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15 Film Terbaik Di Abad 21 (Versi BBC)
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15 Film Terbaik Di Abad 21 (Versi BBC)
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/i4.mirror.co.uk/incoming/article83771.ece/ALTERNATES/s1200/bbc-logo-21217808.jpg)
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BBC merupakan stasiun televisi, radio Britania Raya. BBC juga menyediakan berita di Internet. Layanan televisi BBC di Britania antara lain adalah BBC One, BBC Two, BBC Three, BBC Four, saluran berita BBC News, dan dua saluran anak-anak, CBBC Channel serta CBeebies.
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Baru-baru ini BBC mengumumkan 15 film terbaik di abad 21. Langsung saja kita lihat daftarnya.
Spoiler for List:
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15. 4 Months, 3 Weeks and 2 Days
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2007/posters/four_months_three_weeks_and_two_days.jpg)
One scene, one cut, zero music. Cristian Mungiu's 2007 Palme d'Or winner is a touchstone of the Romanian New Wave, a stark wonder of a film exemplified by visual precision, a bracingly clear-eyed script and glacial detachment. Imbuing a backstreet abortion with the brutal tension of a crime thriller – and abortion was a crime in 1980s Romania – Mungiu evokes the callous and repressive atmosphere of Ceausescu's foundering dictatorship. Yet despite much harrowing imagery, depicted in unblinking detail within a fraught 24-hour timeframe, the film's underlying humanism is glimpsed through the unbeatable spirit of protagonist Otila, a college student who takes unthinkable risks and goes through grueling lengths to help her friend Gabita fix her unwanted pregnancy. – Maggie Lee, Variety, Hong Kong (Credit: Alamy)
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14. The Act of Killing
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/intl/denmark/2012/posters/act_of_killing.jpg)
Harrowing, confrontational and surreal, The Act of Killing ends with Anwar Congo, the gangster who murdered nearly 1,000 people in 1965-66 following the military coup in Indonesia, coming to terms with his heinous crimes. Possibly. He sobs, vomits and laments the lives he had willfully taken away, and yet we're never sure if he's genuinely repentant or if it's all a high-wire act on his part. But we want to believe that he is; we want to believe that justice is possible; that the killers may one day live through the agony they inflicted on the one million people they butchered. That's the hidden drive behind Joshua Oppenheimer's formally innovative debut feature. Few films have dared to capture the full spectrum of human evil so candidly, so perceptively, as Oppenheimer does in his unclassifiable non-fiction epic in which the Texas-born Danish film-maker convinces members of the death squads to reenact their murders in the style of their favourite Hollywood films. The Act of Killing is a piercing, multilayered study about national amnesia, about the power of self-deceit and the questionable morality of truth-seeking. Its status as the 21st Century's most celebrated documentary will likely be preserved for a long time to come. – Joseph Fahim, Freelance, Egypt (Credit: Alamy)
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13. Children of Men
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2006/posters/children_of_men_ver2.jpg)
Here’s a bold statement about a bold movie: Children of Men, like no other film this century, and perhaps no other movie ever, solves the meaning of life. (The answer? More life, of course.) Alfonso Cuarón’s staggering 2006 adaptation of PD James’ novel is that rare picture that astounds with technical marvels – long, exquisite unbroken shots; a beguiling, but subtle, development in camera technology that allows for one of the most stunning scenes ever shot inside a car. But it is also rich and vital in its emotional and philosophical depth: its sadness, its anger, its reverence and worry for humanity. Cruelly overlooked in its initial release, Children of Men has endured to become a cult favourite that should be required viewing for anyone grappling with feelings of dread about modern civilisation. Which is to say, probably everyone. In the end there is transcendent hope, found amongst Cuarón’s beautiful, bracing rubble. – Richard Lawson, Vanity Fair, US (Credit: Alamy)
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12. Zodiac
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2007/posters/zodiac.jpg)
David Fincher, famed for doing dozens of takes, might know something about obsession. Zodiac, his meticulous, gorgeous and haunting true crime movie, is a deep dive into obsession, following a newspaper cartoonist who becomes consumed by the 1970s Zodiac murders. Featuring astonishing performances from a pre-resurgence Robert Downey Jr and a pre-Nightcrawler Jake Gyllenhaal, Zodiac pulses with jittery energy while luxuriating in its own peculiar slow burn to nowhere. Gloriously detail-driven, Zodiac drags viewers into a compulsive world where the smallest hint can be the biggest clue, and it presents the obsessive’s worst nightmare: that, in the end, answers are utterly unattainable. – Devin Faraci, BirthMoviesDeath, US (Credit: Alamy)
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11. Inside Llewyn Davis
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2013/posters/inside_llewyn_davis_ver2.jpg)
He's a messy haired loner strumming an acoustic guitar, struggling to show the world he's got talent. No one cares, and no one wants to listen. Set in the Greenwich Village folk scene of the 1960s, the Coen brothers' Inside Llewyn Davis is an achingly melodic tribute to an unloved underdog. Davis (Oscar Isaac) is striking out on his own after his musical partner goes solo. Along his dour journey, he'll find others vying for similar success and others just trying to survive, in a very Coen-esque manner. Inside Llewyn Davis is a solemn song for anybody trying to become somebody. – Monica Castillo, The New York Times’ Watching, US (Credit: Alamy)
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10. No Country for Old Men
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2007/posters/no_country_for_old_men.jpg)
Readers of Cormac McCarthy’s No Country for Old Men put down the novel possessing a distinct image of its villain. The Anton Chigurh on the page became vividly seared into our consciousness. That image, though, is not Javier Bardem in the Coen Brothers’ Oscar-winner for best picture. Yet Bardem’s film characterisation is so powerful, so splendidly overwhelming in his random application of violence, that he manages to extinguish whatever preceded it in the mind of the audience. Set in West Texas in 1980, No Country for Old Men’s sense of time and place are unparalleled – a testament to cinematographer Roger Deakins. There’s a hypnotic quality to the movie’s pace, watching characters you can’t help but like – played by Josh Brolin, Woody Harrelson and Kelly Macdonald – make a series of catastrophic decisions that bring each into Chigurh’s universe, a world soaked in blood with a predetermined outcome. – Ben Mankiewicz, Turner Classic Movies, US (Credit: Alamy)
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9. A Separation
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/intl/iran/2011/posters/nader_and_simin.jpg)
If there is a film that makes you take a deep look at yourself in the mirror again and again, this is it. Asghar Farhadi’s searing relationship drama does not make a judgement about its characters. Rather, it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other. It isn’t surprising if most viewers find some reflection of their own lives in the events that occur during the course of the film. The gripping pace, the perfectly-pitched acting, the way the situations unfold – all made to look as if one is watching one’s neighbours, or maybe someone in one’s own home – create an unparalleled cinematic morality play. – Utpal Borpujari, Freelance, India (Credit: Alamy)
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8. Yi Yi
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/s14.postimg.org/6lo3tlk6p/yi_yi_a_one_and_a_two_movie_poster_2000_10204757.jpg)
Audiences in 2000 were astonished by how fluently Edward Yang’s Yi Yi portrays contemporary life through the intermingling stories of members of a Taipei family separated by the dilemmas specific to their stations in life. That’s quite ironic, because in today’s world of personal alienation through the allure of social media, the film now feels like a period piece, yet somehow, it resonates with an even greater urgency. Yi Yi is a reverently meticulous film, with its painstakingly detailed moods, and rituals that are seemingly endemic to the characters and their customs. Yet, it is also grandly universal. Its quiet reflections on life, love, family and death are all gracefully affecting, no matter the gap in generation and culture. – Oggs Cruz, Rappler, Philippines (Credit: Alamy)
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7. The Tree of Life
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2011/posters/tree_of_life.jpg)
Like a great poem, The Tree of Life opens itself to a thousand interpretations, as director Terrence Malick takes a spiritual and lyrical journey through time, from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself. This strange new pillar in the cathedral of US cinema stars Brad Pitt as an authoritarian father and Jessica Chastain as a tender and deeply religious mother of three sons. Emmanuel Lubezki’s cinematography is sun-dappled, or oozes images of boiling lava, dinosaurs and exploding planets, all to a soundtrack of Preisner’s Requiem — in this case a requiem to a dead son. The joys and aching losses of parenting become transcendent, even Biblical, in Malick’s hands. – Kate Muir, The Times, UK (Credit: Alamy)
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6. Eternal Sunshine of the Spotless Mind
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2004/posters/eternal_sunshine_of_the_spotless_mind_ver3.jpg)
The story of a breakup gone wrong, Eternal Sunshine of the Spotless Mind could easily have gone wrong itself. But this wasn't your average whimsical tale of romantic yearning. After delivering some of the best music videos and commercials of the ‘90s, director Michel Gondry finally found his groove with Charlie Kaufman's layered, head-spinning screenplay, injecting its jagged structure with warmth. Jim Carrey, meanwhile, boldly pushed against type to portray a perennially sad man literally trapped by his grievances and eager to let them unravel. But the movie belongs just as much to Kate Winslet, whose character's decision to erase her own memories of the ex-couple's time together sets the drama in motion. Eerie and surreal, charming and tragic, the movie wrestles with the fundamental instability of all human relationships, achieving a wise and powerful vision that is — ironically for a tale about fading memories — unforgettable. – Eric Kohn, Indiewire, US (Credit: Alamy)
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5. Boyhood
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2014/posters/boyhood.jpg)
This 21st Century masterpiece took most of the 21st Century to make. For more than a decade, Richard Linklater spent a few weeks each year chronicling the life of Mason (Ellar Coltrane). He begins the movie in first grade; about three hours later, he graduates from high school. In between, Linklater crams in an astonishing survey of modern life. His bold logistical gamble – What if an actor had died? Or lost interest? – was way more than simple technical gimmick. Letting the story and characters evolve organically over the years gave them an authenticity that a young Linklater could never have faked, and watching the cast, which also includes Ethan Hawke and a remarkable Patricia Arquette, age before our eyes, adds an extra layer of poignancy to every single scene. In an era when every aspect of society was accelerating, Linklater slowed down to tell the one of the definitive stories of our time. – Matt Singer, ScreenCrush, US (Credit: Alamy)
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4. Spirited Away
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2002/posters/spirited_away.jpg)
It’s hard to place any one of Studio Ghibli’s sweet, passionate animated films above the others, but Hayao Miyazaki’s Spirited Away does particularly stand out for its visual sophistication and elaborate themes of determination, courage and good cheer. Miyazaki’s story of a young girl trapped in the spirit world, trying to rescue her parents, feels like a throwback to an earlier age of hand-drawn animation. Made at a point where CGI was taking over animated features in the US, Spirited Away has a lovingly handmade feel. But it also has an ambitious sweep to its elaborate visuals of Japanese spirit-monsters and a sense of soaring adventure. It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery. – Tasha Robinson, The Verge, US (Credit: Alamy)
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3. There Will Be Blood
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2007/posters/there_will_be_blood_ver4.jpg)
From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed. Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim, winds up discovering oil. The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood. But that would mean missing Jonny Greenwood’s musical score – one of the finest, most disquieting ever written – not to mention Plainview’s immortal words in the film’s confounding final act, a drunken distillation of capitalistic will as disarmingly childish as it is perverse: “I drink your milkshake.” Cheers. – Ann Hornaday, The Washington Post, US (Credit: Alamy)
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2. In the Mood for Love
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2001/posters/in_the_mood_for_love.jpg)
Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love, the rare movie that draws much of its melancholy power from what it leaves off-screen. We never see the faces of the spouses whose affair pulls two lonely neighbours (Tony Leung and Maggie Cheung, both impossibly gorgeous) into their delirious romantic spiral. We never see the sex scene that Wong shot but omitted, all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera. And we never hear the lost, whispered words at the climax, which would be superfluous in any case: never before has a film spoken so fluently in the universal language of loss and desire. – Justin Chang, Los Angeles Times, US (Credit: Alamy)
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1. Mulholland Drive
![15 Film Terbaik Di Abad 21 (Versi BBC)](https://dl.kaskus.id/www.impawards.com/2001/posters/mulholland_drive_ver1.jpg)
WH Auden called Los Angeles “the great wrong place”. James Ellroy called it “the great right place”. The idea that two, or more, seemingly conflicting ideas can simultaneously be true is so often forgotten in the zero-sum culture of today, but it’s at the heart of David Lynch’s empathetic masterpiece. Mulholland Drive came to us haunted. It was a rejected TV pilot, reportedly turned down because of its confusing narrative, actresses ludicrously deemed too old, disturbing images and Old Hollywood star Ann Miller sucking on a cigarette. By design, Lynch was already echoing the Hollywood dream machine and the idea that movies reflect our own dreams – perhaps knowing all along this fever dream could only flower on the big screen. Mulholland Drive is a reverie of sex, suicide and silencio”. It’s also America, the beautiful and the bizarre, its romanticism, dysfunction, cruelty and absurdity. We love movies. The world loves movies. But America’s often freakish, surreal desperation towards ‘glamour’ when upturned can be as ugly and as horrifying as a nightmare – and the nightmare set at Winkie’s Diner in Mulholland Drive is one of the most terrifying moments put on film. Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable – drive on the actual road, Mulholland, at night, and then walk from Western to Vermont, and you’ll see – that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, erotic desires, and pool boys. – Kim Morgan, Sunset Gun, US (Credit: Alamy)
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