1. QUO VADIS, AIDA?
I tend to avoid feel-bad movies (or as a friend categorizes them, “Films that make you want to slit your wrists”), so I approached Jasmila Žbanić’s dramatization of the 1995 Srebrenica massacre with trepidation. It is indeed a tough watch but a rewarding one in how precisely it lays out all the details leading up to the tragedy, for Žbanić’s commitment to depicting it with both fearless clarity and palpable compassion and most of all, for Jasna Đuričić’s tremendous performance—with respect to Frances McDormand and every other Oscar-nominated actress of the past few years, little of their work was in the same league.
2. THE POWER OF THE DOG
Jane Campion returns to feature filmmaking at the top of her game, from the striking landscapes and multifaceted, unpredictable character arcs to the feminist perspective she lends to the source material: A western/thriller about life on the last days of a frontier, familial dysfunction, the strain of keeping and covering up for a secret and the tenacity of wanting to go your own way and utilizing intelligence to your best advantage. With great performances all around (especially Kodi Smit-McPhee’s unapologetically fey beanpole), it carefully unfolds over two hours without a single wasted scene.
3. THE VELVET UNDERGROUND
Definitive, and maybe my favorite rock and roll doc since DiG! Despite him having mythologized both Bowie (VELVET GOLDMINE) and Dylan (I’M NOT THERE), I still never would’ve dreamt of Todd Haynes as the filmmaker to tell this band’s story; of course, he pulls it off completely, with masterful editing and sound design. His collage-like study preserves the band’s otherness, evoking a long-gone era so vividly while also recovering his own directorial edge—it’s easily his best feature since CAROL.
4. SHIVA BABY
I first saw this snappy cringe-com feature debut from filmmaker Emma Seligman at virtual TIFF in 2020; hardly anything filled me with more joy than it finding a most deserved audience when released earlier this year. Featuring a near-perfect ensemble (esp. Fred Melamed and the incorrigible Polly Draper as the lead’s parents), along with a pressure-cooker environment and score both somewhat reminiscent of, of all things, MOTHER! (Thankfully, no one eats the baby here.)
Another TIFF ’20 watch: Ben Sharrock’s film about Middle-Eastern and African men stranded in a refugee camp off the coast of Scotland is deadpan and quirky, but it ends up in a place of warmth and great catharsis. The painterly landscapes, subtle attention to detail and the gradual deepening of character all provide a stirring backdrop for protagonist Omar, a Syrian musician stuck between stations of a tumultuous past and an uncertain future.
6. RED POST ON ESCHER STREET
The lesser-seen of two Sion Sono films released this year (the other being the Nicolas Cage-starring PRISONER OF THE GHOSTLAND) is inspired and often insane satire/self-referential cinema, from the five girls dressed in white who form a “love club” (read: cult) for the director of the film within this film to the self-proclaimed “King of All Extras” to the exquisite look of disdain the recipient of a “dream-catcher necklace” sports when she is suddenly gifted it.
A quiet and often gentle film about loneliness, urban life, food, sex and water in all of its forms—yep, another Tsai Ming-liang picture. Actually, quite a lot happens in this one; naturally, it just does so at a snail’s pace, although like any master of minimalism, Tsai’s still adept at taking the same puzzle pieces and rearranging them into (if ever so slightly) distinct configurations that at best inspire one to look at the familiar with fresh eyes.
8. THE TRUFFLE HUNTERS
I continuously felt that this wry, warm documentary about mostly older male Italian truffle hunters (and their trusty canine companions) was made especially for me, from the adorable-verging-on-feral man/dog bonding and the dude who rather resembled Father Time to the multiple scenes of a young lady grooming a fancy red pillow on a pedestal just so in order to display The Perfect Truffle for a procession of onlookers to stop by and fervently sniff.
Felt a rush from this similar to first-time viewings of DRIVE or BEAU TRAVAIL. Shocking, seductive, transgressive, bonkers and somehow, I was with director Julia Ducournau (and a poignant Vincent Lindon) every step of the way, even though body horror is not really my jam (and if it’s not yours, see this at your own risk.) I don’t know how John Waters missed placing this on his top ten list of 2021 films.
10. A HERO
After a diversion to Spain with EVERYBODY KNOWS, this is a return-to-form for Iranian filmmaker Asghar Farhadi. A neat bookend to A SEPARATION, his breakthrough from a decade ago, he will never struggle to find inspiration for his intricate moral dramas just as the world will never run out of schmucks like Rahim (Amir Jadidi) whom implore one to ask (as a character does here) if they’re really smart or just incredibly simple.
11. THE KILLING OF TWO LOVERS
Tightly constructed, devastating study of a fractured marriage that’s more complex than it initially appears. Each frame is rich without being distractingly pretty.
12. SUMMER OF SOUL (OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED)
Astonishing, rare footage + thorough, incisive context + sustained “can-you-top-this-clip” momentum = best concert doc in years.
13. SOME KIND OF HEAVEN
Whereas filmmaker Lance Oppenheim could’ve easily satirized or put down the absurdities of what is essentially Disneyworld for Seniors, his approach is one of cool but considered observation, often keeping the camera static and just letting the action unfold.
14. NEVER GONNA SNOW AGAIN
“If David Lynch wanted to make a Polish Wes Anderson film” but both weirder and more palatable than that. Rarely has a cookie-cutter residential McMansion community appeared so otherworldly.
15. THE LOST DAUGHTER
As a first-time feature director, Maggie Gyllenhaal makes wise and sometimes risky choices in this hard-edged gem of an adaptation with excellent, thorny work from both Olivia Colman and Jessie Buckley.
16. TEST PATTERN
This underseen microindie deserves the same attention and cachet received by last year’s NEVER RARELY SOMETIMES ALWAYS; it also has a fearless lead performance from Brittany S. Hall.
I would ask for a moratorium on films about seedy Florida antics, only Janicza Bravo continues to impress me as a director with this based-on-a-true-story that’s really an incredible one.
18. THIS IS NOT A BURIAL, IT’S A RESURRECTION
I don’t think I’ve seen anything shot quite like this before: bold colors against darkness, faces and bodies illuminated by a single gas lamp, rough-hewn interiors giving way to bursts of painterly landscapes.
19. THE GREEN KNIGHT
Forget Kubrick—at times, David Lowery’s idiosyncratic take on an offshoot from the King Arthur legend feels more like the movie Tarkovsky would’ve attempted about the subject, at its most dazzling and effective when enigmatic.
A pairing of weirdos (Leos Carax and the musical brother cult duo Sparks) results in an equally strange hybrid of heart-on-sleeve emotion and extreme artifice. I wouldn’t say everything in it works, exactly, but months on, it lingers like a dream (maybe a nightmare?) I’m still trying to assess.
EYIMOFE (THIS IS MY DESIRE)
I CARRY YOU WITH ME
JUDAS AND THE BLACK MESSIAH
NO ORDINARY MAN
PLAYING WITH SHARKS
PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME
TWO OF US