/France/Germany/Japan)

Best off-base SF-by-way-of-Jersey: Blue Jasmine (Woody Allen, US)

Finest funny-sad threesome: Enough Said (Nicole Holofcener, US)

Bay pride: Fruitvale Station (Ryan Coogler, US)

Best flouting of the laws of physics: Gravity (Alfonso Cuarón, US)

Best use of entire songs: Inside Llewyn Davis (Ethan and Joel Coen, US/France)

Best tortured threesome: The Past (Asghar Farhadi, France/Italy)

Inspired grills and thrills: Spring Breakers (Harmony Korine, US) Rapturous apocalypse: This Is the End (Evan Goldberg and Seth Rogen, US)

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