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Our 100 Most-Anticipated Films of 2018

Written by on January 10, 2018 

30. The Man Who Killed Don Quixote (Terry Gilliam)

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We won’t actually believe this film exists until the credits are rolling, but it’s said that Terry Gilliam has actually finished production on The Man Who Killed Don Quixote, which he attempted to do at various times in the last two decades. This new iteration starring Adam Driver, Olga Kurylenko, Stellan Skarsgård, Jonathan Pryce, and Rossy de Palma is shaping up to be finished shortly. Perhaps a Cannes debut is in store for the long-cursed project? – Jordan R.

29. Under the Silver Lake (David Robert Mitchell; June 22)

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Andrew Garfield is returning this year with David Robert Mitchell’s follow-up to It Follows, the modern-day noir thriller Under the Silver Lake. Also starring Riley Keough, Topher Grace, Zosia Mamet, and Jimmi Simpson, not a great deal is known about the plot — and just like my experience with It Follows, I hope it stays that way until I’m sitting in the theaters. – Jordan R.

28. Peterloo (Mike Leigh)

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If there’s one sure bet for the 2018 Cannes Film Festival, it’s the latest film by Mike Leigh. Most recently, the director stopped by the festival with Another Year and Mr. Turner, and now he’s finishing up his new film, Peterloo. The story follows the British government facing off against 60,000 during a protest in which 15 died with more having numerous injuries. “There has never been a feature film about the Peterloo Massacre,” Leigh said. “Apart from the universal political significance of this historic event, the story has a particular personal resonance for me, as a native of Manchester and Salford.” Set to be released by Amazon Studios, the drama stars Rory Kinnear, Maxine Peake, Pearce Quigley, Philip Jackson, Karl Johnson, Tim McInnerny, and David Moorst. – Jordan R.

27. The Women of Marwen (Robert Zemeckis; Nov. 21)

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From Flight onwards, Robert Zemeckis has been in some kind of super-energized mode, as alive to the wonders of ostensibly simple dialogue exchanges as he is keen to employ cutting-edge effects. Adapting the acclaimed, trauma-soaked Marwencol and, judging by early word, embracing that true story’s potential for flights of fancy, it’s something like a logical step; but the surprises of later Zemeckis lie in how “standard” material become fleshed out, turned into thrills. – Nick N.

26. Roma (Alfonso Cuaron)

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Alfonso Cuarón’s Gravity follow-up is a small-scale drama that chronicles a year in the life of a middle-class family in Mexico City in the early 1970s. “[Guillermo del Toro] told me that certain movies are like a box of cereal with prize included, because when you’re a kid, you end it all up to know what you got,” the director recently said. “Gravity was for me that little toy and I made the decision to use it to go back to Mexico and make the film I had always dreamed of.” Shot by Galo Olivares, expect a Cannes debut. – Jordan R.

25. Damsel (David and Nathan Zellner; June 22)

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The Zellner brothers’ gently melancholic stranger than fiction yarn, Kumiko, the Treasure Hunter, didn’t quite make them household names, but it was at least enough to attract the attention of Robert Pattinson, who in 2018 continues his world conquering tour in films from auteurs the world over. One of four roles this year, Damsel follows Pattinson as a businessman traveling west to join his fiancée played by Mia Wasikowska. Narrative details are scarce, but given the filmmaker’s distinctively quirky voice, one can expect an off-kilter and unique take on a time-worn story. – Michael S.

24. Unsane (Steven Soderbergh; March 23)

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Steven Soderbergh’s experiments only falter when he turns serious (Che); but when he’s having a bit of a lark? That, above all else, is when he’s in a sweet spot, so an iPhone-shot horror picture produced in something like a long weekend is a huge must — exactly what I hoped he’d be doing after deciding upon a return. – Nick N.

23. Transit (Christian Petzold)

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Christian Petzold, one of Germany’s great contemporary filmmakers, will follow Phoenixone of our favorites of 2015, with Transit, based on Anna Seghers‘ World War II-era novel of the same name. Led by Franz Rogowski and Paula Beer, it seems like Petzold has updated the story to the modern day, with the original novel following refugees who flee through Marseille after the Nazis invaded France in 1940. Sadly, it seems like a similar themes are repeating themselves today, so Petzold currently has a wealth of current events to pull from. – Jordan R.

22. The Daughters of Fire (Pedro Costa)

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Plot details have been scarce in the lead-up to the new Pedro Costa film, but then again, plot details have been scarce even after Pedro Costa films come out. It is rumored to involve a group of sisters, rumored to return to the Lisbon village of Fontainhas (though you would hardly go broke betting on that to be the case), and rumored to have been shot partly in Cape Verde. What we do know is this – with each passing Pedro Costa film, his ambition grows in equal measure to his command over the medium. 2014’s Horse Money saw Costa willing to try more (for lack of a better single word) expressionistic tricks to get at his characters’ psychologies. This is of course no knock on 2006’s Colossal Youth, stunning in its own right. What will another four years have brought? It would be ridiculous to say “expect a masterpiece,” but… – Nate F.

21. Dragged Across Concrete (S. Craig Zahler)

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With only two films, S. Craig Zahler has already established himself as one of America’s most assured genre filmmakers working today. He likes a slow pace (both Bone Tomahawk and Brawl in Cell Block 99 run past the 2-hour mark), has a knack for writing great dialogue, and comes up some of the most gruesome violence to be put on screen in years. Dragged Over Concrete sees Zahler teaming up with Brawl star Vince Vaughn along with Mel Gibson, who play two dirty cops going to desperate measures once they lose their jobs. The casting of Gibson and the subject matter means this will be Zahler’s most political film yet, and it should be interesting to see if he can avoid backlash after how much critics and audiences enjoyed his last two films. – C.J. P.

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