The 20 best films of 2014

The best films of the year – the overground, the underground, the widely released and the still emerging, from oldtimers and first-timers – as chosen by 112 of our international contributors and colleagues.

See also:

☞ all the votes and comments in browsable form.

☞ our January 2015 issue with reflections on the past year in action, horror, mainstream adult drama and silent cinema.

Sight & Sound contributors
Updated:

1. Boyhood

Richard Linklater, USA

Richard Linklater’s film hinges on the tension between past, present and future and wears its long production and philosophical heft lightly. It feels as effortless as breathing. Precious little happens, yet everything does.

— Ryan Gilbey

Read Ashley Clark’s review

Watch kogonada’s video essay The long conversation: Richard Linklater on cinema and time

 

2. Goodbye to Language 3D

(Adieu au langage) Jean-Luc Godard, France

Godard’s retina-invigorating ciné-poem… the densest but also the most cinema-bending film on the Riviera, one which made the entire audience squint, blink and panic in unison.

— Isabel Stevens, S&S July 2014

Read Nick Pinkerton’s review

Read Nick Roddick’s Cannes blog post
 Ah Dieu, puns Jean-Luc Dogard

 

=3. Leviathan

Andrey Zvyagintsev, Russia

Balances the universality the director has always striven for with a brilliantly etched microcosm of the lawlessness that grips Russia today, where patronage, profiteering and power are intertwined.

— Ian Christie, S&S December 2014

Read Ryan Gilbey’s review

Read Geoff Andrew’s Cannes blog post Big fish to fry

 

=3. Horse Money

(Cavalo Dinheiro) Pedro Costa, Portugal

Brazen when it comes to bending cinema’s usual rules about the time and space(s) that characters occupy… a collision between cinematic history and authentic stories of suffering.

— Jason Anderson, S&S December 2014

 

5. Under the Skin

Jonathan Glazer, United Kingdom/USA/Switzerland

I’ve been waiting most of my life for a film that combined the sensibilities of Tarkovsky and Norman J. Warren. Under the Skin was worth the wait. It still haunts me, and I suspect it always will.

— Matthew Sweet

Read Samuel Wigley’s review

Read Away from the picture: Mica Levi on her Under the Skin soundtrack

 

6. The Grand Budapest Hotel

Wes Anderson, USA/Germany

Anderson’s most complete fabrication yet, a fanatically
and fantastically detailed, sugar-iced, calorie-stuffed, gleefully overripe Sachertorte of a film.

— Philip Kemp, S&S March 2014

Read Philip Kemp’s review

 

7. Winter Sleep

(Kis uykusu) Nuri Bilge Ceylan, Turkey/France/Germany

Without doubt a formidably achieved, intellectually substantial drama… when Winter Sleep comes alive, it is as
powerful and suggestive as any Ceylan film.

— Jonathan Romney, S&S December 2014

Read Jonathan Romney’s review

 

8. The Tribe

(Plemya) Myroslav Slaboshpytskiy, Ukraine

Set in a school for deaf teenagers, it reimagines the language of sight and sound (or the absence of sound) in cinema to startlingly original effect; you watch and listen in a way that’s entirely fresh and unfamiliar.

— Jonathan Romney

 

=9. Ida

Pawel Pawlikowski, Poland/Denmark/France/United Kingdom

A spare, haunting piece of minimalism… crafted with deceptive simplicity, riven with uncertainty… its indelible images are a stark reminder of Bazin’s dictum that film itself is a kind of miracle.

— Catherine Wheatley, S&S October 2014

Read Catherine Wheatley’s review

 

=9. Jauja

Lisandro Alonso, Argentina/Denmark/USA

Jauja is such a marvellous experience: it shows that film is a medium that can lock up a history (or memories or dreams or nightmares) inside it, then release it in all the splendour of Patagonian skies.

— Kong Rithdee

Read Thirza Wakefield’s London Film Festival blog post Viggo goes west

 

=11. Mr. Turner

Mike Leigh, France/United Kingdom/Germany

Read Read Isabel Stevens’ Cannes blog post Savouring Mr. Turner

 

=11. National Gallery

Frederick Wiseman, France/USA

Read Isabel Stevens’ Cannes blog post Behind the scenes at the museum

 

=11. The Wolf of Wall Street

Martin Scorsese, USA

Read Nick Pinkerton’s review

 

=11. Whiplash

Damien Chazelle, USA

 

15. The Duke of Burgundy

Peter Strickland, United Kingdom/Hungary

 

=16. Birdman

Alejandro G. Iñárritu, USA

 

=16. Two Days, One Night

Jean-Pierre Dardenne & Luc Dardenne, Belgium/France/Italy/The Netherlands

Read Tony Rayns’s review

 

=18. Citizenfour

Laura Poitras, USA/South Africa/United Kingdom/Germany

Read Nick Bradshaw’s review



 

=18. The Look of Silence

Joshua Oppenheimer, Denmark/Finland/United Kingdom/Indonesia/Norway

Read Nick James’s Venice blog post Hearts and minds and mumblings

 

=18. The Wind Rises

Miyazaki Hayao, Japan

Read Andrew Osmond’s review

See The landscape art of The Wind Rises

  • Sight & Sound: the January 2015 issue

    Sight & Sound: the January 2015 issue

    Wong Kar Wai on The Grandmaster, plus Birdman and the resurrection of Michael Keaton, John Berger on Charlie Chaplin and 112 critics on the best...

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