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It can be hard to evaluate the best films of the 2010s, when every damn year of the decade, especially from 2015 onward, have felt like ten years unto themselves. But movies, as ever, offer respite from that chaos. It’s been a decade that has offered impressive new voices in film and given different voices bigger platforms. Names like Jordan Peele, Ava DuVerney, Ryan Coogler and more have opened up important ideas to wider audiences, while also delivering top class entertainment. Long-term talents, from Scorsese and Soderbergh to Bong Joon-ho,  Todd Haynes and Katheryn Bigelow, have changed with the times and done great work, even when it hasn’t been their defining masterpieces, these greats have produced films that audiences have latched onto and continue to engage with in interesting ways, our often noxious online discourse still providing the opportunity to grow cultural conversation. Still, that noxious shite can make even the most ardent film lover never want to talk about cinema again, and the last ten years have seen too many unwinnable bullshit battles waged by people determined to keep their beloved franchises for themselves only, or draft movies, sometimes at random, into the unending culture wars.

Netflix have changed the game completely for film distribution and audience engagement in ways we still haven’t fully processed since 2010, for better and worse, what even counts as a “film” and how we see them have been altered forever. After a relatively wobbly start to the 21st century that now seems impossible, Disney have become a monster in the 2010s, consuming one of the great film studios in the last year in Fox, reshaping history as they see fit, flooding and fixing the market, threatening all the positives in the paragraphs above. 80% of the box office is simply too much for one studio to hold, and cinema as an art form is at risk if the 2020’s continue to allow expression to be supressed in the name of expansion.

You can see some of what’s at stake in some of the great Irish films that have come out this decade, both on screen and off. Wonderful work has been done with local cinema thanks to collaboration with fellow European studios, and great films that in decades past only Irish eyes would have been watching have warmly received worldwide. Check out our Best Irish Films of the Decade list, coming soon, for some of the best of our country’s cinema. More of that in the times ahead of us please, especially for this website’s sake. There are always challenges, but without the vibrant cinema scene that has continued to grow in this country, Film In Dublin would never have started. With that in mind, it’s a good time to delve into some of our writer’s personal favourites of the decade, our Best Movies of the 2010s.

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Incredibly, there are only sixteen days remaining in the 2010s, and though every year of the last few years has felt like a decade unto itself in one way or another, one positive thing the 10s have undoubtedly given us is a plentiful supply of great films. And the Light House Cinema will give film fans an opportunity to see some of the best and most beloved of the decade this month and through January, screening a series of the Best of the 10s. The season will run from December 27th until January 5th, with 18 favourites to relive before another ten years of film kicks off for us.

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Director: Barry Jenkins Starring: Trevante Rhodes, Ashton Sanders, Alex Hibbert, Naomie Harris, Mahershali Ali, Janelle Monàe, André Holland, Jharrel Jerome Running Time: 111 minutes

On a beautiful Miami beach, a father figure speaks to the young boy he’s decided to take responsibilty for. It’s a safe, calm place away from the oppressive inner city. In the moonlight, Mahershala Ali’s paternal drug-peddler Juan says to the silent and sad young Little, black boys look blue. Which is to say, how they’re seen changes depending on the world around them, and isn’t necessarily reflective of the truth. These words and the way in which they’re spoken reveal much about Moonlight, a poetic film that explores many issues about identity both racial and sexual, but does so in a deeply intimate and personal way.

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