The Best Movies of 2024 (So Far)

As a cinephile and filmmaker myself, I found “Pictures of Ghosts” to be a poignant and personal tribute to the power and nostalgia of cinema. Filho’s journey through his childhood apartment and the city’s grand downtown, studded with cinematic palaces, resonated deeply with me as a fellow artist reflecting on the past glories of my chosen medium. The film’s graceful exploration of the passage of time was akin to watching the reel of my life unspool.

This list is updated monthly with new “best of the year”–worthy titles.

As the fall awards season draws near, I find myself eagerly anticipating the buzz surrounding potential Oscar contenders and the highly-awaited film festival premieres that will soon capture everyone’s attention. The upcoming weeks are filled with exciting offerings from the festival circuit – my tickets for the November double feature of “Gladiator” and “Wicked” are already booked!

Movies are listed by U.S. release date, starting with the most recent.

Dìdi

In his first directorial venture, Sean Wang presents an authentic and candid portrayal of the challenging journey through adolescence, specifically at age 13. The main character, Chris Wang (played by Izaac Wang), endures a tumultuous summer before entering high school, marked by awkward encounters with his crush, strained relationships with friends, and venting his anger towards family members. Immersed in the digital and physical atmosphere of the East Bay region in 2008, this film offers a heart-wrenchingly accurate depiction of adolescence and life in a predominantly Asian American suburban community. Joan Chen delivers one of the year’s most touching performances as Chris’s mother, a woman juggling family responsibilities while her husband works in Taiwan, and striving to keep her artistic aspirations alive. –Alison Willmore

➽ Read Alison Willmore’s full review of Didi.

Oddity

For those who watched the 2020 horror film “Caveat”, they would agree that director Damian McCarthy has a knack for creating unsettling dolls. His latest work, “Oddity“, features one such doll that is so unnervingly disturbing – a life-sized wooden mannequin with a permanently terrified face – that it inadvertently brings about a chuckle. This is intentional, as the movie shares its humor with its ability to startle. Similar to the intricate structure of the restored Irish country house depicted in the film, “Oddity” skillfully weaves together elements of murder, revenge, psychic siblings, mental institutions, and of course, that doll, resulting in a product that is equally thrilling as it is terrifying.

Horizon: An American Saga, Part One

The initial portion of Kevin Costner’s anticipated western masterpiece has the atmosphere of the early sections of a captivating novel, gradually developing characters and providing hints about their lives. However, it remains to be seen when we’ll see the rest of it. This part of the film is rich in historical detail and features breathtaking landscapes that mirror the story’s grandeur. Yet, being a standalone installment, it may lack the full impact of epic stories like “Lonesome Dove.” The movie “Horizon” currently resembles an ascending line rather than a complete narrative. Although the film doesn’t fully function independently, what’s shown so far is largely promising and hints at potential for future episodes. The leisurely pace never becomes dull. It’s a beautiful, expansive, and sometimes emotional display of classic storytelling — even if, for now, it’s only a part (or possibly a quarter) of the movie. — Bilge Ebiri

➽ Read Bilge Ebiri’s full review of Horizon: An American Saga, Part One.

Last Summer

Among directors, none could be more fitting for crafting an unsettling film about an older woman and a younger man than Catherine Breillat, France’s renowned provocateur. With her latest work, Last Summer, she makes a compelling comeback to the world of filmmaking after a decade-long hiatus. Léa Drucker delivers a captivating toughness in her portrayal of Anne, a lawyer who represents victims of sexual abuse, yet finds herself entangled with her 17-year-old stepson, Théo (Samuel Kircher). The bond between Anne and Théo is forged in the hazy atmosphere of summer. However, the film gains complexity as reality encroaches upon their idyllic existence, and Anne demonstrates that she is prepared to employ the same speech used to undermine the credibility of the victims she defends, to protect herself. —A.W.

➽ Read Alison Willmore’s full review of Last Summer.

Green Border (June 21)

As a movie critic, I found myself deeply moved by Agnieszka Holland’s heart-wrenching masterpiece, “Green Border.” This film strips us bare, exposing raw human behavior devoid of any pretense or artifice. It boldly delves into the European refugee crisis, portraying a ruthless political game between Poland and Belarus that leaves innocent, terrified souls – predominantly refugees fleeing wars in Afghanistan, Syria, and other war-torn regions of the Middle East and Africa – trapped in the crossfire.

➽ Read Bilge Ebiri’s full review of Green Border.

Janet Planet (June 21)

In simple terms, Annie Baker’s remarkable directorial debut skillfully combines elements of mystery and relatability, offering a vivid portrayal of adolescence on the brink. Zoe Ziegler masterfully plays Lacy, an 11-year-old whose worries about the future are tempered by maturity beyond her years. However, it’s Julianne Nicholson who delivers a standout performance as Lacy’s mother, Janet, an aging hippie grappling with the search for meaning in life. Her love for Lacy doesn’t dull her desire to seek answers elsewhere, which leads to a parade of lovers and friends passing through their western Massachusetts cabin, each offering fresh insights into the complex bond between mother and daughter. –Paraphrased by A.W.

Check out Alison Willmore’s comprehensive review on Janet Planet, as well as Jackson McHenry’s interview with the talented director Annie Baker.

Thelma

Josh Margolin’s movie tells the story of a 94-year-old woman who embarks on a mission to track down those who swindled her of $10,000. Remarkably, it maintains an endearing and sincere tone without resorting to lazy or unkind humor. The captivating portrayal by June Squibb, an exceptional actress known for supporting roles, makes a seemingly simple premise deeply profound. This woman’s search for justice transcends merely seeking retribution or recovering her money; it serves as proof that she still holds control over her life. Despite incorporating elements of spy and action movies, Margolin uses these references to emphasize the protagonist’s determination and resilience in old age, making her a symbol of persistence for us all. The film’s themes resonate universally: as time progresses, we all find ourselves growing detached from the world at some point. —B.E.

➽ Read Bilge Ebiri’s full review of Thelma and Rachel Handler’s interview with star June Squibb.

Ghostlight

I stumbled upon the movie “Ghostlight” during the Sundance Film Festival in January last year, with no prior knowledge of its plot. I encourage you to approach it similarly. However, if you seek additional details: The film revolves around a troubled family, focusing on Dan (Keith Kupferer), a large, easily agitated construction worker with a quick temper. After yet another outburst at work, he encounters Rita (Dolly De Leon) in a nearly deserted storefront where her group of amateur actors are rehearsing a low-budget version of “Romeo and Juliet.” Dan is soon captivated by the camaraderie within this improvised theater group and the eloquence of Shakespeare’s words, despite his admission of not understanding them. For most of its duration, the movie subtly suggests what torments Dan and his family without revealing it outright. Though the hints are obvious, the disclosure of their tragedy still feels like a punch to the gut. Despite its grounded performances and everyday setting, “Ghostlight” sometimes seems like a ghostly fantasy or when reality briefly blends with fantasy. In essence, it’s a film about the transformative power of artistic connection, demonstrating that creativity, empathy, and forgiveness are all steps on the same human journey. —B.E.

➽ Read Bilge Ebiri’s full review of Ghostlight.

Robot Dreams

In 2021, Pablo Berger’s animation of Sara Varon’s 2007 book “Robot Dreams” was nominated for the Best Animated Feature Oscar. This heartwarming tale about a dog and its pet robot in 80’s New York has a timeless, fairytale quality with an enchanting and poignant aesthetic that seems out of place in today’s animation industry, which is characterized by chaos and insincerity. The film is dialogue-free and follows the story of a solitary dog (referred to as Dog) who buys a robot friend via mail. After Dog assembles Robot, they spend a delightful summer together amidst the bustling, sweltering city. However, their bond is abruptly severed, leading them on separate journeys. The introverted Dog finds another companion while Robot interacts with various aspects of the world, some of which are dreams and others reality. Although the narrative seems to span a year, we also witness New York evolving around these characters. This moving film provokes thoughts about our personal growth: the friends we’ve lost but not forgotten, the cities that have evolved around us, the knowledge we’ve gained, and the ways in which we remain scarred from life’s experiences. —B.E.

➽ Read Bilge Ebiri’s full review of Robot Dreams.

Furiosa: A Mad Max Saga

In this article, B.E. discusses George Miller’s prequel to “Mad Max: Fury Road,” titled “Furiosa.” Instead of focusing on the title character as a battle-hardened warrior, we witness her transformation from an innocent child (played by Alyla Browne and Anya Taylor-Joy) to a resilient survivor. The story revolves around Furiosa’s kidnapping by a motorcycle warlord named Dementus (portrayed by Chris Hemsworth), who later sells her to Immortan Joe, the antagonist of “Fury Road” (played by Lachy Hulme in a younger role).

Check out Bilge Ebiri’s comprehensive review of Furiosa: A Mad Max Saga, his insightful analysis of the movie’s ending, an interview with actor Tom Burke by Fran Hoepfner, and James Grebey’s take on Dementus’ cape.

Hit Man

In Richard Linklater’s movie Hit Man, philosophy professor Gary Johnson (played by Glen Powell) ponders, “How many of us truly understand ourselves?” He questions if our identities are constructs, illusions… roles we’ve been playing since birth. As it turns out, this seemingly ordinary bird-watching guy is about to embody the question itself, as he feigns being an assassin for the New Orleans police department’s undercover operations.

➽ Read Bilge Ebiri’s full review of Hit Man.

Kidnapped

Numerous filmmakers, among them Steven Spielberg, have endeavored for years to bring the astonishing real-life tale of Edgardo Mortara, a Jewish boy from Bologna who was seized by papal authorities in the mid-19th century and raised as a Catholic, to the big screen. Interestingly enough, it’s fitting that this film was ultimately produced by the esteemed Italian director Marco Bellocchio, a man known for his lifelong exploration of the influence wielded by social institutions. Bellocchio is renowned not only for his ability to portray madness within families as both an external and internal force, but also for his skill in depicting how it functions. In his latest work, Kidnapped, he delves into the experiences of Edgar while simultaneously highlighting the impact this event had on his family. This compelling, multi-character narrative is both engagingly dramatic and unnervingly chilling. —B.E.

I Saw the TV Glow

Jane Schoenbrun’s film is a poignant, haunting, and intensely emotional exploration of dysphoria, suburban loneliness, and the imperfect sanctuary that fan culture provides. The movie, titled “The Pink Opaque,” exhibits elements reminiscent of “Buffy the Vampire Slayer” and “Twin Peaks.” However, while the series’ mythology permeates their lives and serves as a symbol Owen refuses to acknowledge, the most powerful scene occurs when, older, Owen revisits his obsession’s source and realizes it pales in comparison to his memories. The film powerfully illustrates that while pop culture can offer solace and refuge, it is ultimately up to Owen to take the necessary steps for self-rescue in reality. – A.W.

As a passionate film and music enthusiast who has spent countless hours immersed in the intricacies of both industries, I would wholeheartedly recommend delving into a trio of captivating pieces: Alison Willmore’s comprehensive review of “I Saw the TV Glow,” Esther Zuckerman’s insightful interview with filmmaker Jane Schoenbrun, and Rachel Handler’s engaging conversation with singer-songwriter Caroline Polachek about her contribution to the soundtrack. Each piece offers a unique perspective on the creative process behind these captivating works, and I believe they will resonate deeply with anyone who shares my passion for artistry and storytelling.

Gasoline Rainbow

“Ross Brothers’ New Film: A Voyage in the Realms of Fact and Fiction”

➽ Read Alison Willmore’s full review of Gasoline Rainbow.

Evil Does Not Exist

In the tranquil opening sequences of Ryusuke Hamaguchi’s “Evil Does Not Exist,” there seems to be a shift from the director’s recent, acclaimed works like “Drive My Car.” We meet widower Takumi (Hitoshi Omika), who coexists with his daughter Hana (Ryo Nishikawa) in the serene village of Mizubiki. He earns a living by performing various jobs such as chopping firewood, gathering plants, and supplying water for the local ramen shop from the springs. However, this idyllic life is disrupted by the arrival of representatives from a company planning to establish a “glamping” business in the vicinity. The most striking scene showcases a meeting with locals that escalates into a contentious debate when villagers voice their worries, particularly about the placement of the new septic tank, which is too small for the expected number of customers and also upstream from the town’s freshwater source.

Sure thing!

The Fall Guy

David Leitch’s movie, a captivating blend of action, comedy, mystery, and romance set within the realm of stunt artists, is an ode to cinema itself. It skillfully combines various genres while peppering in witty inside jokes and homages to its esteemed (and not-so-esteemed) predecessors. Ryan Gosling, whose comic prowess was underestimated until his successful role in last year’s blockbuster Barbie, gets another chance to showcase his talents here, delivering a dry yet endearing performance as Colt Seavers, a renowned stunt double for the brightly shining movie star Tom Ryder (Aaron Taylor-Johnson). Following an incident that appears to terminate his career, a dejected Colt receives a call to perform a stunt on the Sydney set of Jody Moreno’s (Emily Blunt) new film, the woman he once loved. He is then drawn into a complex missing persons case. The stunts are breathtaking and Gosling is hilarious, but perhaps the most unexpected aspect of the film is its heartfelt romantic tone. Blunt and Gosling share an exceptional on-screen chemistry – the kind that arises between individuals who are not only incredibly attractive, but also adept at understanding each other’s gaze. The film manages to make us root for Colt and Jody’s reunion; we’re prepared to accept any implausible scenario as long as it brings them back together. —B.E.

I highly recommend diving into Bilge Ebiri’s comprehensive review of The Fall Guy. You won’t want to miss his exclusive insights into the stunt team’s workings behind the scenes, and the fascinating chat he had with director David Leitch.

Alam

In many discussions about Palestine and Israel, complexities are frequently overlooked. However, Firaz Khoury’s heartfelt coming-of-age movie serves as a counterbalance to this trend. Many people may not be aware that there exist Palestinian communities within Israel, residing in Palestinian neighborhoods, attending schools with Palestinian instructors – yet they’re educated about Israeli history from an Israeli point of view, under the Israeli flag (the term alam means banner in Arabic). Consequently, they learn about Israel’s struggle for independence, which is referred to as the Nakba or “catastrophe” by Palestinians – a period when their families were displaced in 1948. The film Alam follows a group of middle-class high school students as they grapple with romance, authority, and political awareness in the lead-up to Israel’s Independence Day. These youngsters possess resources and opportunities, supported by families and teachers who encourage them to stay detached from politics. To them, the intense political and physical conflicts surrounding their homeland can sometimes appear distant, yet they find themselves seeking ways to participate. This film is a captivating, thought-provoking piece that does not provide simple solutions. —B.E. (Paraphrased)

Challengers

As a passionate movie enthusiast with a particular fondness for romantic films, I must say that Luca Guadagnino’s tennis romance, “Challengers,” has undoubtedly been one of the highlights of my cinematic year. The film is an exhilarating blend of passion, tension, and athleticism that effortlessly captivates its audience from start to finish.

➽ Check out Angelica Jade Bastién’s review on Challengers, Matt Zoller Seitz’s critique on Zendaya’s movie performance, and Joe Reid’s breakdown of who emerged victorious in the final scene.

The Feeling That the Time for Doing Something Has Passed

Joanna Arnow’s first attempt at feature directing is a unique, deadpan comedy that delves into the life of a woman from Brooklyn named Ann (portrayed by Arnow herself). Ann’s existence appears to be centered around embarrassment: she is involved in a sub-dom relationship with an older man whose distant, apathetic behavior might be part of their dynamic; she regularly endures uncomfortable interactions with her parents, who are played by Arnow’s actual parents; and she is completely overlooked at work, even when receiving recognition such as awards. The film has a dreamlike quality, yet it feels strikingly authentic. Arnow skillfully encapsulates the genuine and mortifying absurdity of contemporary life in an engaging manner. Her filmmaking technique is episodic, but unlike many other plotless comedies, it is not exhausting or self-indulgent: her scenes range from extended sequences to humorously brief moments, giving the movie a distinctive and captivating rhythm. —B.E.

Civil War

In the realm of contemporary cinema, few films have left me as bewildered and captivated as Alex Garland’s latest masterpiece. What sets this movie apart is its unsettling exploration of our collective obsession with viewing America as a warzone. The narrative unfolds in what appears to be our current era, yet it portrays a United States fragmented into numerous armed, ideologically ambiguous factions due to strongman rule and secessionist movements.

➽ Take a look at Bilge Ebiri’s comprehensive review of Civil War, listen to Matt Zoller Seitz’s conversation with director Alex Garland, and read Roxana Hadadi’s analysis on the film’s concluding scene.

In Flames

Can we classify In Flames, Pakistan’s entry for last year’s Best International Film Oscar, as a horror movie? Given its content, it seems quite fitting. The story follows the life of a young woman from Karachi whose world is turned upside down following her father’s death. Men leer at her, assault her, fixate on her, disregard her. The watchful eyes of a patriarchal society view her as both victim and prey. A short-lived, potentially hopeful romance ends in sorrow. She is haunted by disturbing visions as she struggles to discern reality from delusion. Director Zarrar Khan skillfully combines supernatural frights with everyday terrors, all while maintaining the film’s emotional core. —B.E.

The Beast

Bertrand Bonello’s science fiction masterpiece, “The Beast,” is reminiscent of Henry James blended with the surrealism of David Lynch. It’s a captivating, enigmatic production that traverses three distinct time periods and locales, keeping viewers on their toes with its unexpected twists and unsettling moments. Léa Seydoux portrays Gabrielle, a character who transitions seamlessly between a tragic heroine in a period drama, a victim in a horror movie, and a disillusioned explorer in a distant, indifferent future. Despite these radically different roles, she skillfully weaves a thread of consistency across these lives. Louis, played by George MacKay, eventually becomes part of this intricate narrative tapestry.

➽ Read Alison Willmore’s full review of The Beast.

The First Omen

Under the guidance of director Arkasha Stevenson, this prequel to the 1976 movie “The Omen” offers another chilling modern horror tale that resonates with our contemporary times while delving into a past-rooted fantasy. The setting is turbulent Rome in 1971, where young novitiate Margaret Daino (Nell Tiger Free) begins her work at an orphanage. She develops an interest in the enigmatic Carlita Skianna (Nicole Sorace), one of the orphans, and sees a reflection of herself in her. However, a devious priest hints that Carlita may be specially bred by the church to give birth to the Antichrist. Consequently, Margaret becomes resolute on saving Carlita. The film is bound to leave you pondering, but like skilled horror directors, Stevenson knows we’re not there for reason; instead, the movie is immersed in style and atmosphere with arresting and unsettling visuals that tap into primal, visceral fears. If horror thrives on a sense of loss of control and evoking feelings of powerlessness in viewers to mirror the characters’ experiences, then this film truly encapsulates the genre. —B.E.

➽ Read Bilge Ebiri’s full review of The First Omen.

La Chimera

In Alice Rohrwacher’s movie, we follow Joshua Connor as Arthur Harrison, an unusual man with a peculiar talent for plundering graves and recovering ancient Etruscan artifacts that the people of central Italy buried with their deceased. Once an archaeologist, Arthur appears tormented by his own actions, suggesting the film’s meandering yet beautiful narrative is portraying a man straddling this world and the next as he grapples to find his place. Rohrwacher, one of Italy’s leading filmmakers, creates earthy films infused with a hint of magical realism. The acting is realistic, the on-location shooting genuine, but the tales often border on fantasy. Folk ballads, primitive art, camera winks, and bursts of hurried slapstick populate the film, lending it an unpolished operetta feel. However, Connor’s hollow and melancholic disposition undermines the film’s lightheartedness, perhaps intentionally: as the story unfolds and becomes increasingly fantastical, Arthur grows more detached from his surroundings. He is a mournful character symbolizing the idea that those preoccupied with the afterlife will never experience tranquility in this one. —B.E.

➽ Read Bilge Ebiri’s full review of La Chimera.

Do Not Expect Too Much From the End of the World

Radu Jude’s latest film, titled “Do Not Expect Too Much From the End of the World“, offers a biting comedy that explores the absurdity of life under late capitalism. The narrative spans a wide range of references, from classical haiku and Goethe to Uwe Boll’s German schlockmeister films, as well as crude TikTok videos created by its protagonist, Angela (Ilinca Manolache), a heavily overworked personal assistant.

➽ Read Alison Willmore’s full review of Do Not Expect Too Much From the End of the World.

Ryuichi Sakamoto: Opus

Approximately three months before his passing in March 2023, Ryuichi Sakamoto prepared what could possibly be his last solo concert. This performance was pieced together from pre-recorded segments over a few days and then streamed globally. The extended version of this concert has since been transformed into a poignant, minimalist film directed by Neo Sora, Sakamoto’s son. The film is introspective and emotionally stirring.

➽ Read Bilge Ebiri’s full review of Ryuichi Sakamoto: Opus.

Dune: Part Two

In the first Dune, Timothée Chalamet was the leading star, but for the second installment, it’s Zendaya who takes center stage. Denis Villeneuve’s adaptation of Frank Herbert’s work remains an awe-inspiring and genuinely alien epic featuring genetically engineered messiahs, space witches, colossal sandworms, and planets with BDSM-influenced goth fascist cultures. However, it is the character of Chani, played by Zendaya, who gives the film its emotional core. Chani is a fierce rebel Fremen warrior who falls for Chalamet’s Paul despite knowing his true intentions and the potential risks to her community. While Dune: Part Two offers grand scale, it also delivers relatable human drama that primarily comes from Chani’s viewpoint as a representative of a people whose aspirations are constantly overshadowed by the manipulations of greater powers. —A.W.

➽ Check out Alison Willmore’s comprehensive review, Matt Zoller Seitz’s exclusive behind-the-scenes interview with cinematographer Greig Fraser, and Roxana Hadadi’s insightful analysis of the ending for Dune: Part Two.

Shayda

A.W.’s Review: “Shayda” – A Powerful and Intimate Thriller Based on Real-Life Experiences

Io Capitano

Matteo Garrone, the Italian filmmaker, often combines contemporary issues with fantastical elements, and in his latest movie set during the refugee crisis, he’s created one of his most powerful works. The story follows Seydou (played by Seydou Sarr) and Moussa (Moustapha Fall), two Senegalese cousins on a journey to Europe. Along the way, they encounter numerous harrowing events that seem like haunting scenes from an ancient fairy tale. Garrone skillfully blends magical realism, sweeping epic narratives, and grim terror in a film based on the true accounts of people making this trek. However, he’s not focused on sensationalizing the situation. These characters aren’t escaping dire poverty or conflict; they aspire to travel to Europe, much like First World youngsters who have desired to explore the world for generations. This unique perspective (and tragic) aspect of Io Capitano challenges the notion that these characters are merely victims, instead positioning them within a grander, more noble tradition of exploration and inquisitiveness. The film thus poses an implicit, thought-provoking question: Why don’t we in the West view them in this manner as well?

The Promised Land

Mads Mikkelsen is exceptionally talented as an actor, and his ability to deliver a powerful, unyielding gaze sets him apart. This trait makes him an ideal fit for the character of Captain Ludvig Kahlen, a destitute, stoic Danish war veteran from the mid-18th century who endeavors to conquer the Jutland Heath, a vast and inhospitable region devoid of crops and plagued by lawlessness. The Danish title of the film, “Bastarden,” means “the bastard” and can refer both literally and spiritually to Kahlen, as he was born to an unmarried servant and exhibits a rough, sometimes ruthless demeanor. As Kahlen learns to trust others in order to survive, he clashes with a local landowner, the arrogant and cruel aristocrat Frederik de Schinkel. Consequently, “The Promised Land” evolves from a tranquil and poetic story of rural existence into something rawer and more intense, reminiscent of Terrence Malick’s “Days of Heaven” combined with Michael Caton-Jones’s “Rob Roy,” but with additional scenes depicting people being cooked alive. – B.E. (Paraphrased)

➽ Read Bilge Ebiri’s full review of The Promised Land.

Pictures of Ghosts

As a film enthusiast and someone who has spent countless hours immersed in the world of cinema, I find Kleber Mendonça Filho’s documentary to be a truly captivating and poignant work. Having grown up in Recife myself, I can deeply relate to his personal journey as he explores the history of his hometown through the lens of photography. The film serves as both a memoir and an ode to the power of cinema, striking a delicate balance between nostalgia and introspection.

➽ Read Alison Willmore’s full review of Pictures of Ghosts.

Inside the Yellow Cocoon Shell

As a movie critic, I found Phạm Thiên Ân’s debut feature to be a mesmerizing exploration of a young man named Thiện (Lê Phong Vũ), who after the loss of his sister-in-law, becomes the guardian of his nephew and embarks on a quest to locate his brother, the child’s father. The film’s narrative may at times be cryptic, but its cinematic prowess cannot be denied. Certain scenes, crafted by Ân (alongside cinematographer Đinh Duy Hưng), have left an indelible mark on me, persistently resurfacing in my memory like a recurring dream.

Frida

Over the years, numerous films about Frida Kahlo have been made, but none have managed to portray her as a real, vibrant individual quite like Carla Gutiérrez’s groundbreaking documentary does. As an acclaimed editor, Gutiérrez has constructed this film exclusively from archival material, allowing Kahlo herself to tell her story through her own words and images. This results in hearing Frida’s deeply personal, introspective narration (voiced by Fernanda Echevarría del Rivero) as she recounts her upbringing with a devout mother and non-believing father; her lively teenage years as a popular medical student; her tumultuous marriage to the notorious, revolutionary artist Diego Rivera, who dominated her during her lifetime; and her passionate relationships with both men and women. Gutiérrez has also brought Kahlo’s drawings and paintings to life by animating them, causing the images to change before our eyes and reflect her emotional journeys, with pictures frequently morphing into one another. In doing so, she provides a unique perspective on an artist who often depicted herself in striking visual compositions. By the film’s end, we may feel as though we have truly come to know this legendary, almost mythical figure for the first time. —B.E.

➽Read Bilge Ebiri’s full review of Frida.

2024-07-31 16:56