Prior to unveiling the top theatrical releases of 2017, here’s a little love for some festival circuit being held for theatrical release next year (and in some cases, still requiring US distribution). Best Actress wins from Venice (Charlotte Rampling) and Locarno (Isabelle Huppert) are amongst a list which tends to gravitate towards dark themes, either with the historical contexts of failed colonialism (Zama, Joaquim) and/or the racial and class disparities which tend to define and dictate pained day-to-day existences. While only one debut makes this particular list (Kantemir Balagov‘s Closeness), 2017 was a formidable year for women directors internationally, even if some of their titles are simply not getting the praise they deserve (namely Lucrecia Martel).
#1. First Reformed – Dir. Paul Schrader (US)
#2. Zama – Dir. Lucrecia Martel (Argentina)
#3. Hannah – Dir. Andrea Pallaoro (Italy)
#4. Madame Hyde – Dir. Serge Bozon (France)
#5. You Were Never Really Here – Dir. Lynne Ramsay (US)
#6. Good Manners – Dir. Marco Dutra & Juliana Rojas (Brazil)
#7. Angels Wear White – Dir. Vivian Qu (China)
#8. Closeness – Dir. Kantemir Balagov (Russia)
#9. Where is Kyra? – Dir. Andrew Dosunmu (US)
#10. On Body and Soul – Dir. Ildiko Enyedi (Hungary)
#11. The Death of Stalin – Dir. Armando Iannucci (UK)
#12. Jeannette – Dir. Bruno Dumont (France)
#13. Have a Nice Day – Dir. Liu Jian (China)
#14. Bright Sunshine In – Dir. Claire Denis (France)
#15. The Party – Dir. Sally Potter (UK)
#16. April’s Daughter – Dir. Michel Franco (Mexico)
#17. A Gentle Creature – Dir. Sergei Loznitsa (Russia)
#18. Claire’s Camera – Dir. Hong Sang-soo (France/South Korea)
#19. Joaquim – Dir. Marcelo Gomes (Brazil)
#20. Let the Corpses Tan! – Dir. Helene Cattet & Bruno Forzani (Belgium)
