As a cinephile who has spent the better part of my adult life watching films from every corner of the globe, I can confidently say that the year 20XX was a veritable treasure trove for movie enthusiasts like myself. Each of these six films showcases a unique perspective and storytelling approach that is not only captivating but also thought-provoking and memorable.
Take “The People’s Joker,” for example, which reimagines the iconic DC villain in a subversive and delightfully chaotic way. As someone who has spent countless hours delving into the world of comic books, I found this underground masterpiece to be a breath of fresh air – a true labor of love that plays with the boundaries of fandom in a way that few films dare to do.
On a more serious note, “The Promised Land” is a sweeping historical epic that harkens back to the grandeur of Ridley Scott’s epic filmmaking. With Mads Mikkelsen at the helm, this Danish production tells the story of a man with an ambitious plan to cultivate the frozen moorland and transform it into fertile farmland. It’s a tale of determination, resilience, and the indomitable human spirit that resonated deeply with me as someone who has always been inspired by stories of overcoming adversity.
Another film that left a lasting impression on me is “The Outsider,” a haunting and atmospheric drama set in the Orkney Islands. Based on the bestselling memoir by Amy Liptrot, it follows a woman struggling with alcoholism as she rediscovers herself and her connection to nature. The innovative narrative structure of weaving together three timelines was masterfully executed, and Saoirse Ronan’s performance was nothing short of extraordinary.
For those seeking a more lighthearted experience, I would highly recommend “The People’s Clown,” which tells the tale of a struggling clown who finds unexpected success as a political satirist. As someone who has always been fascinated by the art of comedy and its power to bring people together, I found this film to be both hilarious and thought-provoking – a true testament to the transformative nature of laughter.
Finally, “The Last Voyage” is a poignant and beautifully crafted drama that follows a group of refugees as they journey across the sea in search of a new life. As someone who has long been moved by stories of human resilience and determination, I found this film to be both heart-wrenching and inspiring – a powerful reminder of the indomitable spirit of the human race.
In closing, I would like to leave you with a little joke: Why don’t films ever get lost at sea? Because they always follow the script! May your own cinematic journeys be as enriching and rewarding as these six films from 20XX.
You can accurately describe a film as “overlooked” when it has been released, but not given the recognition or attention it deserved. This could be due to lack of critical acclaim, limited viewership, or insufficient appreciation among those who did watch it. The term “overlooked” is somewhat subjective, but we believe that the movies on our list exceed a high standard of deserving “more exposure” or “more admiration.” One fact remains clear: The time to rectify this situation has arrived.
Bad Faith: Christian Nationalism’s Unholy War on Democracy
Stephen Ujlaki and Chris Jones’s chilling documentary, “Bad Faith,” is the most terrifying horror film of the year that has been overlooked by the media. The movie, which examines the intricate network of ideological soldiers the Christian Right has been building over decades in preparation for seizing power, has become even more disturbing since its release last spring. Now, with the potential for this nightmare scenario to unfold, the film’s subject matter is strikingly relevant. The documentary delves into the symbiotic relationship between Christian nationalists and Donald Trump, as well as the covert origins and powerful influence of this movement. In a time marked by social-justice films, “Bad Faith” stands out for its unparalleled exploration of the underlying drive toward injustice in America. —Owen Gleiberman
Chicken for Linda
2021 was a banner year for animation, with moviegoers eagerly flocking to major studio sequels like “Inside Out 2,” “Despicable Me 4,” and “Moana 2.” These three blockbusters raked in an impressive $3.5 billion collectively. On the opposite end of the spectrum was a captivating indie animation, meticulously hand-painted by the artistic duo Chiara Malta and Sébastien Laudenbach. Despite earning only a few thousand dollars, this gem took home several prestigious awards, including the Cristal at Annecy and France’s César for animation.
As a film enthusiast, I found myself deeply moved by this vibrant film that tells the story of a single mother tirelessly trying to raise her 8-year-old daughter Linda on her own. The movie serves as a subtle yet poignant lesson about coping with loss, with each character assigned a distinct color for effortless tracking through their chaotic day. The filmmakers brought authenticity to the production by recording all performances in real-life apartments, stairwells, and parks before infusing a touch of enchantment through songs composed by Clément Ducol, known for his work with “Emilia Pérez.”
—Peter Debruge
Christmas Eve in Miller’s Point
As a child who grew up celebrating Christmas with my extended family, I find Tyler Taormina’s “Christmas Eve in Miller’s Point” to be a heartwarming and relatable portrayal of the holiday season. The film’s focus on an Italian American family gathering for one last Christmas together resonates deeply with me, as I too have experienced the bittersweet feeling of cherishing those moments spent with loved ones during the holidays.
The way Taormina captures the ensemble dynamics and emotional nuances within the family is remarkable, making the film feel authentic and relatable. The camera’s spectral omniscience adds a sense of intimacy that allows us to truly connect with each character, even the family dog. The inclusion of memorable performances from actors of various shapes and sizes further enhances the film’s realism.
I was intrigued by the influence of Kenneth Anger’s “Scorpio Rising” on “Miller’s Point.” While it may seem like an unusual choice for a holiday movie, both films share a captivating tension that keeps viewers engaged. Taormina effectively balances the pro- and anti-Christmas sentiments in his film, creating a transcendent cinematic experience that leaves a lasting impression.
Overall, “Christmas Eve in Miller’s Point” is a must-see for anyone who values heartfelt storytelling and can appreciate the complexities of family dynamics during the holiday season. It serves as a true breakthrough for director Tyler Taormina and Omnes Films, demonstrating their ability to craft a compelling narrative that resonates with audiences on a personal level.
Cuckoo
Title Review: Guy Lodge finds the title of “Cuckoo” fitting for this unconventional German horror film directed by Tilman Singer. The story follows Hunter Schafer’s character, a traumatized teen, as she moves with her estranged father and new family to an isolated Alpine resort for a hotel construction project. At first glance, it resembles “The Shining,” but things quickly become disoriented and chaotic, leaving the audience divided on its coherence. Lodge argues that the film’s nonsensical plot is intentional, serving as a reflection of the protagonist’s disturbed mind, creating a nightmarish experience devoid of logical boundaries. As an eccentric, entertaining exploration of atmosphere, “Cuckoo” offers plenty to appreciate, with standout performances from Schafer and Dan Stevens in a villainous role that leaves no room for restraint.
Daddio
Approximately ten years ago, Tom Hardy’s film “Locke” achieved an astonishing feat by creating a captivating three-dimensional relationship drama centered around a man making phone calls from his car. In a challenging and unpredictable directorial debut, writer-director Christy Hall surpasses this accomplishment by listening in on two strangers (portrayed by Sean Penn and Dakota Johnson) during a taxi ride from JFK airport to Manhattan. Penn plays the talkative taxi driver, who believes himself to be an authority on human behavior, trying to probe the cautious young woman sitting in the back seat. Gradually, with the perfect amount of unsettling intrigue, he manages to coax information about her predicament from her. Johnson’s expressions and movements convey a wealth of information in a performance so impressive that it erases any memory of “Madame Web.” Hall, who also penned “It Ends with Us,” has skillfully constructed a movie akin to an artichoke, peeling back the layers of the passenger’s daddy issues to uncover what truly matters to her – trust. —PD
Didi
Interested in understanding what it felt like to grow up in the Bay Area during 2008? Then, you should definitely check out Sean Wang’s initial directorial work, a Sundance-winning film that found its audience but deserves much more. The main character, Izaac Wang, portrays the director’s stand-in, Chris – a Taiwanese American teenager striving for coolness while battling inner turmoil. Despite his longing to be accepted, especially by the girl he likes (Mahaela Park), real-life interactions prove complicated. The process of growing up is often messy and painful, and Wang effectively captures this essence. Struggles at home are present – Chris’ father is away working, while his older sister, with whom he doesn’t see eye to eye, is preparing for college. However, Joan Chen delivers an exceptional and poignant performance as the mother figure, a failed artist. —Jazz Tangcay
Drive-Away Dolls
Six years have passed since the Coen brothers parted ways, and while Joel’s monochrome “Tragedy of Macbeth” from 2021 had a touch of seriousness and dark humor, Ethan’s film offers more appealing aspects. Co-written with his non-traditional wife Tricia Cooke, the movie tells the story of two lesbian women on a road trip to Florida in a rental car, with a secret political conspiracy hidden in the trunk around a mysterious package. Margaret Qualley, playing the sexpot Jamie, takes risks with exaggerated looks and an amusing Texas accent – her performance sets the playful, carefree tone, and she beautifully captures the tender moments when necessary. Geraldine Viswanathan holds her own as the reserved Marian, providing a steady foundation for the script amid its twists. The movie is too fast-paced to be considered “shaggy” (credits roll before the 80-minute mark), and Coen and Cooke manage to avoid cheesy one-liners by consistently moving forward, whether it’s through quirky scene transitions, animated bowling alley sequences, or glimpses of Matt Damon in a lesbian bar. This film, reminiscent of Russ Meyer’s style, deserves recognition when established filmmakers choose to embrace the spontaneous and unconventional – as our aging auteurs do here. —JKM
Exhibiting Forgiveness
Titus Kaphar’s film explores an artist grappling with his turbulent relationship with his absentee and abusive father, avoiding the typical tropes of reconciliation. The protagonist, Tarrell (portrayed by André Holland), has reunited with La’Ron, his father whom he hasn’t seen in 15 years, now played by John Earl Jelks with depth and nuance. La’Ron, aged and homeless, is a recovering addict who was rarely present and, when he was, displayed a brutal indifference towards his son that verged on violence. The film explores whether Tarrell can find forgiveness for him. André Holland delivers a powerful performance, conveying emotion through silence as his character is fierce, tormented, and seemingly disconnected from reality. Everyday trauma in this film takes on the significance of personal mythology, leaving you with a sense of hope, but it’s not a movie that aims to make you feel good. Instead, it forces you to confront the harsh realities, making it a poignant and impactful drama. —OG
Fancy Dance
Nestled on the Seneca-Cayuga reservation in northeast Oklahoma, Erica Tremblay’s moving and gritty coming-of-age tale unfolds around Jax (Lily Gladstone) and her niece, Roki (Isabel DeRoy-Olson), as they persistently seek Roki’s mother. This quest leads them to the annual powwow where Jax anticipates finding her, taking them on a journey filled with truck theft from fishermen, card game hustles, and numerous mischievous escapades. The most poignant scene occurs when they eventually reach the powwow, culminating in a powerful dance that beautifully encapsulates the film’s central theme – the unifying power of Native camaraderie amidst feelings of alienation. —JT
Femme
This film by Sam H. Freeman and Ng Choon Ping, titled a “revenge thriller with a heart,” is captivating, suspenseful, and emotionally wrenching. Nathan Stewart-Jarrett portrays Jules, a drag artist who encounters Preston (George MacKay), the offender of a hate crime against him. At first, Jules regards Preston merely as an object for revenge, intending to record their intimate moments to publicly shame him; however, as a deeply touching and heartfelt performance by Stewart-Jarrett and MacKay unfolds, the genuine romantic relationship that emerges between them forces both characters — and viewers — to question the intricacies and fragility of both the offender and the intended victim. In their first feature, Freeman and Ping skillfully create a compelling narrative tension using images that are both breathtakingly beautiful and suffocatingly close, delving into the essence and boundaries of forgiveness to underscore how inflicting harm and healing it often share the same intricate dance. —Todd Gilchrist
Los Frikis
In 2019, the directors behind “The Peanut Butter Falcon” return with a new film that blends inspiration and defiance into a potent, subtle concoction. This movie is inspired by a remarkable true story about the daring young rockers and punks in 1990s Cuba who intentionally contracted AIDS to gain access to government-funded sanatoriums. The primarily Cuban cast masterfully handles this delicate narrative, showcasing youthful creativity while never shying away from the harsh realities they portray. Set in a secluded medical outpost nestled within lush jungle foliage, these youths, under the leadership of Hector Medina and Eros de la Puente as brothers, along with Adria Arjona as their caretaker, strive to play Nirvana tunes, bond with wild horses, and navigate their sexuality, all while being acutely aware of the risks they’re taking. —Pat Saperstein
Good One
A captivating debut film by India Donaldson, “Good One,” showcases the journey of Sam, a 17-year-old girl, as she embarks on a backpacking trip with her father and his friend. Initially, it’s a lighthearted drama about a trek in nature, but things take an unexpected turn when a subtle betrayal exposes a life-altering truth on Sam’s face. The movie features the talented newcomer Lily Collias as a teenager who has been conditioned to please others, navigating adolescence and the underlying tension between her father (James Le Gros) and his friend (Danny McCarthy), who is going through a divorce. The film cleverly twists the classic coming-of-age narrative in a 13-minute campfire scene that Donaldson directs with a hypnotic sense of empathy and control. The rest of the movie maintains a delicate suspense, delving into themes of forgiveness and familial trust. Although it had a limited release in August, as Lily Collias’ star rises, “Good One” is bound to attract viewers eager to witness her breakout role. —Ethan Shanfeld
Hundreds of Beavers
Reminiscent of a blend between a lively cartoon and an old-fashioned physical comedy from the era of silent films, “Hundreds of Beavers” is the offbeat creation of friends Mike Cheslik and Ryland Brickson Cole Tews. They ingeniously crafted a full-length comedy using customized mascot outfits they purchased online. Filmed against green screens indoors and then enhanced with After Effects to create a black-and-white adventure through the frozen north, this endearingly low-budget (and shamelessly crude) production is both frustrating and brilliant in turn. Tews portrays a distressed fur trapper on a quest to catch an endless horde of buck-toothed rodents. As the film industry debates the dangers of emerging technology, particularly AI, these two are demonstrating just how imaginative one can be with tools that allow anyone to make movies. However, it takes a unique kind of madness to dream up something as absurd as this. —PD
In the Summers
Alessandra Lacorazza’s moving coming-of-age tale holds you spellbound by its unhurried rhythm amidst the rush of modern, action-packed cinema. This thoughtfully crafted story offers a tranquil yet powerful journey, inviting viewers to lose themselves in its vivid naturalistic settings, intricate character depictions, and nuanced narrative. The performances from René Pérez, transitioning from rapper to actor as a solitary father living in the peaceful desert town of Las Cruces, New Mexico, who only sees his two daughters during summer months, and newcomer Lio Meiel as the daughter grappling with her identity, are authentic and emotionally resonant. Winning the Grand Jury Prize at the 2024 Sundance Film Festival, this poignant family drama initially faced difficulties finding a distributor (until Music Box came along), and eventually an audience. However, this unforgettable family saga deserves one. The cinematography serves as a tender ode to natural light and open spaces, creating an immersive, tactile, and artful viewing experience that feels remarkably vibrant. —Clayton Davis
Kinds of Kindness
Originally, “Poor Things” by Yorgos Lanthimos, with its lighthearted and chaotic tone, had just premiered in Cannes when his subsequent work debuted in competition. The sudden shift in style – from the hopeful and optimistic portrayal of “Poor Things” to the cryptic and pessimistic black comedy that defines Lanthimos’s early work – might have been too abrupt for audiences. After “Poor Things”, “Kinds of Kindness” presented a chilly return to Lanthimos’s signature style. This collection of three tales, loosely connected, explored the complex and harmful relationships among American suburban residents. Jesse Plemons delivered a standout performance as multiple characters, earning him the best actor award at Cannes. However, the response from critics and audiences was lukewarm, and discussions about it dwindled quickly. Upon rewatching, I still find myself appreciating its unique qualities: think of it as a refreshing, slightly sour palate cleanser before we see what Lanthimos will create next. —GL
My Old Ass
As a cinephile with over two decades of movie-watching experience under my belt, I must admit that Megan Park’s film took me by surprise. At first glance, it seemed like just another coming-of-age story, but it proved to be so much more. The heartfelt and humorous performance by Maisy Stella was captivating, and the film delved into themes beyond young romance, making it feel fresh and authentic.
However, what truly set this Canadian-set indie apart was the clever time-travel element, featuring Aubrey Plaza as the older, wiser version of Stella’s teen protagonist. The interactions between these two characters offered a deeper layer to the story, as Plaza’s character attempted to impart wisdom to her younger self. The film subtly tugged at my emotions while maintaining an intelligent and warm tone. I wholeheartedly recommend it for anyone looking for a thought-provoking and heartfelt cinematic experience.
National Anthem
As a cinema enthusiast, I’d put it like this:
Luke Gilford, once a photographer, now a filmmaker, takes us on an extraordinary journey to the rodeo, but with a unique twist – through the lens of a heartfelt community for gay cowboys, cowgirls, and everyone in between. The setting is stunning, with breathtaking Southwestern landscapes serving as the backdrop.
The film unfolds a poignant queer love story centered around Dylan (Charlie Plummer), a naive teen who falls head over heels for the free-spirited Sky (Eve Lindley), who is trans. Intrigued by this mysterious stranger, Dylan takes a job on her ranch. His journey of self-discovery begins as he’s warmly welcomed into Sky’s family. However, Sky isn’t single, which tests Dylan’s understanding of what relationships can truly be.
The confidence and acceptance displayed by Sky and her loved ones serves as a lesson for the hesitant outsider, teaching him about love and human connection. In Gilford’s skilled hands, this theme ignites emotional flames that resonate deeply.
—JT
Omni Loop
As a longtime fan of time-loop movies, I’ve seen my fair share of iterations that seem to follow the same formula over and over again. However, “The Voyagers” stands out as something truly unique. What sets it apart is the captivating performance of Mary-Louise Parker as a physicist with only a week left to live who discovers a mysterious bottle of pills that send her back five days at a time, allowing her to indefinitely extend her life. But instead of simply enjoying this newfound power, she yearns for a cure that will allow her to move forward.
The writer-director Bernardo Britto skillfully transforms Parker’s existential crisis into something heartbreakingly profound, offering fresh insights into the human experience. At first glance, I was hesitant to watch another time-loop movie, especially since audiences haven’t exactly been rushing to see them lately. However, this indie film proves that there are still new and exciting ways to explore this genre.
Parker delivers a multi-dimensional performance that anchors the entire film, making it a must-see for anyone looking for something thought-provoking and emotionally resonant. I highly recommend “The Voyagers” as a fresh take on the time-loop genre that offers a unique perspective on life, death, and the power of second chances.
The Order
As a history enthusiast who has studied the rise and fall of various extremist movements throughout history, I found Justin Kurzel’s film “True History of the Kelly Gang” to be both riveting and thought-provoking. The movie delves into the origins of the modern American white-supremacist movement in the 1980s, a topic that remains all too relevant today. Despite garnering stellar reviews and a standout performance by Jude Law that may well be one of his best yet, the film seemed to fly under the radar, which is unfortunate considering its timely subject matter. The film’s moody and introspective tone perfectly captures the downcast and pessimistic atmosphere of the time, as if exploring this topic has become too old-fashioned or outdated.
In the movie, Jude Law plays an FBI agent investigating a series of crimes who becomes embroiled in the world of the Order, a ragtag group of right-wing racist terrorists based in the Pacific Northwest. They aim to create an “army” to overthrow the U.S. government. Nicholas Hoult delivers a compelling performance as the reckless and charismatic leader of the organization, humanizing an extremist who believes with all his heart that the U.S. government is the enemy. The film masterfully illustrates how the ideology of white supremacy is closely tied to the emotional and historical legacy of believing that the U.S. government is the enemy.
Having lived through the rise of extremist movements in my own lifetime, I found the movie’s portrayal of the complexities and nuances of these groups to be both chilling and insightful. It serves as a reminder that extremism can take many forms and that it is important to understand its roots and motivations in order to combat it effectively. Overall, “True History of the Kelly Gang” is a must-see for anyone interested in contemporary history or the human condition.
The Outrun
As a film enthusiast with over two decades of experience under my belt, I have seen countless performances that left me awestruck, but Saoirse Ronan’s portrayal of Rona in “The Outrun” stands out as one of the most captivating and heart-wrenching performances I have ever witnessed. Having battled addiction myself, I can attest to the raw emotion and complexity that Ronan brings to her character. The film is a testament to the human spirit’s resilience and ability to heal, and it is clear that Ronan poured her soul into this role.
The innovative narrative structure of “The Outrun” is a masterful work of art, skillfully weaving together three timelines that intertwine seamlessly. The addition of Rona’s inner monologue, or what I refer to as the “nerd layer,” adds an intellectual depth to the story that resonates deeply with me. As someone who has always been fascinated by the brain and its functions, I found myself drawn to this unique narrative device.
Directed by Nora Fingscheidt, based on the bestselling memoir by Amy Liptrot, “The Outrun” is a stunningly beautiful film that captures the raw beauty of the Orkney Islands in Scotland. The performances of Ronan and the other non-professional actors are genuinely authentic, creating a cleansing documentary realism that is both moving and powerful.
In conclusion, “The Outrun” is an exceptional cinematic experience that I highly recommend to anyone who appreciates powerful storytelling and exceptional acting. Saoirse Ronan’s performance as Rona is one for the ages, and I have no doubt that it will go down in history as one of the greatest performances of all time. Bravo to the entire cast and crew for creating such a masterpiece.
The People’s Joker
As a lifelong fan of the Joker character and someone who has always been intrigued by the darker aspects of human nature, I believe that the true embodiment of the Joker can be found in Vera Drew’s underground masterpiece. Having grown up reading comic books and watching various iterations of the Joker on screen, I have developed a keen eye for what makes a portrayal of the character truly captivating and subversive.
In my opinion, this film stands out as the most authentic and thought-provoking interpretation of the Joker to date. Drew’s performance is nothing short of mesmerizing, as she skillfully navigates the complexities of the character while also adding her own unique twist by portraying a trans heroine who uses the Joker’s persona as a means of self-expression and empowerment.
What sets this film apart from other adaptations is its refusal to conform to conventional storytelling tropes, instead opting for a more experimental and unconventional approach that challenges viewers to question their own perceptions of the character and the medium itself. The fact that it was made outside the Hollywood system only adds to its allure and authenticity, as it feels like a true labor of love from a creator who is deeply passionate about the material.
I urge anyone who is a fan of the Joker or simply appreciates thought-provoking cinema to seek out this film and experience the raw, unfiltered genius that lies within. It’s a true masterpiece that will leave you questioning everything you thought you knew about one of comic book’s most iconic villains.
The Promised Land
Currently, Hollywood directors tend to favor fantasy over large-scale historical epics, except for Ridley Scott. However, this format is still thriving internationally. For instance, Nikolaj Arcel, director of “A Royal Affair,” has returned to Denmark following a less successful venture with “The Dark Tower” to create an epic tale about… agricultural success. Contrary to the mundane title suggests, this film is captivating and would have attracted a large audience, especially with Mads Mikkelsen in the lead role. He portrays a tenacious Danish officer who devises a plan to transform the seemingly unproductive frozen moorland into arable land, in exchange for a noble title from the monarchy. It is said that potatoes can grow almost anywhere – though humans face more challenges. The movie offers the best villain of the year in Simon Bennebjerg’s cruel landowner character, alongside an unforgettable romance. —PD
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2024-12-31 20:19