I always look forward to IndieWire’s annual polling where directors choose their best films of the year.
This year, 38 filmmakers participated, and they include the likes of Sean Baker, Kitty Green, Ira Sachs, David Lowery, Andrew Haigh, Paul Schrader and Daniel Scheinert.
Here’s a noted sampling. Robert Eggers is one of the filmmakers that participated, and he’s written an extensive year in review for us. I second his love for Rodrigo Sorogoyen’s “The Beasts” — a film that’s barely been mentioned in any of the lists I’ve seen.
I’m happy to be able to celebrate a truly exciting and strong year for cinema. Below are my favorite films of the year, listed in alphabetical order.
“The Beasts” (Rodrigo Sorogoyen) — A taut, rural noir. Brilliant performances and a few unforgettable moments were truly frightening. It has stayed with me.
“Beau is Afraid” (Ari Aster) — Ari made a horrifying, challenging masterpiece. Yes, Western civilization is doomed, and Ari isn’t afraid to go there. It’s repellent in the best way. It’s vital filmmaking.
“Earth Mama” (Savanah Leaf) — An important, emotionally harrowing, and well-crafted debut. I knew I was in the hands of a great filmmaker from the first frame.
“Godland” (Hlynur Pálmason) — A film tailor-made for my personal taste. Maria von Hausswolff’s photography is absolutely stunning. Ingvar Sigurðsson is astonishing as always. Often brutal, at times gentle. Always hypnotic.
“Killers of the Flower Moon” (Martin Scorsese) — A Scorsese epic at the height of his powers. The scale, richness, and depth of the world were truly inspiring and exceeded high expectations. The cast and casting were immaculate. Lily Gladstone and Ty Mitchell were particular standouts. The story is unflinching and shocking.
“May December” (Todd Haynes) — Hitchcock said the three things you need to make a great film are “script, script, script.” In addition to the great script and Haynes’ assured direction are completely captivating performances by Julianne Moore and Natalie Portman. Charles Melton’s fragility and naturalism was spellbinding. I loved the film.
“Poor Things” ( Yorgos Lanthimos) — Thank the Maker for Yorgos Lanthimos. Another completely original and completely Yorgos treat. My muse Dafoe and Emma Stone are particularly excellent and their complex relationship is very moving. It also seems to be the only film on my list that’s not wholeheartedly depressing and dire.
“R.M.N.” (Cristian Mungiu) — Mungiu is always potent. An excellent, dour, and disturbing slow burn. The beginning of act three erupts with a brilliantly written and executed long static shot that I will not soon forget.
“The Zone of Interest” (Jonathan Glazer) — It’s hard to know what to say that hasn’t been said. It’s unique, impeccable, and utterly consuming filmmaking. A perfect and staggering articulation of the banality of evil.
I’d also like to mention a few others that I also thoroughly enjoyed, again, in alphabetical order: “Anatomy of a Fall,” “Asteroid City,” “The Holdovers,” “Infinity Pool,” “The Iron Claw,” “Saltburn,” “Talk to Me,” and “When Evil Lurks.”
Still no distributor for "Bucking Fastard," "Alpha Gang," "The Last Photograph," "Closing Night," and "The Life and Deaths of Wilson Shedd." The issue seems to be quality more than a lack of willingness to buy.