5. Looper – Rian Johnson
For an assured, dynamic thriller. It is that rare screenplay that contains surprises throughout, right up until the final scene.
4. The Master – Paul Thomas Anderson
For a masterful (ha!) dissection of the pet-owner/animal-human relationship. That it works as an entanglement of cult is a bonus.
3. Holy Motors – Leos Carax
For writing a tragicomedy that, in all of the oddness that characterizes the film, explores the nature of infatuation and dignity.
2. Amour – Michael Haneke
For being able to concoct visual and emotional poetry out of the seemingly undistinguished inadequacies of life. All our lives.
For removing every screenwriting rule in the book (why does that always seems to work?) and displaying a dauntless, magnificent artifact of love, hate and pretty much everything else.. If there is any credibility, this is what should be taught in writing class.
Runner Up: Moonrise Kingdom – Wes Anderson, Roman Coppola