Happy New Year everyone!
In 2023, I watched 202 films. With a mixture of first watches and rewatches, in theater and home viewings, I became enraptured by a vast range of cinema that spans generations. Throughout this journey, I had my likes and dislikes, some new favorites, and others that likely will not be revisited. Even when I failed to enjoy a movie in totality, I always found a detail to admire. Whether it was a creative choice regarding the narrative, costumes, production design, soundtracking, or a specific line delivery from an actor, I felt fascinated by that perfect facet existing and how it was crafted by someone who truly has a knack for what they do. Discovering, learning, and having a heightened perception of the art is what makes film appreciation so thrilling and rewarding for me. Last year has been such a remarkable year for cinema, and in no particular order, here are my top ten favorite films from 2023:
*Mild spoilers ahead.*
Theater Camp
dir. Molly Gordon, Nick Lieberman
Theater Camp is a satirical mockumentary highlighting the charming absurdity of an upstate New York theatre camp in crisis while serving as a loving tribute to the community. I may be biased as an amateur show queen and theatre kid adjacent, but I found this film cleverly amusing. The film is reminiscent of the iconic comedy-drama television series Glee (2009-2015) in the best way. To put things in perspective for non-watchers of Glee, the program's calculated chaos and unhinged nature, not to mention the insane talent of the students, is what makes it endearing. Gordon and Lieberman do an excellent job at creating a similar essence, displaying the very niche and immersive experience of being a stage kid and the colorful mentors behind the scenes that assist the stars.
Don't get me wrong, the movie is playfully offbeat and purposefully silly, but oddly enough, I found myself moved by the incredibly hilarious yet impressive final performance. Full of familiar faces and a solid ensemble of child actors, the entire cast pulls their weight; Noah Galvin especially shines in his character, making the third act memorable and praiseworthy. Some kinks could have been ironed out in character development, but the commitment to the comedic elements minimizes the issue and makes the film enjoyable. Theater Camp is sure to entertain and even initiate a yearning for the exquisite mayhem of being a theatre performer in another life.
Anatomy of a Fall
dir. Justine Triet
Anatomy of a Fall is a film where the entire ensemble, including a dog, gives their all. Justine Triet's courtroom thriller centers on a woman on trial for the death of her husband, and the only witness is their blind 11-year-old son. Frequently inducing my anxiety, this film is an intense ride that succeeded in shifting my perspective throughout the runtime. The screenplay is gripping and well-focused and kept me engaged amid the changes in pace. While there are some courtroom cliches, the film remains tense and showcases how nasty legal battles can be. The French courtroom is represented as a gossip capital, not precisely based in fact, but information juicy enough to keep you guessing. Throughout the film, the case becomes more personal, and dark moments from their marriage that were tucked away come to light.
The camera work and editing come off as effortless. Quaint yet still unpredictable, it relies on simple techniques (such as zoom, dolly shots, and low-angles) to skillfully capture the tonal changes of the story and make the audience an active participant. While playing with the idea of Sandra's innocence, all the possibilities create a maze for the viewer. Moments where the truth feels obvious are derailed by harrowing details about the couple's dispositions and actions when they're around each other. Sandra Hüller is gravely convincing, showing how a tragic event can change a family's dynamic and lessen trust. Daniel, performed by Milo Machado Graner, plays a crucial role in that transformation by attempting to process brutal information about his parents while coming to terms with the reality of who they might be. The film leaves its points open to interpretation, and various conclusions can be drawn before the final verdict. I had high expectations going in to see Anatomy of a Fall, and it managed to exceed them all with solid story execution and exceptional performances.
Bottoms
dir. Emma Seligman
Bottoms is a raunchy and violent buddy comedy that features two unpopular lesbian teens forming a fight club in hopes of hooking up with cheerleaders before graduation. When their original scheme backfires, it becomes clear that the duo must assemble the other girls to save the beloved quarterback. To be frank, this is a movie that we're all familiar with; its formula is comparable to popular teen movies from the 2000s, but it has a queer twist and unique plot. While playing into known character tropes and themes, it remains a fresh narrative that successfully distinguishes itself from others of the same class. Once you suspend your disbelief and give in, you can make the most out of the absolutely ridiculous chain of events. Ayo Edebiri and Rachel Sennott are a comedic match made in heaven, and the supporting actors all nail their specific archetypes.
The heart of the film lies in the unusual bond between the girls in the club and their triumphant bloodbath as a team in the finale. All jokes may not work for some viewers; however, Bottoms is major on a larger scale because the lesbian community rarely gets well-received fun teen movies where characters get a happy ending. Once again, I am biased with this selection, but it is refreshing to see queer cinema excel in the realm of overplayed heterosexual versions of this genre. Emma Seligman is a director to watch out for, and Bottoms takes the cake as a top-tier satire and the best take of this style in this decade thus far. The cherry on top is a perfectly timed needle drop of Avril Lavigne's "Complicated" that solidifies Bottoms as an instant classic.
Passages
dir. Ira Sachs
As a lover of messy drama, a love triangle is the most popular trope to unravel the wax and wane of people believing they belong to one another. While I find the theme run-of-the-mill, Passages is a sensational and haunting depiction of the intricacies of contemporary relationships. The steamy and complex drama reels us into a gay couple's marriage that is upended by one party starting an affair with a young woman and the other party starting an affair of his own. The dynamic between the couple is established as Tomas (Franz Rogowski) is seemingly daring, blunt, and undomesticated, whereas Martin (Ben Whishaw) is good-natured, self-contained, and detached from Tomas's antics. Agathe (Adèle Exarchopoulos) enters the picture quickly and becomes a new mission for Tomas; his infatuation leads him to believe that their meeting is another chance for love.
It's one thing to embark on a strictly sexual relationship, and to transform that into an emotional connection is another thing. When one of the people in this pairing is already in a relationship on the verge of falling apart, it becomes even more complicated; it will only start a ripple effect for everyone involved. Everyone begins to hurt each other in ways unimaginable, and while a yearning hope for love and harmony guides their actions, it isn't enough. Moments of respite become their happiest times together, and sustainability is unlikely. Passages is an unflinching look at what happens when someone attempts the impossible task of attaining two mutually exclusive outcomes.
Passages is gorgeous in its simplicity and features unforgettable shots amid the disorderedness of its subjects. Body language is a significant part of the storytelling, and the blocking is precise and successful in showcasing the spirit of the characters and how they can either be one and the same or in entirely different spheres. The performances in this film are stellar, Ben Whishaw especially, blowing me away in the third act. A lot of popular discourse around this movie is about the love scenes (if you know, you know). The sex scenes in this film, although graphic, display chemistry and all-consuming amour fou most authentically. The film is utter destruction too intriguing to look away from; it is spell-binding, seeing the most beautiful people doing the most damaging things to each other. The great significance of self-reflection becomes a valuable lesson, and their twist of fate shapes their respective futures. Love can be many things: it can be confusing, overpowering, insightful, and even healing, but love should never be selfish.
Barbie
dir. Greta Gerwig
The pinkest movie I've ever seen and the biggest movie of the summer: Greta Gerwig's Barbie. Barbie's perfect daily routine is interrupted when she begins mirroring the thoughts and feelings of a woman playing with her doll in the real world. Barbie and Ken go on a mission to the real world to further investigate the issues Barbie has run into, and they are both exposed to the good and bad parts of humanity and how it affects them directly. The set design and costumes are otherworldly, and the combination creates a flawless fantasy land most fitting for the iconic doll. Barbie Land is extremely vibrant and revitalizing; blinking too slowly would have you missing the most meticulously crafted shots. The film has already become a massive cultural phenomenon, and Margot Robbie and Ryan Gosling's performances will forever tie to the two most popular dolls in the world. While matching and elevating the exaggerated theatrics, the comedy is brilliantly left field for the subject matter and continues to surprise throughout the film. I wouldn't dare write about this movie without mentioning the marvelous Singin' in the Rain-like musical number with Gosling at its center. With an "I'm Just Ken" earworm persisting for viewers, precision oozes from his seamless characterization of Ken, and he proves that this is the role he was born for.
While exploring Barbie's existential crisis, feminism becomes a big theme in this movie, and I appreciate the witty and calculated approach to the topic. I don't believe this was anyone's first idea of what the Barbie movie would be about or that they would effectively incorporate this. While it is a very basic take on feminism, I don't think that's necessarily a bad thing; the feminism in the movie is easily digestible and will be a significant introduction for teens and any other age group that needs somewhere to start. The risk in executing this theme pays off in Barbie because it is unpretentious and inviting to its audience. Barbie is sharp, heartfelt, and funny, a Gerwig motif. While exploring the complexities of human emotions and the reality of being a woman, Barbie finds herself. Navigating life is no easy feat for a doll, let alone a human, but above all, Barbie believes that the gift of life is special and worth it, and she is absolutely right.
All of Us Strangers
dir. Andrew Haigh
A haunting romance and stirring ghost story, Andrew Haigh's All of Us Strangers shows the life of an isolated man grappling with love and grief. Adam (Andrew Scott) encounters an alluring neighbor named Harry (Paul Mescal), and their visits become routine. He also returns to his childhood home, where his late parents are present and, shockingly, the same age they were when they died. Adam finds himself attached to his parents, sharing pieces of his adulthood and reflecting on the moments they shared from his youth. As his relationship with his parents grows, so does his affection for Harry. While focusing on the past, connecting in the present becomes increasingly difficult for Adam, and acceptance becomes his greatest challenge.
In a film highlighting awkward and intimate firsts, Andrew Scott approaches the role delicately, and his sensitivity speaks volumes even when nothing is said. All characters find themselves in vulnerable positions, and their uncomfortable conversations bring despair and even solace. Despite the heavy content, the film is stunning and accents warm hues in each frame, creating a trance-like experience. The editing and camera work are downright cool, for lack of a better word, and not having seen a fantasy drama in a while, these components firmly held my interest. Covering queer loneliness, fear, and woe, All of Us Strangers is a contender for nipping a sad movie fix in the bud, but without question, there's still substantial beauty in the story that's told.
Killers of the Flower Moon
dir. Martin Scorsese
Based on the nonfiction book of the same name, Martin Scorsese's Western crime picture centers on the murders of the Osage nation as oil brings them wealth and horrifically puts a target on their backs. Killers of the Flower Moon is a storytelling marvel, recounting motives fueled by greed and hate and how they caused outstanding harm to an innocent community. Scorsese doesn't hold back in displaying the brutality towards the Osage and the unadulterated evil in those who wanted their money by any means. Driven by the relationship of Mollie (Lily Gladstone) and Ernest Burkhart (Leonardo DiCaprio), the story uses love and deception as the central themes amid the investigation of the killings. Difficult to stomach but necessary to sit through, Scorsese's pristine direction establishes Killers of the Flower Moon as a masterclass in pacing, characterization, and making all frames count down to every minute detail.
Not only is it impressive to see a director create a film so near to perfect so deep into his career, but his ability to handle the story with such care is admirable. While I believe that seeing this story through Mollie's eyes would've resonated differently and created a considerable impact, that wouldn't be Scorsese's story to tell, and his vision through the perspective of the transgressor is the best execution. Through Ernest, we're shown justifications for the atrocities committed and how there is still a heart in those who have contributed to the violence; however, their reasonings only show how soulless and firmly cold-blooded they are. I find this choice to be highly effective. While giving humanity to murderers serves the purpose of making you empathize with them, the film's straightforwardness in showing the killings and the aftermath leaves absolutely no feelings of forgiveness, rightfully so. The 1920s was not that long ago, and I'm glad that Killers of the Flower Moon has brought more awareness to the Osage murders and how they will forever remain an unhonorable and vile part of America's history.
The Iron Claw
dir. Sean Durkin
An emotional and spectacular sports epic, The Iron Claw shares the tale of one of America's most famous wrestling families, the Von Erichs. Beginning with the man of the family in the ring, his sons take after him in the business and try their hardest to bring the highest title to the family name. The father, played by Holt McCallany, is concentrated and intense, pushing his sons as much as possible to ensure their success. Once great misfortune clings to the family and brings a tidal wave of tragedy, it poses the question: Was establishing the legacy worth it after all?
While all four leads have a compelling charm and each brother has a distinct style, impressively, their likeability is magnified as a unit. The displays of sibling love are incredibly tender, and their bonding moments become the most joyful highlights of the film. Although the final product is still quite strong, the speed of the story is the main issue. The execution would've been stronger had more time been dedicated to exploring the causes of conflicts before the effects were present. In the second act, the arcs come in a little too hot, but once you get used to the timing, you can enjoy the solid aspects of the film.
The editing choices in The Iron Claw make for a noteworthy viewing experience, and the beauty of the shots lingered in my mind long after its conclusion. Cinematographer Mátyás Erdély excels in creating different worlds within the film, a flashy and fun atmosphere taking over the wrestling scenes, warmth and intimacy at the forefront when the brothers connect, and vulnerability and unease during moments of adversity. The polished acting of the ensemble is the culmination of the film and builds the powerful family dynamic necessary to make a story like this work. By the end, the takeaways stimulate careful consideration; goals made out of utter selfishness won't leave everyone unscathed, and with loved ones included in the stakes, there is no real reward.
Past Lives
dir. Celine Strong
Who we bump into can shape our lives; each interaction has infinite possibilities and is all in the universe's plan. In Celine Strong's Past Lives, two childhood sweethearts separated due to a move reunite for a week in NYC, which brings passionate reflection and wondering what could have been. Nora (Greta Lee) and Hae Sung (Teo Yoo) created fond memories during their early life in South Korea as best friends, both possessing a competitive nature yet a supportive relationship. Once Nora's family emigrates to the U.S., this puts a space between them, literally and figuratively, and they grow into different people. As a playwright in New York, Nora experiences significant changes, and so does Hae Sung as he works in Seoul. Their reconnection brings nostalgic moments of bliss and sorrowful longing for something that no longer exists.
Past Lives maintains a soft tone and perfectly fits the sensitivity of the leading trio. It's notable how soundly the film balances minimalism and the most striking images. The continued motif of how Nora and Hae Sung face each other, from their goodbye scene as children to their parting as adults, calls for bittersweet moments and unique visual choices between them. The film was straightforward in its message; it's a very realistic way of how situations like these seem to pan out. The characters' dialogue and actions are honest and careful, although they don't sugarcoat anything. Rekindling an old flame sounds worthwhile and enticing, but sometimes, taking such a big chance isn't practical when life is already good. Past lives efficiently mitigates that overwhelming feeling of wishing different choices prevailed at moments of "divine timing." Logic over emotion may mend a relationship more than we all think.
Poor Things
dir. Yorgos Lanthimos
Last year's most kooky and ambitious film and a Frankenstein-esque tale for the ages, Poor Things, focuses on a woman brought back to life by a scientific experiment and her navigation through her autonomy and the world around her. Only through exploration can she reach new heights in practicing her free will, and while it brings wretched experiences amongst the good, watching her become more in tune with herself over time is a delight. Emma Stone's portrayal of Bella Baxter is unconstrained, sincere, and spunky, unlike anything I've seen recently in media. Through precise character building, it felt natural to feel for Bella and root for her. This unique coming-of-age story will resonate with many and start discussions, which I find fruitful.
Poor Things is a treat for the eyes, a true whirlwind of creativity and lushness. Cultivating an aesthetic specific to the film's universe is rewarding as it reels viewers in and fully immerses them in the story. With an outlandish plot, aiming high with all elements makes sense, and the outcome is a one-of-a-kind finish. The production design and costumes speak for themselves, both adoringly extravagant. The title cards shown throughout Bella's journey were a favorite, one of the many unique details in the film that stood out to me. For those unfamiliar with Yorgos Lanthimos's style, this is a glorious showing of his strong points and dedication to unconventionality.
With such big ideas introduced in the film, not all receive the full attention needed to have a more significant impact, but the concepts that do land are thought-provoking and work well. Poor Things is funny, compassionate, and an exhibit of sheer hopefulness. Paired with Stone's commitment, Mark Ruffalo nails the role of Bella's menacing beau, and their performances are at the top of the year. It's odd to think about how we've all adopted our beliefs and morals and figured out exactly what aligns with our identities as we grow. These parts of us didn't appear out of thin air; making ourselves whole is an expedition that doesn't stop. The story of Bella Baxter is a fulfilling rebirth and affirms that good can be built from the ground up.
That's all, folks! As interesting as 2023 was to me personally, that expanded into the films that I was able to see, and I found it all very satisfying. To keep up with what I've been watching this year, follow my Letterboxd account here. I'm so excited to see what's to come, and my fingers are crossed for a fun and enriching year for all film lovers.