Stuart Klawans | The Nation

George Clooney’s The Ides of March, Danfung Dennis’s Hell and Back Again, Luc Côté and Patricio Henriquez’s You Don’t Like the Truth: 4 Days Inside Guantánamo.

Steven Soderbergh’s Contagion, Göran Hugo Olsson’s Black Power Mixtape 1967–1975, Tate Taylor’s The Help

Steve James and Alex Kotlowitz’s The Interrupters; Raul Ruiz’s Mysteries of Lisbon; Jon Favreu’s Cowboys and Aliens; David Yates’s Harry Potter and the Deathly Hollows: Part 2; Brit Marling’s Another Earth; Miranda July’s The Future

The Human Rights Watch Film Festival, Michael Winterbottom’s The Trip, Azazel Jacobs’s Terri, Eve Annenberg’s Romeo and Juliet in Yiddish.

Terrence Malick's Tree of Life; David Balding's One Lucky Elephant; Kristen Wiig's Bridesmaids; Todd Phillips's The Hangover Part II.

Werner Herzog's Cave of Forgotten Dreams; Joe Wright's Hanna; Andreas Lust's The Robber; Daniel and Diego Vega's Octubre.

Is it a good thing that film—not the audiovisual materials that exist everywhere but movies, projected in public spaces— has stopped being central to American life?

Abbas Kiarostami's Certified Copy; Matt Porterfield's Putty Hill; Patricio Guzmán's Nostalgia for the Light; J. Hoberman's new book, An Army of Phantoms

Lee Chang-dong's Poetry, Jorge Michel Grau's We Are What We Are, Ron Howard's The Dilemma