Sarah Polley

How "American Psycho" director Mary Harron brought a harrowing story of female servitude to Netflix.
Growing up, I was the kid who lived in the world of my books, they were my escape from a reality that wasn't always flowers and sunshine. I've fallen down the rabbit hole after Alice and walked the yellow brick road with Dorothy more times than I can count, but one of my most favorite places to visit in all of literature is a little town at the edge of Canada's Prince Edward Island called Avonlea.
Ordinarily, I am a lover of clarity, but for the two plus hours I watched Mr. Nobody, I was fully taken by its hypnotic surrealism and provocative paradoxes.
Though I didn't notice while culling my list down to just ten, nine of the movies that made my cut come from women filmmakers, which makes me exceedingly happy.
It's the time of year when critics release their lists of the year's best films. It feels like a competitive sport -- or a provocation, which all of these lists are, by nature. As in: "This is my list of the best films. If you don't agree, you're wrong."
If you are interested in the craft of storytelling and/or documentaries I highly suggest that you see Stories We Tell. If you prefer dinner parties to dance clubs, I highly suggest that you see Stories We Tell.
Stories We Tell -- Sarah Polley's third as a director -- looks at Polley's family history, focusing on the story of her mother, Diane, who died when Polley was 11. Polley uses the film to explore the central mystery of her own life: her real parentage.