They say television puts on 10 pounds, but I couldn’t see it. Perhaps it went to my hair, because looking at the webcast it was as large and prominent as anything in front of the camera. In retrospect, I probably should’ve looked in a mirror and brushed it a bit before going on air, as that strong San Francisco wind seemed to frazzle it up a little more than I remember it being when I left the house. I wish I could say it looked hip, but really it looked more like I was doing my part to keep that 70s skater look alive and well.

Seriously, though, note to self; think about trimming the hair. Or if not and you’re going to be on TV again, make it the X-Games or MTV.

In 3…2…1

So what was I doing on television? Well, I was on Bay Sunday CBS here in San Francisco promoting our Superfest International Disability Film Festival with one of the award-winning filmmakers, Karina Eperlein. As a board member of CDT, the parent organization of Superfest, and also a judge for the festival — not to mention the early 9:45 a.m. call time (5 a.m. for me and one of my attendants) — I was called upon to perform my duty and spread the word.

The festival itself is a tremendous event. The longest running one of its kind in the world, it began in 1970 in Los Angeles and moved here to Berkeley in 1998. It champions and honors the best in disability themed films from around the world, and has become a lens through which fertile ideas and images from the disability experience are reaching a mainstream audience. Growing year by year, exhibiting innovative and provocative works from both established and emerging filmmakers, it’s an integral part of the disability culture zeitgeist.

Superfest is a unique opportunity to engage in narratives you won’t find in your local Cineplex. The films are entertaining first and foremost, but as with the best of all films, you’ll come away with a better understanding of yourself and the world around you. I encourage you to check it out if you’re in the Bay Area, and if not, well, then hopefully sometime in the not too distant future you’ll be able to check out some of the films online. I’ll keep you posted as to when that’s going to happen.

Because that pile of hats doesn’t quite seem big enough, I’m going to go ahead and toss in mine and give you yet another top 10 list of movies to close out 2007. The difference here is that while those other lists may require you to either gas up the car and head out to the cinema or do a little waiting on DVD release dates to play along, mine you can pretty much participate in right away with just a few clicks of your mouse (if you’re a Netflix subscriber; otherwise, yeah, you’re probably gonna have to make a run to the video store).

Another difference you’ll notice is this list isn’t bound to a 2007 release date restriction; these are simply the top 10 films I watched from Netflix this past year. Narrowing it down to just 10 was a bit of a challenge so I cheated in a couple of places (trust me — the cheats make sense). But given that I see close to six DVDs a week this had to be expected — there were a lot of great films to choose from.

My only real criteria for choosing the 10 films I did was how they made me feel while watching them and did they linger afterwards. Some of these films I may never watch again — and that’s fine — while others I may revisit on a regular basis. Either way, they were all rich cinematic experiences that evoked emotions ranging from heartbreak to jackpot style elation. Which, when I leave my critically thinking film theory brain back in its box, is really all I’m looking for.

Oh, one final thing. Not wanting to deprive you the joy of reading Netflix’s head scratching synopses of these films, I’ve refrained from writing my own. I’m sorry if this adds any confusion to the list below, but I’m certain you’ll thank me later.

Happy viewing.

1). This is England — A small masterpiece that took the air out of my lungs. Paradoxically sweet and brutal. A tough, truthful look at youth that broke my heart and gave it back to me, tattered, but with a hopeful glow. This is one of the best films I’ve seen in years.

2). The 400 Blows/Antoine & Colette/Stolen Kisses/Bed & Board/Love on the Run — This is the first of my cheats. It’s difficult not to consider Truffaut’s Antoine Doinel films as a singular piece, so this might not actually be considered a cheat. Either way, following a fictional character played by the same actor (Jean-Pierre Leaud) over five films and 20 years — especially in the hands of a master like Truffaut — is a cinematic experience like no other. Deeply rewarding. Stick with the Criterion Collection versions.

3). Red Beard — Being a huge Kurosawa fan, it’s odd how this one escaped me until this year, but, man, what a beautiful and life-affirming piece of cinema.

4). Deep Water – Following “weekend sailor” Donald Crowhurst’s ill-fated attempt at successfully completing a solo sailing race around the world, this documentary — through the use of amazing archival footage — had me riveted. It took me from one emotional place to the exact opposite on several occasions.

5). The Lives of Others — Well deserved winner of the best foreign film Oscar in 2006. This film looks at art as a transformative power and how doing the right thing — regardless of the costs — will make a difference. Inspires bravery.

6). Jean de Florette/Manon of the Spring — Originally released as two films back in the mid 80s, this is actually one film (you get both on the same disc. Jean is part one and Manon is part two). As good as they were when I saw them 20 years ago. Great performances by Yves Montand, Daniel Auteuil and Gerard Depardieu.

7). Jonestown: The Life and Death of People’s Temple — I was a kid when all of this happened, but I remember it having a profound impact on the adults around me. A fascinating documentary that shines a light on who Jim Jones was and how the tragedy came about. If you don’t know much about this history (or even if you do) this film will really surprise you.

8). A Broke Down Melody/Zen & Zero — I don’t know what kind of year it would be if a surf movie didn’t make it into the top 10, but this year I got two. Neither falling into the category of surf porn (wave after wave of stellar rides over a contemporary punk soundtrack), both are uniquely cinematic expressions of the surfing lifestyle. A Broke Down Melody feels a little like a dream; stylistically impressionistic with amazing surfing from some of the best surfers in the world. A great down-tempo soundtrack complements this globe trekking gem. Zen & Zero, while lacking the same quality surfing as Melody (it follows a bunch of amateur Austrian surfers from LA to Costa Rica), more than makes up for it in its style, philosophy, writing and original score. Both are modern surf classics.

9). Death Proof – Even though it’s Tarantino, this one really surprised me. Typically the horror/exploitation genre isn’t my cup of tea, but I gotta say, this one was a rockin’ good time. There’s love (and a bit of blood) all over this latest homage by Q and it shows. Welcome back Kurt.

10). Knocked Up/Superbad — What can I say, Judd Apatow has the Midas touch. These two films are hilariously funny. There’s no question this brand of humor isn’t for everybody, but if you let yourself go the pay off is tremendous. What makes these films truly enjoyable are their hearts… their big, vulgar sincere hearts.

Honorable mentions to add to your queue (no particular order): The Death of Mr. Lazarescu, Gates of Heaven, Don’t Look Back, Old Joy, Once in a Lifetime, O Lucky Man, The Fountain, Battlestar Galactica: Season 2.5, Talk to Me, Sierra Leone’s Refugee All-Stars, A Mighty Heart, Sherman’s March, After the Wedding, Mutual Appreciation, 49 Up, Scanner Darkly, Half Nelson, Weeds: Season 2, Marie Antoinette, La Vie en Rose.

For a cinemaphile, I don’t get to the movies much anymore. Work, downtime in bed and now my workout schedule have made it very difficult for me to find the time. There was a period, however, when I went almost 8 times a month. I lived across the street from the now defunct UC theater and in any given week I might see films by Renoir, Billy Wilder, Kurosawa, the Coen brothers or the latest film from Hong Kong. These days, I’m lucky if I make it to the theater five times a year. And this isn’t necessarily a bad thing. Now the experience sort of feels like an event, and those once confounding Toyota sized boxes of candy even seem doable snack– ask me now if I want an extra 52 ounces of Coke for $.25 and I’ll hand you my own bucket.

That said, in the last 365 days I’ve seen three incredible films; Stranger Than Fiction, Once and last week, Lars And The Real Girl. And since “Lars” is still in the theater (though you might have to travel outside your zip code to find it), I thought I’d write something here in the hope that what I had to say might motivate you to seek it out.

Lars And The Real Girl, the irreverent (sorry, had to use it) comedy directed by Craig Gillespie and starring Ryan Gosling, is an absolute work of wonder. In many ways, given its premise, it’s a leap of faith by its creators. It’s a balancing act that never once tips into the unbelievable. In less capable hands, it’s at best A Weekend at Bernie’s and at worst A Weekend at Bernie’s 2.

In the spirit of not giving too much away, I’ll spare you a synopsis (you can get that by checking out the trailer). I will, however, address the elephant in the room and what I consider to be the film’s potentially problematic hook; Lars, the withdrawn protagonist, is dating a “love doll” named Bianca. The problem for the film here isn’t so much about solving Lars’ delusion (there’s your synopsis), but rather how to get us to care for Bianca. If we can this then their relationship feels “real” and the hook justified and earned. Otherwise, it’s a contrived plot device there only to get laughs and make the film feel more quirky and indie.

The responsibility for solving this problem falls largely on the shoulders of the actors, but not exclusively. Gosling’s performance, in particular, is brilliant. Funny, nuanced and deeply affecting, he unfolds the closed Lars with a quiet precision. There are no big moments or cliché epiphanies to this awakening; it simply happens. What’s most interesting, however, and why the film succeeds so magnificently, is this performance never overshadows any other. In fact, it’s the supporting performances which hold the film together — carrying the burden of Bianca and shaping Lars’ transformation.

This is a film that loves its characters. There’s an authenticity and attention to detail that’s present in even the smallest of parts. Gillespie and Nancy Oliver, the writer, understand nuance and capture those subtle gestures that — when noticed — color and demystify body language. How the eyes move after a flirtatious rebuff or the awkward hesitation that precedes a decision to physically comfort somebody.

Watching Lars And The Real Girl, I couldn’t help thinking of It’s a Wonderful Life. There’s a very Capra-esque feeling to it all (except, you know, with an anatomically correct “love doll” as a protagonist). And while there might be the temptation to misread the film as a nostalgic/sentimental championing of a small town way of life, I believe it’s much smarter than that. In fact, to look at it through such a simplistic lens would be to do the film a disservice. This is a rich look at our vast potential for love, caring, patience, forgiveness and understanding. It’s not didactic or preachy, it simply gathers you in with its humor and quietly carries you along.

Later, when you think about it, it seems unlikely to have worked at all, but magically, almost imperceptibly, it does. And in a way so profound and mesmerizing that when that last line in the film is spoken, you’re left dizzy with satisfaction and wanting it to go on.