The only film that is coming to mind right now is a film that I watched recently, and it also came out this year, so I don't know whether I can really say it is "unknown" yet, or if it's one of my favourites, but it has certainly left a big impression on me. The film is Upstream Color which is by the same guy who did Primer (probably the best time travel flick I've seen?). I guess I feel it's eligible for this because it's not the sort of film a lot of people are going to like, because it's elliptical, has very little dialogue and is more suggestive than narrative in any sense.
The majority of people are going to write it off as arthouse nonsense, and as always with films like this they are kind of write, but it is also something really special. It's beautiful and poetic in a way that very few films manage. It's brave in the way it refuses to abandon its own idiom, and it reaps the rewards of being so singular. It has one of the best soundtracks I've ever heard in a film, both in terms of score and in terms of really powerful, evocative, almost hyperreal foley work. It manages to really accurately convey a whole range of emotion. Most of all it is full of images that have haunted me since I watched it; in particular the image of a yellow orchid being grabbed at underwater, pulsating like a beating heart which I haven't been able to shake since I saw it.
Honestly, I would find it difficult to recommend this film to everyone, but if you are the sort of person who can sink into a film and let it wash over you like a poem, then you will find a lot to enjoy in this film, I think. A lot of people have compared it to Terrence Malik's Tree of Life, which I haven't seen. For me, the only film I can compare it to is Aronofsky's The Fountain, in that both deal in some way with crisis and recovery, both of them blend elements of the scientific with the mystical, and both of them have really strong visuals. With that said, Upstream Color is a far more successful film.
Seeing as I've mentioned it. I would also say that The Fountain is another film I really like that might not be as well known. Probably since The Wrestler and Black Swan more people will have heard of it, but it's, shall we say, mixed reception on it's release probably puts a lot of people off watching it. Personally I think it's his most ambitious, if not necessarily his most successful, film (the latter honour goes to Pi). I used to say that he should have left out the Spanish Conquistador storyline, but I realised later that each of the film's three sections kind of relies on the other two to make any sense. Ultimately what you get is a film that isn't necessarily always enjoyable, and that is a bit of a tangle structurally despite being fairly easy to follow because what is good and bad and what is necessary and unnecessary can be difficult to separate. What is great about the film is that it has some really beautiful SFX, and one of the most honest and well drawn responses to mortality that I've ever seen in a film.
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