It seems our collective cultural memory is ever more truncated. Who of us can remember the Best Picture winners from recent years? Or if you watch the Oscars more for the fashions, who can remember what anyone wore? Memory can be as untrustworthy as it is beloved, as fragile and dangerous as it is indispensable. Perhaps because our frantically paced, fragmented contemporary world reinforces the tenuousness of recollection more than ever, many of this year’s films seemed to wrestle with that very theme.
Lately I've been mulling over three films that all made my "Top 10 of 2012" list, but which I have not really written about in depth (until now). Over at Mere Orthodoxy I wrote two articles about these films that you can find by clicking on the titles below.
Perhaps appropriately, many of the best films of 2012 dealt in some way with endings. In the year in which the world was to end, many masterpieces explored the idea of ending, finality, conclusion—whether the end of slavery (Lincoln), the end of innocence (Moonrise Kingdom), the end of life (The Grey, Amour, Les Miserables, Skyfall, Killing Them Softly, etc.), the end of an affair (The Deep Blue Sea), a manhunt (Zero Dark Thirty) or the world itself (Turin Horse).