ScreenAnarchy's Best Of 2013 - Best Film

Editor, Asia; Hong Kong, China (@Marshy00)
The year that was 2013 has run its course, so the time has come for Team ScreenAnarchy to pool its ever-growing troupe of contributors from the four corners of the planet, gather its collective thoughts and pay special tribute to those films that have made a particularly strong impact over the past twelve months. 

This is it, folks. The buck stops here. In the end, there can be only one - or at least, one each. These are the Best Films of 2013, according to our ever-growing band of writers and correspondents here at ScreenAnarchy, so there is nothing left to say except enjoy and Happy New Year - here's to a cracking 2014.

Todd Brown, Peter Martin, Ryland Aldrich, Brian Clark, Benjamin Umstead, Jaime Grijalba Gomez, Shelagh Rowan-Legg, Ard Vijn, Patryk Czekaj, Joshua Chaplinsky, Eric Ortiz Garcia, Niels Matthijs, Patrick Holzapfel, Kurt Halfyard, Christopher O'Keeffe, Dustin Chang, J Hurtado, Jim Tudor, Ben Croll, Pierce Conran, , Ernesto Zelaya Miñano and Kwenton Bellette contributed to this story.

Upstream Color (dir. Shane Carruth, USA)

Brian Clark - European Editor

Shelagh M. Rowan-Legg - Contributing writer
In the end, I could not choose between this and Snowpiercer. In essence, they are about the same thing: free will. One is larger than life, the other is small and abstract, but both ask the same questions in their own way, beautifully.

Joshua Chaplinsky - Contributing writer
Mind control, parasites, Walden, damaged lovers, and cute little piglets all feature in this evocative, circular narrative from the director of Primer. Intimate, well-crafted, and thoroughly original. Released way back in January and no other film has come close to topping it.

Ben Croll - Contributing writer
In one corner: a Cannes prize-winning period piece by a pair of established Greats. In the other: a self-released digital headscratcher by a promising up-and-comer. What, beyond my starry eyed love, do Inside Llewyn Davis and Upstream Color have in common? Both share a cyclical structure that is in retrospect deceptively simple. Both deal in questions of personal accountability, of grief, luck and chance. Both are deeply warm films from artists previously accused of being a little too cold and cerebral. Both are unfailingly rewatchable. Both are 'effing masterpieces.

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