And here’s my own contribution, in English:
In order of preference:
1. Son of Saul (László Nemes)
2. Jauja (Lisandro Alonso)
3. Ex Machina (Alex Garland)
4. I, Dalio — or The Rules of the Game (Mark Rappaport)
5. Journey to the West (Tsai Ming-liang)
The adjectives used by Manohla Dargis to describe Son of Saul from Cannes — “radically dehistoricized” and “intellectually repellent” — pinpoint my own responses to The Hateful Eight, which proposes that we be entertained by a treatment of the human race as garbage to be gleefully fed into a garbage disposal, and I can’t even bring myself to sample the genocidal pleasures of the latest Star Wars spin-off. This year, I’ve refrained from participating in most end-of-the-year movie polls because I no longer feel either qualified or inclined to “keep up” with the industry’s market choices, but I feel that the art and moral intelligence of cinema as represented by my five choices are as vibrant as ever.