Screenwriters
6. We Need to Talk About Kevin
by Lynne Ramsey and Rory Stewart Kinnear based on the novel of the same name by Lionel Shriver
5. Young Adult
written by Diablo Cody
4. Moneyball
written by Aaron Sorkin and Steven Zaillian based on the novel Moneyball: The Art of Winning an Unfair Game by Michael Lewis
3. ALPS
written by Yorgos Lanthimos and Efthymis Filippou
2. Oslo, August 31st
written by Joachim Trier and Eskil Vogt based on the novel Le feu follet by Pierre Drieu La Rochelle
Directors
Honourable Mentions
Terrence Malick (Tree of Life), Andrew Haigh (Weekend), Pedro Almodovar (The Skin I Live in)
6. Sleeping Beauty
directed by Julia Leigh
5. Melancholia
directed by Lars von Trier
4. ALPS
directed by Yorgos Lanthimos
3. A Separation
directed by Asghar Farhadi
2. Martha Marcy May Marlene
directed by Sean Durkin
1. Drive
directed by Nicolas Winding Refn
In Sleeping Beauty, Leigh shows an impeccable understanding of colours and spaces and creates tension by manipulating her elaborate mise en scène. Lars von Trier universalizes his internal feelings, and brings together the grandiosity of earth’s destruction and the intimacy of a wedding in his allegorical take on depression in Melancholia. Lanthimos’s formal control and confidence in ALPS reaffirm his position as an auteur with a visually distinctive voice. In A Separation, Farhadi shows once more that he is one of the world’s most capable hands in directing ensembles. That in the maze-like structure of his film, the pacing never falters is a miracle. In Martha Marcy May Marlene, there were no signs of naiveté as newcomer Sean Durkin held on tight to his careful framings and seamless transitions between past and present, and dream and reality to keep us on the edge of our seats. Finally, Nicolas Winding Refn’s pulpy, tacky, hot pink ode to Los Angeles and the cinema of the 80s in Drive has to top the list because the film has his fingerprints on every frame. And what a stylish film this is to have your mark on!
Amiresque 
A Separation, just beautiful perfection.
(And nice to see you take note of Leigh's attention to detail especially in regards to colour. Her sense of style is promising.)
Like a mother of colour reacting to her vandalised white couch, I hate fingerprints. I do, however, love Sean Durkin and Asghar Farhadi and if I get rich enough, I'd go through oceans seeing what the latter can do on a stage.