A Hijacking


There are big movies and there are little movies. I mean that entirely in the sense of budget and release, promotion and theatrical scope. In the United States we talk most about our wide studio releases, then homegrown smaller independent films and the big-name foreign imports. But that leaves quality filmmaking to fall through the cracks. Movies that, for one reason or another, no one seems to be talking about. There are overlooked gems, and then there are the deep cuts. The homegrown niche dramas, the Irish horror flicks, the Latin American comedies, the Scandinavian experiments in nonfiction? This year saw some extraordinary unheralded work from abroad, alongside some excellent films that came from unexpected domestic places. Here are thirteen of them.


foreign the hunt

Cinema is a worldwide artform, and as such many of the year’s best and most exciting films often come from overseas. Quality is no guarantee of visibility though as subtitled films rarely get a wide reception in American theaters, and worse, many don’t even make it to our shores until a year or more after opening in their own country. That’s the kind of factor that makes ranking foreign language films a difficult and inconsistent process. I try and go by actual year of release when possible, but for obvious reasons I’m not adverse to including entries that made their U.S. debut this year, too. But these are details… let’s get to the movies! Genre films rarely make “best of” lists like this , but I make no apologies for their inclusion here. Best is best, and if my best happens to include a character named The Queen of Saliva so be it..


discs abducted

Welcome back to This Week In Discs! If you see something you like, click on the title to buy it from Amazon. See You Tomorrow Everyone (UK) Satoru Watarai (Gaku Hamada) graduates from primary school with only one certainty. He plans on never leaving the “projects” where he lives. The gated community of apartment complexes also features stores, restaurants, recreation areas and more, and Satoru sees no reason to leave. As the years pass by he watches as his friends move away, he loses the love of his life, and he begins to question his physical inability to set foot outside the projects. Director Yoshihiro Nakamura is no stranger to ridiculously good cinema, and anyone who’s seen Fish Story, Golden Slumber, or A Boy & His Samurai knows that he mixes entertainment and emotion in wonderfully rare ways. His latest lacks a fantastical element or song-related hook, and instead focuses on the presumably stunted life of one man affected by a singular traumatic moment. The first half plays like a loosely melancholy comedy before a shift sets in to up the emotional stakes dramatically, and the result is an incredibly affecting look at the intersection of fate and the life we make of our own will. [Region 2 DVD extras: Introduction, interview, trailer]


Captain Phillips

A boat at sea is a pretty rich place to explore ideology. Bear with me here. The sea, by assumption, bears no visible national borders, no unified language, no tactile culture for human beings. Yet humans travel the sea, conquer it, capitalize on it. Our use of the sea is in no way apolitical, yet an endless horizon subject to the laws of nature conveys something essential, a visage that suggests a false, elusive neutrality. The sea simultaneously erases and amplifies the distinctions we’ve made between ourselves on land. Much has been already discussed about the ideological implications Paul Greengrass’s Captain Phillips. What to make of a popular piece of entertainment that is, at least in part, about global inequality? Are the systemic factors that motivate Somali piracy ignored? If not, might audiences still interpret the film in a simplistic hero v. villain binary de rigueur of Hollywood entertainment? Is the film, as Dana Stevens observes, “a tragedy about the ruinous consequences of global capitalism” or is it, as Andrew O’Hehir argues, “a disturbing celebration of American military power”? Perhaps a film like Captain Phillips, by virtue of its setting and narrative, can be seen as a vessel of ideology that, at the same time, investigates the core processes by which our political identities and assumptions come into realization.


Screen Shot 2013-06-08 at 2.56.38 PM

If A Hijacking were some Hollywood blockbuster — let’s say, starring Harrison Ford from the ’90s — it would be an inspirational tale of the everyman’s triumph over the pirates. It would likely feature quotable quotes like “Get off my ship!” and have a big special effects-heavy hijacking sequence. Not that there’s anything wrong with the Hollywood blockbuster action genre – it certainly works when executed properly. But A Hijacking features none of these tropes and is all the better for it. With writer/director Tobias Lindholm at its helm, the film defies most expectations while exceeding them, creating a focus on the individuals affected by the event and presenting a constant feeling of dread that casts a pall over even most of the more uplifting moments. Alternating between action on the cargo ship Rozen being hijacked by Somali pirates in the Indian Ocean and the hostage negotiations transpiring back at the shipping company, Lindholm weaves together a story that is more about the slow unraveling of man’s ability to keep composure, to withstand the impossible. This is not about kicking ass and taking names. In fact, the entire hijacking takes place off screen, taking the focus away completely from the “action” aspect. The audience finds out about the hijacking the same time that the shipping company does.

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published: 01.29.2015
published: 01.28.2015
published: 01.28.2015
published: 01.28.2015

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