In a year full of huge blockbusters, record-breaking indies and a sequel for just about every movie ever made, here are my top 10 films of 2022.
“Aftersun” (dir. Charlotte Wells): An incredibly personal, poignant and heartbreaking directorial debut with performances for the ages from Frankie Corio and Paul Mescal. Following a father and daughter on holiday, the film’s editing and sound design also stand out in this 96 minute emotional masterwork. I’d type more but I’d start crying. Seriously.
“Babylon” (dir. Damien Chazelle): A three hour spectacle of filmmaking and the perils of transitioning through one’s career as the environment around you shifts uncontrollably. Chazelle goes back to his “Whiplash” roots, with tension dialed up to 10 for most of the film, especially the final hour. Diego Calva leads the film perfectly, Margot Robbie gives one of the best performances of the year, and the entire supporting cast (especially Jovan Adepo) are phenomenal. Brilliant crafts and one of my favorite endings in recent memory. Definitely worth the big-screen experience.
“The Banshees of Inisherin” (dir. Martin McDonough): The perfect encapsulation of the deterioration of a friendship that should not go to the levels it does. The entire cast is superb, with all four stars (Colin Farrell, Brendan Gleeson, Kerry Condon, and Barry Keoghan) deserving of awards recognition and will likely be huge threats in their respective acting categories. It’s a gorgeous film that is absolutely hilarious and heartbreaking at the same time, with a thesis that leaves you questioning everything but also never once lets you pick sides in the central battle. And it only gets better and funnier on each rewatch.
“EO” (dir. Jerry Skolimowski): One of the most immersive cinematic experiences I have ever had. The film, Poland’s submission for Best International Feature, places you directly in the eyes of a donkey named EO as he ventures across Europe and the many types of people and perils the world requires you to face, should you be brave enough to venture outside into them. Despite never saying a word, the film uses its breathtaking cinematography and sensory-inducing editing to allow you to understand everything EO does on an incredibly emotional level unlike anything I have ever witnessed.
“Everything Everywhere All at Once” (dirs. Daniel Kwan & Daniel Scheinert): The best and most original film I’ve seen in years. I’ve spoken so much about my absolute love for this film. I saw it 8 times in theaters in 2022, including one screening in IMAX at the TCL Chinese Theatre (which was life-altering). The multiverse masterpiece follows Michelle Yeoh playing a woman who just wants to do her taxes, but finds herself trapped in an inter-dimensional war that affects her current universe all too much. Stephanie Hsu and Ke Huy Quan deserve Oscars for the heart and soul they are able to bring to the film, and Yeoh is my pick for Best Actress, brilliantly balancing every version of her character within a film that changes genres so quickly and dramatically. A brilliant feat of filmmaking.
“Living” (dir. Oliver Hermanus): Based on the 1952 Akira Kurosawa film “Ikiru”, “Living” centers on a man (Bill Nighy) who is coming to terms with his impending death and understanding what it means to be alive and live. Nighy is brilliant and leads the film with impeccably perfect acting, and the film ponders and allows for many questions about life. It’s simply beautiful and never goes where you think, despite being given a road map at the start of the film. If I left the film with anything, it’s that what we choose to do with the time we have matters.
“Marcel the Shell with Shoes On” (dir. Dean Fleischer-Camp): A feature length film based on the YouTube short films, Fleischer-Camp returns to the world of Marcel with star Jenny Slate back as the voice of the a tiny shell you will instantly fall in love with. It’s a stop-motion animation marvel that is able to beautifully combine genres together and never once feels like the bit is going on too long. You’ll want to stay with Marcel for a very long time, and he, once you see the film, will stay with you.
“Nope” (dir. Jordan Peele): Yep. Peele leads Daniel Kaluuya, Keke Palmer, Steven Yeun and Brandon Perea, among others, in this beautifully complex and terrifying thriller that never once goes where you think it will. Peele gives all the puzzle pieces to us in the first watch, but repeated viewings continue to make the puzzle more complete. With some of the best crafts and scenes of the year, especially the score, “Nope” proves that Jordan Peele isn’t running out of brilliant ideas anytime soon.
“TÁR” (dir. Todd Field): Cate Blanchette is terrifying and brilliant as Lydia Tár, a conductor preparing for one of the biggest career achievements of her life while also dealing with the consequences of her previous actions. The film asks some incredibly difficult questions and, even with a daunting 158 minute runtime, doesn’t leave anything unanswered. The film at times feels like a horror film, and is incredibly tense and filled with flashes and visions of the past. Repeated viewings will reward with hidden ghosts and a greater understanding of Todd Field’s vision as a writer and Blanchette’s performance, both of which cannot be praised highly enough and will be huge and deserved contenders during awards season.
“Women Talking” (dir. Sarah Polley): The ensemble of the year, the film follows a group of Mennonite women who are discussing the best course of action to take after an incredibly dark discovery. Polley bakes in the questions of what it means to have a voice and how it can be silenced without realization. The entire cast is absolutely astounding (Claire Foy, in particular, gives a stellar performance), and the score and cinematography are simply stunning. It’s a film that asks hard questions and deals with even harder subject matters, but still remains hopeful even in the darkest of moments.
Score: “정훈희” (Jeong Hun Hi or Jeong Hoon-hee) (안개(Fog) 1967)” from “Decision to Leave” (dir. Park Chan-wook)
