Written by Ananditha Anand
The mistletoes frown, and the ornaments lose their twinkle as Christmas comes to an end. A comfortable silence settles in as the New Year approaches. Snuggled under a blanket, holding a cup of hot chocolate, it is the perfect time to delve into an eclectic set of films that have been released this year. The crème de la crème - some mainstream gems, and others that might have missed your field of vision. These are our top picks, in no particular order.
1. Sleep
Director: Jason Yu
South Korea
Sleepwalking gone grotesque. Is there a better way to kick off the New Year? A film that is equal parts charming as it is sardonic, and delves into the psychology of a pregnant woman, whose husband’s sleepwalking habits take a rather worrying turn.
It subverts the expectations of a typical horror film by letting the morbidity seep in subtly. Jason Yu’s directorial debut shines, thanks to the (borderline comical) performances by Jung Yu-mi and Lee Sun-kyun, and the adeptly crafted sound design that keeps the audience on the edge of their seats.
Edited with a wit and structure that holds intrigue, Sleep contains a narrative tightness that many horror films tend to lose out on. As veteran director Bong Joon Ho put it, “ Sleep has been one of the most unique horror films (he’s) seen in ten years”. So, if you’re up for some fierce baby protection and one pretty cool PowerPoint presentation à la euphoria, this film is for you.
2. Strange Way Of Life
Director: Pedro Almodóvar
Spain
Unapologetically melodramatic, this 31-minute Western romance packs a punch. It unravels a tempestuous affair between two cowboys and the consequences that follow. Think Brokeback Mountain, but tinged with irony. The cast, led by Pedro Pascal and Ethan Hawke, sell the absurdity of the film with conviction, thanks to their palpable on-screen chemistry.
The vibrant colour story and meticulous set design cement the Almodovar print, all while paying homage to the spaghetti western genre. But, this film contains a tenderness that sets it apart from its contemporaries. Nostalgic at its core, the story looks at repressed sexual desire, betrayal, and an amelioration of love long gone. The inherent silliness and the short duration make the film feel like a fever dream.
3. Past Lives
Director: Celine Song
United States
Romance is perhaps one of the most overtly saturated genres among the mediums of storytelling, which is why the stark truthfulness and purity of Celine Song’s Past Lives come across singularly in the crowd of high-packed action films that dominated cinemas this year.
It is in some capacity also a coming-of-age story where our two protagonists, Ha Sung and Na Young come of age as they fall back in and out of the patterns of connecting and reconnecting over twelve years. Nora explains in a scene the concept of “In-Yeon” or destiny to her Jewish white husband: how when two people cross paths, it means they have also met in a past life.
While Past Lives is underlined with regret of what could have been, of roads not taken and lives not lived, the film's victory is in the character of Arthur. The film doesn't pit Hae Sung and Arthur against each other, in a scene as Arthur and Nora lay in bed he confesses how by the virtue that she speaks and thinks in a language he doesn't understand, there is a world inside her that he will never know of, and it is the same for Ha Sung: the Yin and the Yang.
It is loud in its silence, the leading cast put forward phenomenal performances, but Tae Hoo relishes as Ha Sung. He embodies the character’s hesitation and nervousness, his eyes do the talking for most of the film. Aided by the brilliant score of Chirstopher Bear and Daniel Rossen, Past Lives also has an incredible visual grammar: it is simplistic but it is enough, like the shot of Ha Sung and Nora taking different paths. Past Lives cements Celine Song as a filmmaker to look out for in the coming years.
4. May December
Director: Todd Haynes
United States
Three words, New Age Lolita. Vladamir Nabokov would have had a blast with this one. The film carries a quaint, eerie feel to it, that has been encapsulated well through the cinematography and score. The visuals transport you to the early-2000s, with the beiges and browns taking center stage. The decision to shoot with lenses from the 1930s and 40s adds a filmic texture to the otherwise digitally shot movie.
The sound design is ominous and feels a little off at all times, which meddles with the tonal cues that usually enable audiences to decipher a film. This confusion helps to build the cerebral element that May December hinges on. The performances bolster this unease, with Charles Melton, Natalie Portman, and Julian Moore convincingly portraying borderline psychopathic roles, all while instilling a sense of empathy in the viewers.
The film references texts like Bergman’s Persona, but never uses them as a crutch. It’s fresh, intriguing, and well-paced.
5. Chronicles Of A Wandering Saint
Director: Tomas Gomez Bustillo
Argentina
As an exploration of life, death, and faith, Chronicles Of A Wandering Saint could have veered off in many directions. Yet, it chooses to be satirical and endearing, to its core. The end-but-actually-opening credits begin with a churchgoing woman listening to EDM music and falling into a ditch. And (Spoiler Alert) dying almost immediately. But, there’s not a shred of remorse attached to her demise.
This inciting incident transports the film into a magical realm, where spirits enter inanimate objects and angels look like outgrown emo teenagers. The plot unravels like a storybook and is deftly supported by the cinematography. Symmetrical frames and a saturated colour palette elevate the visuals, and the lead performance by Mónica Villa accentuates the film's poignancy. This collaboration between a novice filmmaker and a veteran actress brings freshness to the movie, making it a delight to watch.
6. Killers of The Flower Moon
Director: Martin Scorsese
United States
In a clip that went viral, Martin Scorcese, often labeled as the greatest living director, said while answering a question at the press conference of his twenty-sixth film Killers of The Flower Moon, that risks are all he can take.
Even his critics concede that Scorsese has consistently embraced the realism reflected in his dark and even violent films. His work now feels a little more deliberate, his characters have progressed from the eccentricity that was ingrained in his earlier works. However, he still lures audiences into a confrontation with the heart of evil and our collusion with that evil.
However, the film finds the director focusing more on the intimate humanity of the people impacted by the evil he often examines. The strongest point of the film is in its capability to incite empathy for the worst of its characters. Despite the intense animosity and rage one feels for Ernest Burkhart played by DiCaprio, one feels that absolute hatred waver as Burkhart admits to the court his love for his wife, portrayed by Lily Gladstone's subtle yet strong performance.
Perhaps most effectively, despite its foundations as a true crime story, it is not a crime thriller, nor is it particularly suspenseful, the audience clings to the end because we feel so deeply about these characters and what they do. The film manages its runtime quite well, thanks to Scorssese’s long time collaborator Thelma Shoemaker, and her grasp of pacing. The film’s well-balanced color scheme was a sight for sore eyes, for those tired of the bleached mint-yellow trend in colouring led by Netflix’s productions.
From the beginning to the end, Killers of the Flower Moon is infused with a pervasive sense of terror and dread. It pulls you in completely to one of the most well-crafted and gut-wrenching stories of the year.
Despite maneuvering past genres, there lies an inherent intimacy that ties all of these films together. Be it a rather intellectually stimulating film or a no-brainer, the strong emotional core present creates a distinction between these films and their contemporaries. They exude a certain warmth, an idiosyncratic feeling encapsulated. Perhaps like holding hands in a cold theatre. Or embracing a wash of sun that peeks through the biting winter. So, watch these films to chase that feeling, and have a good time along the way!