Japanese auteur Hirokazu Koreeda returns to some recently treaded waters in both plot and theme with his South Korean drama Broker. While the comparisons to his Palme d’Or winning film Shoplifters (2018) are undeniable, he manages to create something fully unique and wonderful despite the similarities.
Broker much like Shoplifters revolves around an abandoned child as its inciting incident. So-young (Ji-eun Lee) is a young woman who leaves her baby Woo-sung in a baby box at a church, an actual thing in which one abandons babies in South Korea, where he is found by Ha Sang-hyeon (Song Kang-ho best known for his role in 2019’s Parasite) and Dong-soo (Gang Dong-won). The two men instead of processing the baby into the church’s orphanage, delete the footage of the drop off and take the baby home to sell on the black market.
In a slight change of feeling, So-young returns to the church to see her baby but finds it not there. Ha Sang-hyeon out of a sense of obligation tells So-young where her Woo-sung is and that he intends on selling him. They agree to do so as a team, splitting the money 50/50, and set out on a trip to a potential buyer.
Unbeknownst to the three brokers, two police officers Soo-jin (Bae Doona) and detective Lee (Lee Joo-young) know about the intent to traffic the young baby and follow the group on their journey to catch them in the act.
Throughout the rest of the film, Broker continues to layer on additionally plot points to build tension for the group of would-be criminals. This crescendos in intensity, but without ever overshadowing the small personal revelations of the characters that are the primary selling point of the film.
Another way in which Broker mirrors Shoplifters is in its examination of what makes a family and especially the power that can exist in non-traditional families. So-young and Dong-soo both grew up without a traditional family and have resorted to less than legal means to sustain themselves in their adult lives because of this lack of foundation. San-hyeon on the other hand has an ex-wife and daughter that he feels bad about not being a part of their life. All three brokers have every reason to be jaded about they concept of family, yet together they find a sense of belonging.
It is clear that they have not been completely disillusioned by the concept of family based on their pickiness in selling off Woo-sung. Finding a loving family for the baby none of them can take care of is of primary importance, the cash payment while still essential to them is only secondarily so.
Koreeda’s films always take place in the moments between what little action there is, and this remains true even in Broker’s slightly more active plotline. The tension in wondering if the brokers will get caught by the following police is interesting, but nothing compares to the meticulous work he puts into the dialogue between characters. They slowly reveal themselves to each other and by proxy the audience as a way of revealing universal truths.
It’s list time again! I love films and I love sharing my love of films with others. As I’ve done for the past decade, I’ve put together a list of what I consider to be the best films of the year that just ended. This was a rather average year for film. I genuinely adore my number one film, but the rest of the list is primarily a 3 ½ to 4-star level, so good to great, but not exceptional. Of the films on this list, 8 of them were directed by women, which while not as high of a percentage as I strive for, it substantially beats the industry average which continues to hover around 10% penetration for women. As always, living in Seattle there are some films that don’t make it out here in time, so films which may have made this list, but I was unable to view include: The Blue Caftan, Broker, Close, Joyland, Living, No Bears, One Fine Morning, Return to Seoul, Saint Omer, and Women Talking. Now without further ado, the list.
25. Triangle of Sadness (Dir. Ruben Östlund)
Swedish director Ruben Östlund follows up his Palme d’Or winning The Square with another Palme winning condemnation of the rich in Triangle of Sadness. The film is broken into three parts, and each elevates the prior while becoming more and more class conscious. The highlight sequence is what the trailer made infamous, a stormy night on a yacht ends in the repeated vomiting of the rich guests all while the captain (played by Woody Harrelson), seemingly unaffected by the turbulence, quotes Marx over the intercom to the highly capitalist boarders.
24. After Yang (Dir. Kogonada)
Five years after his debut film Columbus, director Kogonada returns with After Yang, a film just as deliberate and ponderous as his previous work, but this time with a science fiction twist. The film takes place in the near future where a family A.I. stops working and a man’s journey to fix it. The film uses this journey to turn a mirror on the human condition from the viewpoint of an impartial observer. Colin Farrell continues to deliver stellar performances in off kilter science-fiction films (think his work with Yorgos Lanthimos), and After Yang might be his best yet.
23. Turning Red (Dir. Domee Shi)
Disney and Pixar have frustrated me over the past handful of years. The story telling which had been a strength of Pixar in general had gotten stale as the same voices created film after film. Thankfully Turning Red changes things up by looking to the up-and-coming Domee Shi (known for the short film Bao) for direction. The film is an unabashed first period allegory, and its honesty about the embarrassing moments in any true coming of age story is heartwarming from a studio that can often feel too polished.
22. Elvis (Dir. Baz Luhrmann)
As a rule, I don’t love, or even really like, the music biopics that have been in vogue the last few years, but Elvis has director Baz Luhrmann as a wild card to elevate the film from the tired genre. Luhrmann’s films all have a frenetic energy and Elvis is no different. The film makes use of an extremely short average shot length to heighten the story of the rock star’s life. Austin Butler gives a miraculous performance as the legendary singer, and Tom Hanks gives a memorable, though debatable if good, performance as well.
21. Inu-Oh (Dir. Masaaki Yuasa)
Part anime folk tale, part larger-than-life rock opera, Inu-Oh was the best 2022 animation had to offer (Guillermo Del Toro’s Pinocchio just misses this list). The film combines beautiful hand-drawn animations with a soundtrack of hair metal inspired jams that is surprisingly catchy despite being entirely in Japanese. The film does start a bit slow before the two main characters meet, but once they do its nonstop sensory bombardment is a joy to behold. An innovative take on the power of storytelling Inu-Oh captivates the imagination.
20. The Fabelmans (Dir. Steven Spielberg)
From a craft standpoint, The Fabelmans is unimpeachable. The editing is exquisite and the cinematography brilliant. Michelle Williams is the obvious standout actor as the highly emotional matriarch of the Fabelman family. The energy she brings to the family dynamic provides much of the conflict for the film, and a less ambitious performance would not have served the film nearly as well. The only think keeping The Fabelmans so low on this list is that the script comes off awfully self-aggrandizing. Spielberg may be a genius, but one would hope he had the humility to not boastfully declare himself so.
19. Hit the Road (Dir. Panah Panahi)
First time filmmaker Panah Panahi (he previously worked as an Editor on the Jafar Panahi film 3 Faces) created a wonderfully personal story of a family on a road trip to say goodbye to the eldest son. The three other family members maintain a highly chaotic energy throughout the trip in the face of the upcoming loss. These energetic dispositions allow a lot of introspection into the lives of these people and creates a loving picture of a family on the precipice of a major change.
18. Babylon (Dir. Damien Chazelle)
Damien Chazelle’s most ambitious and messiest film is a depiction of Hollywood excess and debauchery during the rise of the talkie films. Babylon is the most uneven film to make my year end list, but when the film is on, it’s one of the best films of the year. The first half of the film in general left me speechless by its adoration for what Hollywood can be. Margot Robbie while already a star proves she deserves the honorific. Even when the film slows down, the driving beats and squawking horns that make up the best score of the year leave the film in the highest regards. It is only a monumentally awful ending that keeps Babylon so low on this list.
17. Fire of Love (dir. Sara Dosa)
The first of this year’s documentaries to make my list, Fire of Love is as much an informative documentary on the destructive power of volcanoes as it is a heart wrenching love story of two soul mates who died doing what they loved together. Fire of Love is full of warmth from focusing so intently on the Krafft couple. Miranda July lends her unique voice to the film as narrator and transforms the film into something deeply emotional, but while the love story is what stands forward, the dangerous reality of the couple’s occupation is never forgotten.
16. EO (Dir. Jerzy Skolimowski)
The spiritual successor to 1966’s Au hazard Balthazar (dir. Robert Bresson) EO is simply a story of a donkey. Despite the almost complete lack of dialogue, EO is a highly scripted film. Director Jerzy Skolimowski does not seek to tell the story of a random donkey but a very specific, fictional donkey who is constantly given the power to roam the countryside and find various slice of life vignettes. Through the eyes of the animal Skolimowski turns the camera on Eastern European culture. A deeply heartwarming film EO deserves to be spoken of with its predecessor.
15. Cow (Dir. Andrea Arnold)
Andrea Arnold (American Honey and Fish Tank) leaves the world of narrative film making to make her first documentary in Cow. The storytelling Arnold achieves using no dialogue and no human actors is commendable. Cow 29 (we’re never given a name aside from the branding on the left butt cheek) lives the tragic story of a cow forced to give birth and then separated from her offspring. While normal for a dairy cow, Arnold knows that the audience won’t be able to help but personify the girl and feel for her as they would a human in the same situation. All this is done with nothing but closeup photography and careful editing.
14. The Northman (Dir. Robert Eggers)
Revenge tales have been around for decades, but while most use an awful circumstance as a basis for delivering later catharsis, The Northman subverts this formula and focuses on the self-destructive nature inherent in making revenge your only goal in life. Alexander Skarsgård expertly captures this desperation and believably refuses to acknowledge the reality of the situation that has motivated his entire life. Eggers combines this innovative take on the revenge film with his immaculate style to create a fully unique piece of filmmaking.
13. Avatar: The Way of Water (Dir. James Cameron)
Spider as a character didn’t work for me, I didn’t buy Sigourney Weaver as a teenager, and Neytiri was completely wasted, but when it comes to what people expect of an Avatar sequel, the spectacle, The Way of Water delivers and then some. Pandora is once again realized in perfect clarity, and the movement to the water for this sequel just makes the visuals more impressive. This combined with 3D the best it has ever looked create a cinema watching experience that is unmatched.
12. All Quiet on the Western Front (Dir. Edward Berger)
French auteur François Truffaut is credited with saying that “there’s no such thing as an anti-war film.” The implication being that any depiction of war would inherently glorify it. 2022’s All Quiet on the Western Front argues the opposite as every moment of this beautiful film makes war seem completely miserable. This is accomplished not only with meticulously crafted visuals, but with a year’s best sound design creating a hellish soundscape through the non-diegetic decisions highlighted by the eerie Volker Bertelmann score.
11. Armageddon Time (Dir. James Gray)
A small yet deeply personal coming-of-age tale about a young boy growing up on the right side of the tracks witnessing the difficulties of his friend on the other side. Paul (Banks Repeta). a young jewish boy, finds a comradery with Johnny (Jaylin Webb), a young black boy, as they both find themselves in constant trouble at school. Through their friendship, Paul comes to terms with the racism that’s still heavily present in 1980 America. While this could take on a preachy tone, Gray centers the viewpoint on Paul who is wide-eyed enough to keep the film full of innocence.
10. All the Beauty and the Bloodshed (Dir. Laura Poitras)
A stunning documentary about both the life and current activism of photographer Nan Goldin. Untwisting the two throughlines, it is clear that Nan agreed to the documentary as a way to amplify her fight against the Sackler family and their contribution to the ever-growing opioid epidemic that ravishes the country. Through that access though Laura Poitras is able to bring to light the decades long work of one of the nation’s most important cultural photographers. Poitras blends these two topics seemingly only connected through Nan herself in a way that provides more power to them both.
9. Decision to Leave (Dir. Park Chan-wook)
Park Chan-wook’s foray into neo-noir filmmaking proves that he is a master of all genres with a darker hint to them. Decision to Leave employs many of the genre’s staples: it stars a grizzled detective who falls in love with a femme fatal while attempting to solve a case she is related to. What the film utilizes that separates it from a sea of neo-noirs is a deft hand with melodrama. The melodrama never feels saccharine in Chan-wook’s hands, but they do elevate the attachment to characters and intrigue of the mystery.
8. The Quiet Girl (Dir. Colm Bairéad)
The Quiet Girl follows Cáit (Catherine Clinch) one of many siblings living in an overstuffed and impoverished household. Neglected by her family, she struggles in school and altogether lives a poor life. It’s only upon going to spend the summer with distant relatives that she is shown what love is and she begins to flourish. Watching Cáit slowly accept love into her life and emerge from her shell is the highlight of the film. The Quiet Girl manages to capture warmth and familial love in an extremely special way.
7. She Said (Dir. Maria Schrader)
Just as good if not better than Spotlight in my opinion. By centering the film on women reporters and victims, She Said enhances the Oscar winning, investigative journalism film by adding a deeper sense of heart. Zoe Kazan is excellent as the lead reporter Jodi Kantor and plays up the reporter in over her head quite well. Her performance is supported perfectly by Carey Mulligan’s more experienced and hard-edged Megan Twohey. Together they deliver a powerful one-two punch in this important retelling of recent history. Special callout to Nicholas Britell and Caitlin Sullivan who put out one of the best scores of the year even if it appears they won’t be getting any awards recognition for it.
6. Everything Everywhere All at Once (Dir. Daniel Scheinert and Daniel Kwan)
In their combined follow up to Swiss Army Man (2016) (Daniel Scheinert did have 2019’s The Death of Dick Long as a solo film in between), Daniels delivered a film just as if not more heightened than their feature debut, yet somehow more relatable to the mainstream. Everything Everywhere All at Once hinges on the performance of its lead Michelle Yeoh to take audiences on a journey to the edge of the world and to worlds beyond that. Yeoh delivers on those lofty goals and creates a perfect viewer conduit for the wild imaginations of Daniels.
5. Girl Picture (Dir. Alli Haapasalo)
I don’t have a great explanation for why this Finnish lesbian romance is so high on my list, but upon leaving the theater after watching it I was all smiles. The film’s focus on female friendship and a young lesbian romance was refreshing in a heteronormative movie landscape. Mimmi‘s (Aamu Milonoff) volatile nature as she gets in fights at school, messes around at work, and falls in and out and back in love make her the standout performance, but all three young leads are remarkable in their honesty.
4. Vortex (Dir. Gaspar Noé)
If provocateur Gaspar Noé releases a film it will indubitably make my year end list, and Vortex is no different, even though this one has a much more somber tone than his standard fair. The film utilizes a unique dual screen setup to capture the day-to-day goings on of a couple dealing with the women’s onset of Alzheimer’s disease. Notably, Italian auteur Dario Argento plays one of the leads in a stunning declaration that he can act just as well as make excellent films. Like many of Noé’s films Vortex is a brutal watching, this time just for more emotional reasons.
3. TÁR (Dir. Todd Field)
I’m an auteurist at heart, I believe most films are a product of their director first and foremost, but TÁR is one of those few exceptions. TÁR is 100% Cate Blanchett’s film. The film focuses on one of our greatest working actors for the entire three-hour duration of the film while she slowly begins to reckon with the decisions she’s made over the course of her career. Blanchett’s perfectly captures the fictional composer who exudes charisma while preparing for a new performance and pursuing affairs.
2. The Eternal Daughter (Dir. Joanna Hogg)
The third feature in director Joanna Hogg’s Souvenir series adopts a more mysterious tone than its grounded predecessors. It also trades a mother daughter casting choice of Tilda Swinton and Honor Swinton Byrne for dual roles for Tilda as both mother and daughter. While the film is full of Hogg’s trademark slow conversations with meaning carefully hidden behind meticulously chosen dialogue, the aforementioned changes lead to a single static shot that’s the most emotional moments of the year (at least that doesn’t come from the next film).
1. Aftersun (Dir. Charlotte Wells)
Number one with a bullet, the directorial debut of Charlotte Wells is a meandering memory captured largely on standard def camcorder. What makes Aftersun so special is the underlying emotionality of the film. What may look like just home movies of a father/daughter trip to a Turkish resort takes on a much deeper meaning because of the implications of the present. It’s likely that this is the last time the two main characters ever saw each other and witnessing their personal mostly, but not completely, hidden feelings feels like prying into things which should never be shared. Calum (Paul Mescal) is doing everything in his power to create a wonderful memory for Sophie (newcomer Frankie Corio), but his personal dramas have a way of seeping out in a way that affects Sophie for years to come. Aftersun is the best cinema had to offer this year, and is the best film of the young decade thus far.
I love the Oscars. For the past five years, I have made it my goal to watch every single film nominated for an Oscar, and this year I finished with a week to spare. In time for Sunday’s ceremony, here are my predictions and my personal picks for this year’s event.
Visual Effects
My Prediction: Dune My Pick: Dune; Would I pick a non-nominated film? No
A lot of the technical awards are going to be easy Dune picks and predictions. The film is beautiful and much of that comes from the visual effects.
Costume
My Prediction: Cruella My Pick: Cruella; Would I pick a non-nominated film? No
While I didn’t love Cruella as a film, the creative costuming throughout the film, especially as Cruella was making her name are fetes to behold and are a good choice for a winner.
Makeup and Hairstyling
My Prediction: The Eyes of Tammy Faye My Pick: Cruella; Would I pick a non-nominated film? Yes – Spencer
Makeup and Hairstyling tends to be highly correlated with prosthetic usage, and while I think that trend will continue with The Eyes of Tammy Faye, I don’t believe the prosthetics looked especially convincing. I would personally recognize the unnominated Spencer for it’s excellent natural looks transforming Kristen Stewart into princess Diana.
Production Design
My Prediction: Dune My Pick: Dune; Would I pick a non-nominated film? Yes – The French Dispatch
Another technical win that should be a sure thing for Dune, but in a year in which Wes Anderson directed a movie, it feels wrong not to give it to The French Dispatch.
Sound
My Prediction: Dune My Pick: Dune; Would I pick a non-nominated film? No
Another easy to predict and well-deserved technical category for Dune to run away with.
Original Song
My Prediction: No Time to Die (No Time to Die) My Pick: No Time to Die (No Time to Die); Would I pick a non-nominated film? No
I hate picking this category. I feel that I have a good eye for what makes a film good, but this category is about the quality of the song, the movie is an afterthought. That said, this year is a pretty easy pick of the most recent Bond themes, No Time To Die by Billie Eilish.
Original Score
My Prediction: Dune My Pick: The Power of the Dog; Would I pick a non-nominated film? No
Jonny Greenwood’s other worldly scores are not the type that may resonate with the academy, but the mood inducing musical snippets were the perfect accompaniment for Jane Campion’s neo-western. Instead, I think the academy is much more likely to embrace the more standard Hans Zimmer score for Dune.
Editing
My Prediction: Dune My Pick: The Power of the Dog; Would I pick a non-nominated film? No
Another technical award that I anticipate Dune walking away with at the end of the night, but I believe that The Power of the Dog has a much more subtle but effective editing technique. Every shot in the later film feels personally plucked to build the mood and accentuate each character.
Cinematography
My Prediction: Dune My Pick: The Power of the Dog; Would I pick a non-nominated film? No
Similar to Editing, Cinematography is another technical category that will go to Dune, and not unwarrantedly, but I personally found more joy in the quieter craft work of The Power of the Dog.
Short Film, Live Action
My Prediction: The Long Goodbye My Pick: The Dress; Would I pick a non-nominated film? No
This category tends to go to the most heavy-handed message film, and The Long Goodbye fills that quota for the year. The Dress was the more nuanced film that I’d love to see win, but will sadly lose to the more forceful short.
Short Film, Animated
My Prediction: Robin Robin My Pick: Bestia; Would I pick a non-nominated film? No
Robin Robin is a cute, animated, animal film and will likely win because of that. Bestia on the other hand asks much more of the audience but delivers a richer experience for those willing to meet the film where it is at.
Short Film, Documentary
My Prediction: Audible My Pick: Audible; Would I pick a non-nominated film? No
Gold Derby may not agree with my prediction, but in the year of CODA I find it hard to believe that Audible, the short film about a deaf high school football team wouldn’t resonate with voting academy members. It doesn’t hurt that it is the best film of the bunch either.
Documentary Feature
My Prediction: Summer of Soul My Pick: Flee; Would I pick a non-nominated film? No
Summer of Soul is an excellent concert documentary expertly edited to include historical context with amazing performances. The film is an masterwork of editing, but Flee is the stronger overall film.
Animated Feature
My Prediction: Encanto My Pick: Flee; Would I pick a non-nominated film? No
The Disney/ Pixar monopoly on this category has become a little ridiculous. Encanto was the best they put out this year and as such is the odds-on favorite to win, but Flee used the medium to tell a story that couldn’t be told any other way. The documentary telling the life story of a refugee was heartbreaking and would win from a fairer academy.
International Film
My Prediction: Drive My Car My Pick: Drive My Car; Would I pick a non-nominated film? No
In any other year, the wonderful The Worst Person in the World would be an easy frontrunner with its Best Original Screenplay nomination boosting its name recognition, but this year both the Academy and I will agree that Drive My Car is just a little bit better. It is hard to bet against any international film that also has a Best Picture nominee, and the slow burn meditation on grief will justifiably take home the award at the end of the night.
Adapted Screenplay
My Prediction: CODA My Pick: The Power of the Dog; Would I pick a non-nominated film? No
The Power of the Dog is too subtle for its own good to win this category. The deliberate pacing that Campion uses in creating the slow burn drama shows incredible restraint and precision in screenwriting. Such finesse is likely to be overlooked in favor of the more traditional plot structure Sian Heder implements in CODA.
Original Screenplay
My Prediction: Belfast My Pick: Licorice Pizza; Would I pick a non-nominated film? No
Belfast is a middling film that seems to have an unending supply of good graces in its corner. That support will once again block Paul Thomas Anderson from receiving his first Oscar for a tightly delivered coming of age comedy that deserved to have its screenplay recognized.
Supporting Actor
My Prediction: Troy Kotsur (CODA) My Pick: Kodi Smit-McPhee (The Power of the Dog); Would I pick a non-nominated film? No
Early this season this award seemed to be a given for Smit-McPhee, but now everything points towards Troy Kotsur. Kotsur did a great job, but I feel like he was limited by the simplicity of the screenplay. Smit-McPhee on the other hand really got to show off his acting chops with the nuanced role of Peter Gordon in The Power of the Dog.
Supporting Actress
My Prediction: Ariana DeBose (West Side Story) My Pick: Kirsten Dunst (The Power of the Dog); Would I pick a non-nominated film? No
Ariana DeBose is the easiest prediction of the night. She has won everything up until now, and it will be no surprise when she takes home Oscar Gold. That said, I think Kiki’s performance in The Power of the Dog had an otherworldly quality to it that moved me more than any other supporting performance this year.
Lead Actor
My Prediction: Will Smith (King Richard) My Pick: Benedict Cumberbatch (The Power of the Dog); Would I pick a non-nominated film? Yes – Peter Dinklage (Cyrano)
Will Smith seems to be running away with this award because like normal the Academy is confusing “best” with “most”. Smith’s Richard Williams is certainly the most acted performance of the year, and while it is not bad, it is not what I would choose as the best. For best I would personally vote for the much quieter performance by Benedict Cumberbatch in The Power of the Dog, or if an option the wonderfully emotional rendition of the titular Cyrano by Peter Dinklage.
Lead Actress
My Prediction: Jessica Chastain (The Eyes of Tammy Faye) My Pick: Kristen Stewart (Spencer); Would I pick a non-nominated film? No
This category has been a mess to predict all award season. I personally believe Kristen Stewart put in the best performance (by quite a large margin) as the troubled Princess Diana on the verge of a nervous breakdown, and she seemed like the early frontrunner. After a series of nomination snubs however it seems more likely that another actress would take the win and treading lately is Jessica Chastain for the mediocre film The Eyes of Tammy Faye.
Director
My Prediction: Jane Campion (The Power of the Dog) My Pick: Jane Campion (The Power of the Dog); Would I pick a non-nominated film? No
While the winds have largely moved away from The Power of the Dog, and Campion’s speech at the Critics Choice Awards didn’t do her any help, this award is still going to go to Campion for her phenomenal directing work. The film succeeds primarily because of the controlled approach of Campion’s direction.
Picture
My Prediction: CODA My Pick: Drive My Car; Would I pick a non-nominated film? No
I’m buying into the late surge that last weekend foretold and predicting a CODA win over The Power of The Dog. I think CODA is a really good film (I would rank it right in the middle of the best picture nominees), but it didn’t blow me away like a few films did this year. The film that left me speechless after viewing it, that I would have voted for best picture is the three-hour slow burn masterpiece that was Ryûsuke Hamaguchi’s Drive My Car. That film’s deliberate pacing to contemplate grief will stick with me for years to come.
Week two of the new year was much like week one for my film watching. I placed a heavy priority on making a dent in my personal Criterion collection that I have not yet watched. This will undoubtedly be an ongoing project as I have fallen quite behind on my watching. Additionally, with the final best of 2021 lists hitting this week, I spent supplemented my Criterion diet with a steady stream of 2021 films that the critics I follow suggested.
Hiroshima Mon Amour (1959, Dir. Alain Resnais)
Alain Resnais’s French New Wave feature is an exploration of the things in which all is fair: love and war. Emmanuelle Riva plays an unnamed French woman in Hiroshima to act in a movie that is using the location to tell a story of piece. In the last days of her shoot she meets a Japanese man – played by Eiji Okada – and the two fall instantly in love. From that set up, the film follows the two around the city for 24 hours as they discuss what Hiroshima, and the bomb, means to them along with their experiences in love and their longing to stay together. The film relies heavily on passion, not just between the characters but the passion that each actor is able to impart upon the role. The “will they won’t they” push and pull between the two creates stellar drama and is only capable of doing so because the film is so well acted.
Wings of Desire (1987, Dir. Wim Wenders)
Wings of Desire is a wonderful meditation on humanity from German auteur Wim Wenders. The story of an angel Damiel (Bruno Ganz) who so loves the humans that he observes as part of his angelic purpose that he choses to forfeit his immortality and live as one of them. The fallen angel story may be what the film ultimately builds to, but it makes up relatively little of the actual runtime. Instead Wenders spends the first three quarters of the film in Damiel’s angelic shoes watching humans and hearing their inner thoughts through voice over. This cinematic decision to spend so much time from a voyeuristic works perfectly for the medium of film and can even be seen as a loving tribute to the cinematic experience.
Bitter Rice (1949, Dir. Giuseppe De Santis)
Giuseppe De Santis made an Italian film that felt at home with the output of Hollywood in his 1949 feature Bitter Rice. Leaning heavily on the noir sensibilities that were prominent at the time the film tells the story of Francesca (Doris Dowling) a woman who upon committing a burglary with her partner Walter (Vittorio Gassman) finds cover by joining the annual rice harvest done exclusively by women. It is there that she meets Silvana (Silvana Mangano) and the three of their futures become entangled. The setting of a women only provides a uniqueness to the crime story. It centers the story around female friendships and is the better for it.
The World to Come (2021, Dir. Mona Fastvold)
The lesbian period drama is undeniably cliched by this point, but when they are done well, they can still be moving. The World to Come is a lesbian period drama done well. Much of that is due to the aft directorial hands of Mona Fastvold. She focuses on the intense longing between Abigail (Katherine Waterston) and Tallie (Vanessa Kirby) rather than any of the physicality they experience. This results in a passionate forbidden love story that titillates the senses without exposing a single breast. The World to Come is one of the most emotionally riveting films of the last year.
Swan Song (2021, Dir. Todd Stephens)
Watching Udo Kier dance to Robyn’s “Dancing on My Own” is one of the most fun moments cinema in 2021 had to offer. In Swan Song, he plays Pat and aging, gay, retired hairdresser who is propositioned to come out of retirement for one last job doing a deceased woman’s hair for her funeral. This excuse to leave his nursing home sets Pat on a trip down memory lane as he regains his sense of self. Kier makes this movie as special as it is. In story and direction, the film may be unremarkable, but Kier’s performance elevates the film with his wonderful camp and charisma.
The Worst Person in the World (2021, Dir. Joachim Trier)
Julie – played miraculously by Renate Reinsve – is not the worst person in the world; in fact, she is no different than many 30-year-old millennials. She speaks out a little more than the older generations find comfortable, and she makes some questionable decisions. They just all come along with the uncertainty in life that this generation feels. Director Joachim Trier captures the listlessness of the quarterlife crises that has extended well past its appropriate end date. As the film progresses, it leans heavier on Reinsve. The emotions become stronger as her life becomes more complicated and Reinsve delivers at every moment.
All Light, Everywhere (2021, Dir. Theo Anthony)
All Light, Everywhere is the new documentary by Theo Anthony examining human bias and blind spots specifically through the lens of police body cameras. The imperfections of the police body cameras are clearly stated by the film: the cameras are “watching what happened to them [the police officers] but not what they did”. This imperfection in the visual prophet obscures facts about events in ways that stack the deck for the police officers. The film waxes on philosophically about the nature of vision and captured image in between the moments more directly related to police observation, but the connection is at times nebulous, and the film comes across as rather naval gazey.
A Woman Under the Influence (1974, Dir. John Cassavetes)
Mable (Gena Rowlands) is under many influences. These start superficially with her drunken escapades, but eventually the influences become more nebulous. Her roles as a mother and wife weigh down on her as does some good old fashioned mental illness. Rowlands plays this overwhelming break on her psyche over the top, but the performance never feels of camp. Instead, her performance feels like the only appropriate way to play her character’s ailment. It comes across as both exaggerated and grounded at the same time. The actions she is making may be extreme, but the emotion and fear behind them strike as true.
Mon Oncle (1958, Dir. Jacques Tati)
I am going to be honest, I do not really get the Monsieur Hulot films. They have their moments, and Mon Oncle is no different, but they just feel like low energy Charlie Chaplin films. Hulot as a protagonist is so passive that when funny things happen around him, they are often shrugged off with out really playing into the absurdity. This leads to a film that surely arouses some chuckles but never any uproarious laughter.
The Last Duel (2021, Dir. Ridley Scott)
The first of two Ridley Scott films in 2021 tells the graphic story of two friends turned enemies who are set on a course to battle each other to the death in 14th century France. The film is told through the Rashômon trope of telling the same story through different viewpoints. That being of the two rivals, Sir Jean de Carrouges (Matt Damon) and Jacques Le Gris (Adam Driver) and Carrouges’s wife Marguerite (Jodie Comer). The Rashômon style adds a flare that the otherwise cut and dry period drama would be lacking and keeps the film’s pace up despite the two and a half hour runtime. It’s always a risk to directly compare your film to a classic, but it worked well for Scott in The Last Duel.
While in 2021 I attempted to, and succeeded in for half a year, watch and write about one film a day, I know that I’m not quite in the place to do that this year, so instead I’m going to attempt to watch one film a day but just write up a weekly report on what I watched. After a mad dash to watch as many 2021 films as I could in December, I decided that January would be something very different. There are dozens of Criterion films that I own but have not watched, and this month I am going to make a dent in that number. Though, while my 2021 movie binge for my year end list may be over, I make it a priority each year to see every film nominated for an Oscar, so I will be sneaking some newish releases in with my Criterion binge.
Léon Morin, Priest (1961, Dir. Jean-Pierre Melville)
Set in WWII occupied France, Léon Morin, Priest stars Emmanuelle Riva as Barny, an atheist woman who becomes ennamored with the local Catholic priest Léon Morin played by Jean-Paul Belmondo. The film includes some light slice of life moments for Barny as she works and raises her daughter, but once she meets Morin the film focuses almost entirely on the evening meetups between the two and the transformative effect it has on Barny. While religion plays a major role in the film and Morin quotes scripture at time, Léon Morin, Priest never feels preachy towards its audience. Rather than attempt to spread the gospel outwards, director Jean-Pierre Melville focuses on the relationship between the two leads.
Rosetta (1999, Dir. Jean-Pierre and Luc Dardenne)
The Palme winning Rosetta from brother directors Jean-Pierre and Luc Dardenne is a masterclass in narrative cinéma vérité. The film follows Rosetta portrayed masterfully by Émilie Dequenne as she jumps from working class job to job in search of one that will keep her. Shot entirely handheld, the camera spends the entire runtime fixated on Rosetta. This shaky style imparts a level of urgency on the story as Rosetta struggles to find a lasting job to secure her housing. The Dardenne’s frequently focus their films on the trials of the working class, and their depiction of it has never seemed as desperate as it does in Rosetta.
Jane B. by Agnès V. (1988, Dir. Agnès Varda)
Agnès Varda was one of the most unique documentarians to ever touch the medium and in Jane B. by Agnès V. she tackled the cinematic portrait for actress Jane Birkin. While most cinematic portraits are created largely in the editing room by borrowing from previous interviews and cinematic works, Varda decided to shoot everything new. This meant not only new interviews but shooting scenes from fake movies to fill the time. This distinctive choice blends well with the trademark of Varda’s documentaries: how she inserts herself as a character. In all her documentaries, Varda plays the audience surrogate seeking out knew knowledge with an eager disposition. This self-insertion would become more pronounced in her later documentaries, but it still shines through her.
All About Eve (1950, Dir. Joseph L. Mankiewicz)
The best picture winner at the 1951 Academy Awards, All About Eve is filled with amazing performances – it received five acting Oscar nominations – but it is the man behind the scenes who deserves most of the credit. Joseph L. Mankiewicz penned one of the all-time great screenplays in addition to directing it masterfully. The character of Eve (Anne Baxter) is wonderfully duplicitous as she connives her way to fame all with a demure smile upon her face, and while Baxter does an amazing job, it’s Mankiewicz’s prose that truly elevates the film. All About Eve is a wonderful piece of classic Hollywood delivered by one of the most renowned writers.
The Gold Rush (1925, Dir. Charles Chaplin)
One of the classic Charlie Chaplin films, The Gold Rush delivers some of the best physical comedy that the acclaimed actor director would ever produce.While not the most culturally relevant film Chaplin would make The Gold Rush is arguably one of the funniest films that he would. Moments like Chaplin and Big Jim McKay (Mack Swain) eating away at Chaplin’s shoe (and Chaplin’s character going without a right shoe the rest of the film because of it) or the two of them trying desperately not to fall out of the house which has found itself precariously perched over a mountain bring plenty of laughs.
Veronika Voss (1982, Dir. Rainer Werner Fassbinder)
Part of Rainer Werner Fassbinder’s BRD Trilogy exploring post war Germany, Veronika Voss does so more by allegory than anything direct. Rosel Zech plays the titular Veronika, a movie star who had a thriving career during the war years but has since fallen on hard times. Fassbinder’s direction compares Voss’s struggles to that of the German people. Her struggles with addiction as Dr Katz (Annemarie Düringer) takes advantage of her reflects how the German people who were not guilty of war crimes must have felt during that period. Outside of the Allegory, Veronika Voss works as an effective noir film with Robert (Hilmar Thate) as sports journalist playing the detective role. The mystery of Voss’s predicament and the way in which it quickly accelerates makes for riveting filmmaking.
Being the Ricardos (2021, Dir. Aaron Sorkin)
In the new offering by Aaron Sorkin, he uses the week of I Love Lucy rehearsals after Lucille Ball was interviewed under suspicion of being a communist to tell the story of the acclaimed actor’s life. Nicole Kidman plays Ball in a performance that is the clear highlight of the film. Kidman is transformative in her portrayal of the 50s icon. This acting performance is held back by a rare weak screenplay from the Oscar winner. The non-linear aspects to the story and the intercuts to older versions of characters explaining what the film just or would show causes the flow of the film to come to an abrupt halt at multiple times.
This was an odd year for my movie viewing. I started the year by making it nearly 6 months of watching and reviewing one movie a day. SIFF 2021 was a huge highlight seeing me watch and review 30 films through the 10-day festival. Near the midpoint of the year, however, depression hit hard, and I went months without even watching a film and spent 7 weeks in a partial hospitalization program. In the past couple of months, I have been able to start watching movies again, but writing has still escaped me. My hope is that with this list I can get back on the writing train; maybe not everyday like I was last year, but at least more often than never.
As far as this list goes, I’m going to be honest. I did not fall in love with many films this year. Because of that, this list is going to be a little on the weird side. I have many films in my top 10 that most sites do not have anywhere on their list, but I liked what I liked this year, and I am not going to change my list to better match the critical consensus. A few caveats of films that I was unable to see but could likely have made this list: Cyrano, Memoria, Red Rocket, West Side Story, and The Worst Person in the World. With all that under consideration, this is what I think were the best films of the year in 2021.
25. Mass (Dir. Fran Kranz)
An acting tour de force, Mass tells the story of a pair of couples who confront each other for a very emotional conversation. While the film is mostly unremarkable visually, the devastating performances from each of the four co-leads carry it onto this list. Martha Plimpton and Ann Dowd in particular standout delivering some of the best performances of the year. If the Oscars were better, they would find room for both leading ladies in their nomination process, but as Mass went largely unseen it will be lucky to see a nod for either.
24. The Hand of God (Dir. Paolo Sorrentino)
Paolo Sorrentino’s most recent feature plays out like two distinct halves that work together to create a complete coming-of-age story. The first half is a familial comedy film as the young Fabietto (Filippo Scotti) navigates the outrageous cast of characters that make up his large extended family. This is then abruptly changed by the death of Fabietto’s parents forcing the football obsessed young man to confront his future a little earlier than he hoped. Even as the film confronts death, it maintains an amount of levity throughout that ties everything together and makes the film a joy to watch.
23. Bad Luck Banging or Loony Porn (Dir. Radu Jude)
With the award for the most ridiculous film title comes an equally ridiculous film. Contemplating the real-world conundrum of to what extent schoolteachers have a right to their private lives, Bad Luck Banging or Loony Porn is also a humorous contemplation of Romanian life. Consisting of three extremely unique parts, the film builds up to the most farcical PTO meeting in all of cinema. Funny and provocative, though decidedly unsexy (despite beginning with non-simulated amateur porn), Radu Jude’s most recent film is a fully singular viewing experience.
22. Azor (Dir. Andreas Fontana)
One of many slow burns to make the list, Azor does a lot to make the insanely rich seem subtly dangerous. Following Swiss banker Ivan de Wiel (Fabrizio Rongione) and his wife Inès (Stéphanie Cléau) as they meet with potential clients in Argentina, Azor jumps from afternoon luncheons at lavish estates to the stables at the racetracks and other locations unavailable to the general public. While much of this feels banal, the underlying rumors of Ivan’s partner’s disappearance provide just enough tension to keep the film moving. It is only with the final scene that the reality of Ivan and his partner’s scenario is made apparent delivering on the constant building apprehension.
21. The Lost Daughter (Dir. Maggie Gyllenhaal)
The last film I watched this year had to make the best of list. Maggie Gyllenhaal’s directorial debut is a dark story of a woman whose summer vacation sours when she is forced to confront her past relationship with her children. Olivia Colman and Jessie Buckley co-play Leda in the two different eras with Colman taking the lead and delivering the most memorable performance. Her flirtation with madness upon taking note of a young girl on the beach in which she’s spending her vacation highlights the film, and her borderline psychopathic secret betrays a woman with serious baggage.
20. The Father (Dir. Florian Zeller)
While eligible for the Oscars last year, The Father did not officially release until February 2021 so it makes the list this year. Anthony Hopkins delivers a performance worthy of the Oscar he won as Anthony a man slowly coming untethered from reality as his dementia worsens. Filled with creative editing to warp the viewers sense of time, the drama plays almost as a thriller at times. Anthony’s desperation to understand his surroundings becomes increasingly horrific as the film progresses. This combined with a stellar supporting performance from Olivia Colman creates one of the most memorable films of the year.
19. The Green Knight (Dir. Dabid Lowery)
Taken straight from Arthurian legend, The Green Knight is a faithful retelling of the 14th-century poem yet is anything but a traditional fantasy film. Instead, the film feels very much a product of its production company A24. Dev Patel plays Sir Gawain and understands his role for the film that is being made. Staying largely silent he imbues his character with the depth required of him. Beautifully spacious, the cinematography is the hallmark for the epic. Each shot is crisp and with colors saturated to create the fantastical edge to the northern England woods.
18. The Beatles: Get Back (Dir. Peter Jackson)
If O.J. Made in America (2016, Dir. Ezra Edelman) counts as a movie, so does The Beatles: Get Back. At least that is the logic I am using. The Peter Jackson documentary taps into something extremely special in telling the story of The Beatles – four men whose story has been told many times before. The documentary consists primarily of candid moments during The Beatles’ Let It Be sessions. This captures both the creative process but also the personal moments between each of the four. Experiencing the geniuses as they were is unprecedented and makes for engrossing watching even for the lengthy eight hour run time.
17. Annette (dir. Leos Carax)
In a year with quite a few blockbuster musicals, the best one was also the weirdest. The combination of writing by the Ron and Russell Mael, better known as the musical group Sparks, with Leos Carax directing resulted in something with just the right amount of surrealist absurdity to captive while still delivering an emotional melodramatic story. Adam Driver stands out as comedian Henry McHenry. Frequently acting beside a puppet infant, he delivers a memorably charged performance. While not a flawless film, it makes up for that by being memorable and unique.
16. Wheel of Fortune and Fantasy (Dir. Ryûsuke Hamaguchi)
The first appearance on this list of director Ryûsuke Hamaguchi who had an amazing year, Wheel of Fortune and Fantasy consists of three thematically connected short stories about women and relationships. Each 40-minute short tells a complete story about one or more women and the choices that they made in relationships to differing results. Despite Hamaguchi frequently working with longer running times, each succinct story feels complete and builds great emotional complexity and depth. While there are no direct connections between the three stories, they combine for a singular emotional arc in the viewer that outshines many traditional narratives from the year.
15. Pig (Dir. Michael Sarnoski)
The anti-John Wick, Pig starts from a similar inciting incident – just replace a killed dog with a stolen pig – but delivers a completely different type of film. While often in film violence begets more violence, Nic Cage’s Rob takes a different approach to righting the wrong committed against him. Cage’s undeniable charisma sells the story and is what makes Pig excel the way that it does. While speaking very minimally throughout the film, Cage brings a lot of heart to the former chef turned truffle hunter.
14. The Souvenir Part II (Dir. Joanna Hogg)
While the sequel to my favorite film of 2019 does not quite live up to its predecessor, The Souvenir Part II was still one of the best films of the year. Taking place in the aftermath of the first film, Joanna Hogg’s semi-autobiographical feature continues with many of the same themes. Julie (Honor Swinton Byrne) struggles to cope with the circumstances that have become her life, but between the support of her mother (played by the actress’s real life mother Tilda Swinton) and the outlet of her passion of filmmaking she persists. The film is a testament to the power we have to recover when guided by those things and people we love.
13. Titane (Dir. Julia Ducournau)
The Palm d’Or winning feature from director Julia Ducournau (Raw 2016) is one of the more challenging cinematic offerings of the year, but for those willing to follow Ducournau’s vision, Titane offered a lot to enjoy. A movie highlighted by its numerous moments of dancing; it maintains a kinetic energy that drives the absurdity of the plot. Agathe Rousselle’s transformation throughout the film is captivating and despite her character’s significant flaws Rousselle manages to portray a sympathetic heroine. From sexy scenes of women on cars, to graphic violence, to touching father son moments, Titane delivers a unique and worthwhile viewing experience.
12. The Power of the Dog (Dir. Jane Campion)
Director Jane Campion’s long-awaited return to filmmaking uses the western – one of the most traditionally masculine genres – to deconstruct masculinity. Benedict Cumberbatch plays Phil a man who plays into his assigned roll of cowboy with little question. It is only when his brother George (Jesse Plemons) marries introducing Rose (Kirsten Dunst) and Peter (Kodi Smit-McPhee) into his life that the well covered cracks begin to show. The Power of the Dog is a slow character study highlighted by an amazing Jonny Greenwood score and strong performances for each of the principal cast. Dunst is particularly phenomenal and should finally get the Oscar nomination she’s deserved.
11. The Card Counter (Dir. Paul Schrader)
Following up the critically adored First Reformed (2018), Paul Schrader’s most recent film flew mostly under the radar. The Card Counter sees Schrader following in the footsteps of his last film with his lead characters – William Tell played by Oscar Isaac in the later film – confronting their own private oblivion. The character study is contemplative in tone as Isaac’s character travels from casino to casino making enough counting cards to get by. When his routine is changed Isaac stretches his acting chops by capturing the miniscule changes that happen to his character who is so tightly regulated.
10. Benedetta (Dir. PaulVerhoeven)
While not quite the sordid exploitation film that the marketing promised, Benedetta still delivers plenty of titillating moments while maintaining a gripping story that outshines even the alure of sex. Virginie Efira plays the titular nun who wants nothing but to serve her lord until Bartolomea (Daphne Patakia) arrives and offers a new temptation. Both women play their parts miraculously creating a necessary passion between the two while Efira balances this obvious urge with her piety. The push and pull between the religions and the secular feels genuine and creates a the driving tension for the film.
9. Last Night in Soho (Dir. Edgar Wright)
Edgar Wright’s most earnest foray into traditional horror may borrow from the fashion and culture of the 1960s, but the filmmaking owes everything to the horror masters of the 1970s; most notably the film is filled with homages to Dario Argento’s Suspiria (1977). Like the Argento masterpiece, Last Night in Soho very much believes that “style over substance” can be used as genuine praise. The film is bathed in a neon glow, and visual transitions between reality for Eloise (Thomasin McKenzie) and her dream alter-ego Sandie (Anya Taylor-Joy) are seamless. The blending of worlds is a highlight of the film.
8. Lamb (Dir. Valdimar Jóhannsson)
This film has been labeled by some as the most A24 film ever, and that is not necessarily a bad way to describe it. The absolute definition of a slow burn, Lamb spends its entire runtime building up to minimal payoffs. For what feels like hours the adopted lamb is hidden from the screen excepting its head. The body is always wrapped in blankets or obscured by a bassinet. Something is obviously amiss, but the film takes its time constantly building tension. Even after the lamb’s secret is exposed, director Valdimar Jóhannsson is unrelenting in his anxiety building. The film is all build and no payoff, but the technical prowess with which the build is executed makes Lamb worth this high a spot on the list.
7. Spencer (Dir. Pablo Larraín)
I have said it many times before, but I will say it again: “Kristen Stewart is the best actress of her generation”. Her portrayal of Princess Diana is poignant, as she captures the agony and unrest that Diana was undergoing while contemplating divorcing Prince Charles. While Larraín’s direction is magnificent, and the costuming and production design enhance the film, Stewart’s performance is the reason to watch Spencer. Much like with Jackie (2016) and Natalie Portman, Larraín does just enough to let his lead actress convey the breadth of emotions during a trying time.
6. Bergman Island (Dir. Mia Hansen-Løve)
In her latest outing, director Mia Hansen-Løve delivers another superb picture featuring her strength of capturing interpersonal relationships. Like in all her previous pictures, she creates characters with an emotional depth that is front and center to the story. Bergman Island chooses to explore this complexity by utilizing the titular stunt location as well as a movie-within-a-movie trope. Both feed into her story seamlessly, build upon the wonderful character depth. The film is subtle and warm in its depiction of love and the complexities of relationships and honest in its focus on the creative process.
5. Flee (Dir. Jonas Poher Rasmussen)
This animated documentary tops my list for both categories as one of the more imaginative films of the year. While animation may be a seldom used medium for non-fiction storytelling, it is hard to imagine Flee any other way. Telling the true story of Amin, a gay man who fled Afghanistan as a boy, Flee creates some of the tensest moments of the year in cinema purely by animating Amin’s life. Amin’s hesitancy in telling his story provides the film with a lot of power. His past obviously troubled Amin and the telling it to his friend, director Jonas Poher Rasmussen, skirts the line between painful and cathartic.
4. Parallel Mothers (Dir. Pedro Almodóvar)
The new Almodóvar film leans heavily into his melodramatic roots to deliver a film that could be a season long plotline for soap opera but was also effectively emotional. Almodóvar continues to be a master of his craft as every second of the film has his fingerprints on them. Actresses Penélope Cruz and Milena Smit are wonderful as Janis and Ana two women who become entangled after giving birth on the same day. Their interplay helps to temper the absurdity of the screen play and deliver something emotionally devastating and believable.
3. Drive My Car (Dir. Ryûsuke Hamaguchi)
The three hour, Japanese, slow burn narrative may be a hard sell to many, but the film is an example of the lasting impact that cinema can have on a person. After the lengthy prologue (the opening credits appear at the forty-minute mark), the film settles into its pattern for the remainder of the film. Yûsuke Kafuku (Hidetoshi Nishijima) attends practice for the play he is directing and then rides in the car contemplating life while Misaki (Tôko Miura) drives him. This may not seem like much especially considering the length of the film, but the repetitive nature of these moments allows the audience to share in Yûsuke’s reflections and develop a strong bond with each character.
2. Shiva Baby (Dir. Emma Seligman)
The first feature of director Emma Seligman spent most of the year at my number one slot and for good reason. The comedy balances being genuinely funny with being one of the tensest watches of the year. Highlighted by a disconcerting score by Ariel Marx, Shiva Baby captures to suffocating feeling that family functions can have, especially when one has a secret to keep. While the tension can flirt with uncomfortable levels at times, the absurdity of Danielle’s (Rachel Sennott) situation and a reliable joke line from her father adds just the right amount of humor and levity to the stressful circumstances.
1. Licorice Pizza (Dir. Paul Thomas Anderson)
The closest to a perfect film that 2021 had to offer, the newest work by auteur Paul Thomas Anderson is an unconventional love story between two people who really should not be in love. The episodic style of the film serves the romance between Gary (Cooper Hoffman) and Alana (Alana Haim) well. It allows it to develop gradually. In addition to being a sweet story of first love, Licorice Pizza is an extremely funny film. Most of Anderson’s films have a level of humor to them, but it is in the forefront here more than any of his other films.
Eternals, the most recent film in the Marvel Cinematic Universe, is proving to be one of the most divisive in the series. Much of the divide amongst both critics and audience alike can be attributable to Academy Award Winning director Chloé Zhao’s quieter sensibilities. Her penchant for tone poems may have made her a peculiar choice for the action heavy genre, but her more subdued style is a welcome breath of air for a genre that can be frantic at times.
While the film is inherently plot driven, with countless action scenes as Marvel requires in all their films, Chloé Zhao keeps an emotional arch at the center of her film. By the start of the movie, Sersi (Gemma Chan), Ikaris (Richard Madden) and the rest of the Eternals have lived for millennia. In that time, they have experienced countless lifetimes of emotion; they’ve experienced both endless joy and heartbreak. Sersi and Ikaris have spent eons in a loving relationship, and just as much time hurtfully apart. This baggage weighs heavily on Sersi as she begins a new emotional journey with a mortal, Dane (Kit Harington). When the deviants, the creatures the Eternals were sent on Earth to destroy, return, Ikaris and Sersi are thrust back together forcing Sersi to process her emotional baggage so she can fully commit to a relationship with Dane. This is the emotional core that Zhao relies upon to bring something personal and relatable to the loud franchise.
The strongest parts of the film for building these characters are the extensive flashbacks. In these, each of the Eternals in turn experiences a defining moment of their long lives. These often don’t come in battle, but in helping the humans progress and live fuller lives. For example, sitting down with a mortal cooking a simple dinner imbues Sirsi with empathy that guides her life for the centuries to come. These moments are where Zhao’s voice comes through the loudest. She enables her characters to evolve on their own without plot dictating what they should become. While it is still much more restrained version of Zhao’s other work, her auteurial signature pushes through, nonetheless.
Where Zhao’s influence is felt the least is unfortunately in the entire third act during which all character nuance is disregarded so that an overblown fight can take place. This fight sequence could fit in just fine with any other film in the Marvel library, but Zhao was building to something more. Her film deserved a more emotionally driven climax as part of the action. Instead, the film falls prey to the same soulless fight sequences that fans of Marvel fans have seen dozens of times before.
Eternals more than any other Marvel film allowed the distinct voice of its director to shine through the standard formula. Her use of flashbacks allowed her the slower pacing she uses so well to ensure that her characters develop organically. However, a completely disconnected third act leaves the film feeling like two separate entities. Zhao’s influence comes back for the film’s resolution and is strong enough throughout to warrant a recommendation. It would just be nice to see Marvel trust their directors with complete control of a film rather than micromanage all the action sequences.
Perennial festival darling Mia Hansen-Løve returns for another film that is destined to receive plenty of critical acclaim if not much commercia success. Bergman Island like all Hansen-Løve films focuses on mastering the intimate to tell a story that is both incredibly specific and eminently relatable at the same time.
Bergman Island tells the story of Chris (Vicky Krieps) who follows her husband Tony (Tim Roth) to the titular Bergman Island to work on her next film while her husband teaches a series of masterclasses. After a prolonged bout with writer’s block, she takes inspiration from her surroundings and writes most of her next project. The second half of the movie cuts between the movie’s reality and the Chris’s eventual film within the film starring Mia Wasikowska as Amy and Anders Danielsen Lie as Joseph.
Set on the isle of Fårö, Bergman Island leans heavily on the rich cinematic history of its setting. Hansen-Løve fills her camera with iconic imagery whenever possible but does not let the film turn into a simple travel brochure. Everything is in subservience of her characters. Chris, Tony, and Amy are all filmmakers, so their connection to the island and its famous locations provides a reason for the shots of Bergman’s legacy. The balance of utilizing her setting and but not letting the setting use her is a real strength Hansen-Løve shows throughout the film.
The film’s genius shines through the most in the second half when telling of Chris’s in progress movie leads to a blend of reality. Amy and Joseph while creations of Chris’s work also serve as proxies for the married couple. Hansen-Løve is a master of character work, and these doppelgangers allow her to flex those muscles. Chris and Tony’s relationship and life circumstances are dissimilar from that of Amy and Joseph and yet Hansen-Løve finds the through lines and creates a rich tapestry of human emotions and relations for the viewer to sample.
In her latest outing, director Mia Hansen-Løve delivers another superb picture featuring her strength of capturing interpersonal relationships. Her lead characters that the complexities of their emotions are front and center to the story. The stunt location decision feeds into her story seamlessly without becoming a distraction, and the decision to utilize a film within a film builds wonderful character depth. Bergman Island is a wonderful specimen of quiet yet deeply personal storytelling.
I don’t know what to say, but mental health is really hard. The way that my depression shows itself is by making me unable to participate in the things that I love. And I love film. Today I set out to start getting back in the habit by sitting down and forcing myself to watch something. It felt like more of a chore than I would have liked but getting back in the habit is worth it.
The Night of the Hunter (1955, Dir. Charles Laughton)
I return to this project by checking off a huge blind spot. While The Night of the Hunter may not have been released to immediate critical acclaim – the film received zero Oscar nominations – in the 65 years that have followed Charles Laughton’s only directorial outing has become revered as one of cinema’s all-time greats. The morbid story of two children whose parents are both killed over a large sum of money and the crazed priest who stocks had a lasting impact. The tension that was built is all encompassing.
Much of that tension comes from the performance of Robert Mitchum as the priest and former convict Harry Powell. He builds a convincing argument as a stable preacher who can be trusted with the raising of two children. The second he is alone with the kids he turns his performance into a man to be feared. This dual faced performance is the clear highlight of the film, and his hymnal singing in the middle of the night is a lasting, haunting moment.
It was difficult to choose a film to watch today that would work with the soundtrack from yesterday’s film still ringing in my ears. While I couldn’t think of anything to watch that would match the eccentricity of Annette, one film did stick out in my mind as an apt follow up for different reasons. After two and a half hours highlighted by some of Marion Cotillard’s singing, I decided to visit the acting, and singing, performance for which she has her Oscar.
La Vie En Rose (2007, Dir. Olivier Dahan)
I am going to be honest; I do not have much to say about this movie. I have spent many of these daily entries talking about the pitfalls of the standard Biopic. La Vie En Rose falls for each and every one of them. By attempting to tell the entire life story of Édith Piaf, the film is an unwieldy 140 minutes, yet no part of the signer’s life is given adequate screen time. The film is left feeling both bloated and slight at the same time. Jumping back and forth between eras doesn’t do the film any benefits and leads to more confusion. This is a technique that can work well for Biopics that choose to focus on exactly two times in the character’s life, but since La Vien En Rose is all encompassing, this technique just muddles plot points, especially as the age difference between Ediths diminishes.
For all my misgivings about La Vie En Rose, I can not begrudge it the Oscars that it won. Marion Cotillard is brilliant in the lead performance, and her voice carries the film through its many musical moments. Similarly, the makeup department winning makes a lot of sense. Cotillard plays Piaf from the young age of 19 (Cotillard was 32 at the time) to age 47 where Piaf suffering from serious liver damage looked twice as old. The makeup department was responsible for this range to be possible.
Woman With A Movie Blog 