Best of 2024 - Movies (2 of 2)
Is it too ~film bro~ of me to call a movie "challenging"?
Let’s finish what we started!!! Part two is where things get interesting. Whereas the first 12 were predominantly classics / popular, the second set seems to have more “challenging” or ambiguous movies - ones that hurt my head in a good way, left me with a lot to think about, or that I even questioned “recommending” to others. And I love them all (almost) equally.
Reminder: see here for part 1, and check out this list for my top 50. There are many more to explore, from Full Metal Jacket to How to Have Sex.
Memento, Christopher Nolan (2000)
Another one-word review of “wow” - WOW this was excellent and WOW I don’t know how it took me so long to see it. Classic Christopher Nolan. The structure is intriguing in its movements nonlinearly, backward, and mirroring the character’s brain. It was blowing my mind at times, and with each memory you trust what you think you know less and less. It’s accompanied by witty dialogue / narration and great scoring, and Guy Pearce’s performance keeps you transfixed.
Best Line: “We all need mirrors to remind ourselves who we are”
Minari, Lee Isaac Chung (2020)
With its beautiful cinematography, the soft glow of the sun or the lights in the house, and the peaceful yet sorrowful score, Minari is dreamlike, but not necessarily a dream. Many scenes broke my heart and my tears could hydrate their farm. I adored the characters. David is precious and unstoppable in his little cowboy boots, fueled by Mountain Dew. His relationship with Grandma is definitely a highlight, and their combination brings some of the most touching and most funny moments.
Best Line: “Bring some of that mountain water”; “They bake cookies. They don’t swear. They don’t wear men’s underwear.”; “I’m not pretty, I'm good-looking!!!!”
Anora, Sean Baker (2024)
You know it’s a good movie when you and your friend turn to each other every minute with a look of shock, joy, or sadness. Anora fires on all cylinders - the pace, the vibrancy (both in energy and visuals), the performances, the humor, etc. Mikey Madison delivers as the vivacious, profanity-packed, and heartbreaking Anora, while Yuriy Borisov sweetly lurks in the background waiting to steal your heart. Every inch of the frame is always captivating and every emotion is felt so intensely with high highs and low lows. That last scene brings it home so perfectly and powerfully, and it broke me.
Best Line: Every single “mother f****”
Certified Copy, Abbas Kiarostami (2010)
The way we relate to each other. The way we perform. The way others see us. The way we evolve. The attribution of value. The power of art. The way film is an imitation of life….The importance of perspective….In this film, can you tell what’s real, and does it even matter? In life, can you tell what’s real, and does it even matter? These are some (but not all!) of the questions this film makes you contemplate.
Certified Copy is a beautiful meditation on relationships, art, truth, and perspective. It’s moving, enigmatic, unique, meta, and philosophical, and comes in a pretty package with intimate close-up conversational shots, quaint Tuscan villages, and emotional performances - what more do you need? It’s reminiscent of Linklater’s Before trilogy until the switch seriously flips, and weirdly in conversation with Nathan Fielder. Just slightly too inaccessible, but I’ll be thinking about it for a while and likely rewatching it.
Best Line: “A good copy is better than an original”; “If we were a bit more tolerant of each other’s weaknesses, we’d be less alone. Don’t you think?”
Beau Travail, Claire Denis (1999)
All show and very little tell, in the best way. Beau Travail is visually mesmerizing and brimming with sensuality, which coaxes you along its exploration of the futility, repression, and suffering that comes with colonialism and extreme masculinity. At times it feels more like a ballet than military training.
That blue blue sky, turquoise water, and white sand make such a dreamy canvas for Denis’ story. Add in a sunny golden glow, soul-penetrating close-ups, and playing with shadows, and you get something truly dreamlike. Every calm, choreographed, and disciplined moment is quickly met with something more vibrant and energetic, transporting us between the city and the camp in a way that could be disruptive but is instead so smooth. And, the lingering gaze of Denis’ camera combined with minimal dialogue forces you to sit in the emotion or the quiet of the moment. The mixed scoring style is really interesting, with the operatic piece giving a theatrical quality to the movie. It also has what is perhaps one of the simultaneously craziest and saddest dance scenes ever. Another one that you will want to sit with for a while.
Best Line: “Serve the good cause then die”; “Maybe freedom begins with remorse”
Dogville, Lars von Trier (2003)
I debated including this one. I’m hesitant to say I “recommend” it because I think most people I know would not enjoy it, but it deserves its rightful spot on this very_important_list. My immediate reflection was that I can’t tell if we’ve all intellectualized something bad or if it’s masterful. I keep going back and forth, but it’s certainly audacious and I don’t think I’ve ever seen anything like it - how did Lars Von Trier dream this up??? Dogville disarms you with its community theater production looks and sweet old man storybook narration just to stab you in the heart. I loved the storytelling, chapter structure, and how it feels like a play. Also, the performances are crazy good - capital P performances without any modern distractions - especially Nicole Kidman. Despite the long run-time, I was never bored and was glued to seeing how the story would unfold. It is “enjoyable” if you just take it at face value but truly very layered with big themes; I have thought about it many times since.
Best Line: "Dogs can be taught many useful things, but not if we forgive them every time they obey their own nature"; “It was proof that her suffering had created anything of value”
A Different Man, Aaron Schimberg (2024)
A refreshingly wry addition to the self-love movement, A Different Man was an unanticipated favourite of mine. I was so enamored with it that I wrote a longer dedicated piece on it in October. Essentially, the message is crippling insecurities? You might be the problem 🫶🏻🤪✌🏻, told through a darkly hilarious and tense story of a man clearly never comfortable in his own skin. The story unfolds cleverly, with a well-controlled tone, and even as things escalate to absurdity it always feels real. It’s sooooo satisfying but also deeply unsettling, and I loved the meta side of things.
Through close-up portraits, slow zoom shots, and a jazzy-moody-eerie score that feels straight out of a 60s mystery (in the best way), Schimberg immerses us in Edward’s psyche and his inner feelings are palpable. And, all three leads nail it - Sebastian Stan in his restraint, silent brooding, and sunkenness into himself; Renate Reinsve in channeling her Worst Person in the World energy; and Adam Pearson propels the comedy forward with his charisma and zest for life.
Best Line: “You haven’t changed a bit”
The Handmaiden, Park Chan-Wook (2016)
I love the maximalism of Korean thrillers. Handmaiden is twisty, dark, playful, and funny, while being visually beautiful - I can’t get over the scenery and the vibrant green colours!!! It’s suspenseful, well written, well structured, and has great performances - I was locked in the whole time. A rare situation where I have little to say, but it’s by no means indicative of my enjoyment.
Best Line: “You think you’re tricking me? You’re the one being tricked”
Melancholia, Lars von Trier (2011)
The soft glow lighting and orchestral score of Melancholia envelop a beautiful and also incredibly depressing story. But, it is not without joy and humor; the limo and Hennessy chugging scenes are precious, and the first 20 minutes were so funny I was laughing out loud. The narrow, contained focus works so well and all of the emotionally charged performances are great. I also loved the way it’s shot - the camera movements reminded me of HBO’s Succession.
Best Line: “Melancholia will pass us all by”
The Graduate, Mike Nichols (1967)
I’d had a very different idea of what this was in my head after hearing so many pop culture references about it over the years - glad I watched and was proven wrong. The performances are sooooo good - the indomitable Mrs. Robinson, hysterical and awkward Ben, and cutesy Elaine. It’s silly in a good way, solidly quirky, and has great comedic scenes, especially the initial seduction. I really enjoyed the fun shots / perspectives like over the shoulder, through goggles, reflections, etc., and the use of *inaudible* moments. My only real complaint was that sometimes the no-dialogue music scenes went on too long and the songs were very overused.
Best Line: “No it’s not. It’s completely baked”; “Well, it's very comfortable just to drift here”
Tampopo, Juzo Itami (1985)
Tampopo is a love letter to Japanese cuisine, connection, and the pleasure of eating. A bit of a genre soup, in a good way, it effortlessly blends drama, noir, romance, western, and even a little Rocky. It’s endearing and playful, and with each orchestral swell of the dramatic symphony score and the use of character tropes, Itami is able to create incredible stakes. Each segment, no matter how related, is its own little course in Itami’s feast, and I’m here for all of it. Plus the adoring gaze of the camera and that fun slurping sound design make it extra special!!!
Best Line: “I wanted so much…to eat them with you”
Eyes Wide Shut, Stanley Kubrick (1999)
Eyes Wide Shut is a alluring, surreal, and mysterious journey about male fragility, power, desire, perception, and marriage. It’s certainly layered, and the surrounding conspiracies and art-imitating-life casting make it extra fun to experience / think about. I adored Alice’s monologue and watching self-assured Bill unravel.
It has a great look from the visual warmth (Christmassy / jewel-toned colours, lighting, rosy cheeks) and graininess. I absolutely loved the scoring that drove the playful yet mysterious mood, especially the waltz core theme that feels almost circusy. I didn’t expect to like this as much as I did, so it left me excited.
Best Line: “No dream is ever just a dream”; “The important thing is…we’re awake now”
Okay, now it’s time to get back to the present!!
Really loved this