Continuing from part 1, this concludes the Top 10 films of the year.
When an artistic director known for creating tightly constrained, evocative films on a small scale suddenly finds themselves in possession of a Hollywood budget, it can often spell disaster. It was with some trepidation, then, that I approached Robert Eggers’ viking epic with a budget estimated to be almost ten times that of The Lighthouse — a film that essentially featured two actors and one location. Eggers’ overriding attention to detail on this new scale must have been a monumental undertaking, drawing from both Norse history and their ritual practices. Continuing to collaborate with cinematographer Jarin Blaschke, the pair capture the wild fury of the untamed landscape against which small villages seem an almost futile refuge. It may have been relentlessly grim, but The Northman was the most gripping cinema of the year.
Having rated Three Billboards Outside Ebbing, Missouri 10/10, there was a weight of expectation on Martin McDonaugh’s follow-up, The Banshees of Inisherin. Happily, reuiniting with In Bruges leads Colin Farrell and Brendan Gleeson made things feel immediately convivial and familiar, that is until a rift opens between the lifelong friends they play. It seems strange to have such a humourous, exaggerated tale unfold on an island that seems weighed down by despair, but perhaps no more than setting a tale of guilt and violence in a picturesque fairytale town like Bruges. Having demonstrated that Seven Psychopaths was an isolated misstep in an otherwise faultless filmography, McDonaugh has cemented his position amongst the best directors working today.
A late contender (I saw it only a few days ago after shortlisting films I had missed in order to cross them off before the end of the year), this Norwegian romantic comedy drama left me with the most fully-formed impression and understanding of a character from any film this year. Renate Reinsve deserves the recognition she is receiving for bringing Julie to life as more than an archetype. She is deeply flawed but the title is more about self-perception and how our subjective reality can influence behaviour: we will most often attempt to act like the person we believe ourselves to be. Joachim Trier and Eskil Vogt’s script shares my view that the most effective way to allow people to become better versions of themselves is to show them that that is the way we see them.
A sign of how weak a year it has been for Marvel is that a film called The Multiverse of Madness wasn’t even the best multiverse movie of the year. Clunkily-named directing duo “Daniels” unleashed a frenzy of creativity that coalesced into a sublime action comedy drama filled with talent but ultimately resting on Michelle Yeoh, who slides between genres with ease. Daniels have improved leaps and bounds from their debut Swiss Army Man, which was certainly original but mired in puerile humour that undercut any risk of emotional impact. Yes, their world-building is still utterly absurd, but the very grounded relationships between parents and children imbue the proceedings with genuine emotional stakes. It remains a film best experienced for the first time with as little foreknowledge as possible, but it is such a whirlwind that it almost demands further viewing.
When I started reviewing films on a 10-point scale, I viewed 9 as the benchmark for the best handful of films each year with 10 reserved for those that affected me profoundly in a personal way, that rare and magical experience that cinema can offer outside of mere objective competency. My expectation was that there might be one film a year that received a 10. In fact, it has been five years since the last one. What I find most astonishing about Aftersun is not that it is a debut from both its director and one of its lead actors, but an intangible quality it has achieved in capturing the ephemeral sense of memory within the fundamentally transient medium of film. It does this in obvious ways like the use of camcorder footage being recorded and watched, but through subtler means too — the way the camera lingers to suggest curiosity or regret, and the void between scenes as time seems compressed into short windows of recollection. There is a darkness that hangs over much of Aftersun that eventually speaks to a particularly personal concern, but the film had ensnared me long before. And in the months since, it has only embedded itself further as a holiday that I too now recall, a memory that never occurred. That is a new experience, and worthy of a 10.