TOP TWENTY BEST FILMS OF 2022
20. THE NORTHMAN
My main objective for including Robert Eggers' viking tale on this list is to upset my brother who absolutely hated every second of this film. Call it my small revenge on him for recommending “Barbarian” as something he thought I would love. Obviously I jest, as “The Northman” is also a bloody good film and deserves its place on this list. After only three films, director Robert Eggers has built a reputation for making movies that are historically accurate, and this holds true once again with “The Northman”. It is an incredibly masculine film, that does not shy away from the blood, dirt and grim that these warriors encountered regularly. At the end of the day, the main story within “The Northman” is a revenge tale, but it is the authenticity in the way Eggers tells the story that makes it stand out from the pack. The plot is downright Shakespearean filled with familial betrayal, stolen kingdoms, mystical rituals, revenge and witches (maybe). It looks like it cannot have been an easy film to make, as the extreme landscapes on display look both arduous and treacherous, and that is without trying to shoot a movie on them. However, it pays off handsomely in the film because “The Northman” looks stunning and grand in scale. It is housed with a brooding but intense lead performance from Alexander Skarsgard and a deliciously villainous performance from Nicole Kidman. Also in the cast are Anya Taylor-Joy, Ethan Hawke, Willem Dafoe, and a rare cinematic outing by Bjork. I must make mention of the action scenes in “The Northman” which are very bloody affairs, particularly one large battle that has been miraculously filmed in a single take.
19. YOU WON'T BE ALONE
It seems right that this next film follows straight after a film by Robert Eggers because you feel Eggers' influence (and that of his feature debut “The Witch”) throughout “You Won't Be Alone”, which tells the story of a shape-shifting witch who falls in love with what it is to be human. Like Eggers, director Goran Stolevski has infused his film with an authenticity particularly in its period details. The other director whose influence is also felt throughout “You Won't Be Alone” is Terrence Malick, as Stolevski often has his camera glide through his locations, along with his similar use of voice-over. I now a lot of people have issue with Stolevski aping Malick's style but I personally thought it worked wonderfully in conjunction with the type of story he was telling. As the witch is a shape-shifter, taking on the guise of the victim she has just murdered, the witch is played by different actors throughout the film, with Noomi Rapace being the most well known of them and who is, as always, excellent. “You Won't Be Alone” is actually an Australian film, despite it being spoken in Macedonian and being set in the Macedonian mountains in the 19th century. Initially, I wasn't really sure how I was going to react to this film, but was quickly won over and totally blown away by it before its end. I was so impressed by “You Won't Be Alone” that I was sure it was going to make a large splash on the international market, but sadly the film came and went with barely a whimper. I am not sure why it hasn't made a mark on audiences worldwide, but suspect that the film's slow, deliberate pacing may have something to do with it. Personally, I loved every second of “You Won't Be Alone”, and thought it was a beautiful, if disturbing tale.
18. THE WONDER
Sebastian Lelio's “The Wonder” was another disturbing work that I also fell in love with. Set in the Irish Midlands in 1862, the film sees an English nurse who is sent to watch over a young girl who has stopped eating. Being that it has been months since the girl last ate, and that she is still in good health, the Church organises the nurse to observe the girl to prove that she is a miracle of God. Word has already leaked of the proposed miracle, with locals regularly visiting the girl's house for blessing or just to witness a saint. Whilst she can find no evidence of foul play, the nurse is convinced that all is not what it seems, but she is determined to do right by the young girl in her care. Whilst I am not a religious person, I have a lot of respect for people with faith. I also have contempt for religious hypocrisy and organised religions who use this unwavering faith to manipulate people for the sake of the church, at the expense of the individual at heart. This is another slow moving film, that could put people off for thinking that nothing is happening, but I was riveted from the first minute of “The Wonder” until its end. Florence Pugh is excellent as Lib, the caring nurse, who finds herself being emotionally drawn into the dilemma in front of her, due to a tragedy from her past. The male lead is Tom Burke, who plays Will, a journalist Lib befriends, and who is convinced that the girl is faking. You may remember that I spoke of my hatred of Burke as an actor in my Top Ten Worst Films list, but I am happy to say that this is the first film he has been in that I have been able to stomach him; in fact he is rather good in the role. It amuses me when people say that nothing happens in “The Wonder” because there is so much going on in it under the surface. It is hard to say too much without giving away the film, but at times I was shocked at how far certain people would go to keep their secrets buried. Amazingly, this story is very loosely based on a real incident, which is more than a little scary. Oh, I almost forgot, that the film is book-ended with two very strange sequences set in the modern day, talking about the stories we tell one another to survive. I am still not sure how I feel about these, but I must say I love Lelio's boldness in beginning (and ending) his film in such a manner. Finally, I loved seeing Niamh Algar who has a medium sized role in “The Wonder”; after her sensational starring role in last year's “Censor” I was rapt to see her in a bigger scale film.
17. WHITE NOISE
I think the most surprising thing about Noah Baumbach's latest film, “White Noise”, is that it is nothing like anything he has done previous. He is totally out of his comfort zone here, but holds himself more than adequately. It is well known that Baumbach is good friends with director Brian DePalma, and it is a friendship that has always amused me because they both seem to have completely different directing philosophies or hold more importance on different things when it comes to making a movie. DePalma is all about the visuals, finding the perfect camera angle or move to tell his story visually, whilst Baumbach up to this point has focused more on dialogue and performance. Baumbach's films are more character pieces, whilst DePalma's films are more plot driven. I am obviously talking broadly here, but I bring this up because “White Noise” is the first time Noah Baumbach has let his visual side take centre stage and he is surprisingly adept at doing it. It is a glorious looking film, with some very impressive camera moves to boot. There are also a couple of very obvious visual homages to his mentor Brian DePalma in the film too. Going into “White Noise”, I really didn't know what to expect, and the first ten minutes or so, I found it a little hard to get into, but eventually I clicked in with the film's very bizarre and wacky tone, and from this moment on, just loved it. Whilst flexing his visual muscles, Baumbach hasn't abandoned his love of dialogue, as there is a lot of it, but it has been delivered brilliantly by the whole cast in a fast screwball comedy-like fashion. There have been a couple of films this year that have had amazing ensemble casts, and this was one of them. Adam Driver is sensational showing another side of himself and further showing his impressive range as an actor, Don Cheadle is hilarious as a professor specialising in Elvis, whilst Greta Gerwig's character has quite the emotional arc, which she nails whilst also being very funny. Her wild hairstyle deserves an Academy Award in itself; it is just brilliant. The marketing of “White Noise” has focused on the element of the “airborne toxic event”, but this isn't all the film is about, as we are witness to a suburban family attempting to find happiness while filtering out outside influences to realise what is truly important. It deals with drug addiction, infidelity, murder, revenge, media manipulation and the spreading of misinformation via the media. At times it is heady and full on, and I will admit that I think I need a second viewing to fully digest everything in “White Noise”. I found it incredibly funny, but it also went to some dark and disturbing places too that I wasn't expecting, before almost becoming a full on thriller in the final third. Whilst I do not think “White Noise” is a better film than Baumbach's previous film “Marriage Story” (also starring Adam Driver), I still had such a good time with it, and I loved that Baumbach was prepared to try something different, and was impressed by how well he succeeded with it. Due to it's very strange and quirky tone, not to mention oddball characters, I am not sure that “White Noise” is for everyone, but it hit all the right notes for me.
16. TO CHIARA
To be honest, I have no recollection of how I ended up aware of “To Chiara”, or what made me want to check it out. I was not aware of director Jonas Carpignano or his films prior to this, so I can only imagine that it must have had some festival buzz earlier in the year, but whatever the reason, I was glad that I ended up seeing “To Chiara” as it is a powerful coming of age tale, set during a close-knit family's downfall. The film is about a fifteen year old girl, Chiara, who idolises her loving father. One night while she is half-asleep, she sees some commotion in the family kitchen between her father, mother, and some other family members, before Chiara's dad grabs his coat and leaves the house. Due to her sleeping status, Chiara is unable to understand the scene playing out in front of her tired eyes, but when she awakes the next morning, she finds that her father is gone. She is shocked by this as it is so out of character for her dad, which then makes her determined to find the truth of her father's whereabouts. Chiara sets out on a journey of discovery that will change her life and relationships within her family forever. What makes “To Chiara” as hard hitting and powerful as it is, is all thanks to the lead performance from actress Swamy Rotolo who plays Chiara. Rotolo gives Chiara incredible strength and determination, often coming across closer to an adult than the fifteen year old girl she is. She is tough and takes no shit from anyone. What I also loved is that she is a girl with great morals and character, and when she finds out the truth, she is disgusted by it. She is also devastated when she learns that the rest of her family knows, but worse, they accept it, if it means living the lifestyle they currently do. I am trying to be as vague as possible so as to not ruin the movie for anyone, but suffice to say Chiara's world is turned upside down as she learns the truth about her family, and then rejects what the rest of them just expect will be a rite of passage for her. Carpignano makes a smart decision starting his film with the 18th birthday party of Chiara's sister, as we see this family and Chiara at their happiest. You need this extended moment of fun and frivolity, for the juxtaposition of the end to fully hit its hardest. I was super impressed by this bold and emotional Italian film (but I am devastated that it does not have an English friendly blu ray release at the moment).
15. 1976
Director Manuela Martelli's “1976” was the second film I saw at this year's MIFF, and it has stayed with me since. Set in Chile 1976, during the early years of Pinochet's dictatorship, Carmen and her well-to-do doctor husband head off to their beach house to spend time with their grandchildren on the holidays, and to prepare for the birthday party of one of their granddaughters. Carmen is a giving and caring person, and in her free time she reads to the blind at the local church. Essentially preying upon this kindness, the family priest comes to Carmen asking for her help to take care of a wounded man that he is sheltering within the church in secret. Her decision to help alters the trajectory of her life immediately and forever, as she is thrust into a menacing world she is unfamiliar with, a world where she can trust no one, and where a single mistake could cost her life or the lives of her loved ones, as her eyes are opened to the dangerous reality of Pinochet's Chile. I was thoroughly impressed by “1976”, and thought it was a seriously intense cinema experience. Highlighting life in Pinochet's Chile via the eyes of a middle aged woman, without the representation of the military was a bold choice, but one that works wonderfully well. The success of the film hinges on the performance of Aline Kuppenheim (who plays Carmen) who just delivers in spades. She is so light and carefree in the early scenes, whereas by the end you can feel the weight this entire ordeal is having on her, to the point that she appears to have aged years in just a couple of weeks. Manuela Martelli's direction is perfect in its detail and oh so confident in its execution. It is a classy looking film, with Martelli employing a classic style of filmmaking relying heavily on beautifully composed images, and perfectly timed editing to portray the immediacy and tensions of the world she has created. I was particularly impressed by the period detail in the art direction by Francisca Correa, who creates a world that feels fully lived in and Soledad Rodriguez's cinematography which is slick and precise, relying on images that are a little off tilt or regularly reflected off mirrors which enhances the paranoia of the story. The thing that I was most impressed by though was Maria Portugal's pulse pounding and very dark score; it kept the tension of the film forever ratcheted at eleven. “1976” is an excellent example of the paranoid thriller that I recommend wholeheartedly, but man, is it an intense ride. Click here to read my original review.
14. MAIGRET
I am a big fan of French director Patrice Leconte, although it has been awhile since I had seen one of his new films. He had a stellar run during the 90's through to the mid-2000's where the majority of his work was released in cinemas outside of France, with most of these films being of very high quality. However, he seems to have fallen out of favour recently as I honestly cannot remember the last film of his to receive a release in Australian cinemas. Anyway, I became aware that Leconte had made a new film featuring that famous Police Commissioner Maigret, with Gerard Depardieu cast in the role, when it was set to play in the French Film Festival here in Melbourne earlier in the year. Thankfully, a trailer for the film was on the festival website, which I watched and loved, particularly because I felt it had the same atmosphere as “Monsieur Hire”, which is my favourite Patrice Leconte film. This similarity in atmosphere seemed perfect as both films are based on books by Georges Simenon. Obviously, I saw “Maigret” and loved it, but it is such a quaint piece. It would have to be the most low-key murder mystery film I have ever seen, but it works so beautifully for the story being told. There are no car chases, explosions or action scenes of any kind. Instead we are treated to an old style detective examining clues, narrowing down suspects, working out motives, before solving the crime. It is slowly paced, but so stylishly directed and designed by Leconte. I also really liked Depardieu's world-weary portrayal of Maigret himself, and appreciated the personal backstory as to why the commissioner is so emotionally connected to this mystery. I must say that I also had a very funny realisation in regards to my changing cinematic tastes during my screening of “Maigret”, as I suddenly looked around the very full session and realised that I was one of only three people in the cinema who was under the age of eighty. After being so impressed by “Maigret”, I was left surprised when it barely made a blip on the cinematic radar. Maybe I was wrong in my opinion, and there wasn't much there to begin with after all. I decided to give the film a second look, and again thought it was a fantastic murder mystery. Yes, it is very old fashioned and probably as far from the “Knives Out” films you can get, but that doesn't make it any less impressive.
13. BONES AND ALL
Luca Guadagnino's “Bones and All” was on my most anticipated list of 2022 and thankfully it did not disappoint. It is a stunning romantic horror film, that goes heavy on both facets and does so with an emotional depth that is rare in genre cinema today. The film is incredibly romantic with these two oddball loners falling deeply for each other to the point that they would do anything for the other. Whereas the horror is as bloody as it gets and deeply, deeply disturbing! Did I forget to mention that our two main characters, Maren and Lee, are also cannibals? “Bones and All” begins with Maren discovering her cannibalism whilst at a sleepover when she bites the finger off of one of her friends. Maren and her father immediately skip town, before her father abandons her, leaving her to fend for herself. She soon comes across another loner, Sully, who also happens to be a cannibal too. It is here we learn that cannibals can smell one another, although this is something Maren has yet to fully develop and control. Maren and Sully together then devour an elderly woman who has just had a critical heart attack, all in very bloody and graphic detail. I was lucky to see “Bones and All” on the big screen at a MIFF member's screening, and this early scene saw a lot of walkouts, so believe me when I say that it is not for the faint-hearted, but it rewards those who stay, as you are then witness to one of the most heart-felt, if not tragic romances seen on cinema screens for ages. Sure, it is an unconventional love story, but you never doubt just how much in love these two characters are. The film is essentially a road movie, as after the scene above, Maren has mixed feelings of what she has done, fleeing the scene and leaving Sully behind. It isn't long before she meets up with Lee (she smells him!), and the two head off driving across the mid-West in search of Maren's biological mother in the hope that she can give her some answers on why Maren is the way she is. Like all road trips, Lee and Maren meet up with other oddball characters, not all who are friendly and inviting either. The reason “Bones and All” made my most anticipated list was solely due to Taylor Russell's involvement in the film. Russell plays Maren, and previously she blew my mind in Trey Edward Shult's “Waves”, so I was dying to see her in another film made by a top quality director. She is outstanding in “Bones and All”, and her and Timothee Chalamet have real chemistry onscreen. You feel the heat of their romance and burgeoning passion for one another. Whilst I have just mentioned Guadagnino as a top quality director, I must admit that I haven't loved all his previous films. I have “liked” them all, but something seemed to stop me from loving them. I am happy to say that I loved “Bones and All” and it is definitely my favourite film of his so far. He directs the film with both a sensitivity and sensuality, whilst never judging his characters for who they are and what they do to survive. There is a real emotional depth to this film that makes it more than just another horror film. But as I have mentioned, Guadagnino also isn't afraid of depicting just what Maren and Lee's cannibalism consists of. This is definitely not a film for everyone, maybe it is not even for most people, but I thought it was both fantastic and heart-breaking in equal measure.
12. GLASS ONION
Just like in 2019 when he released “Knives Out” into the world, Rian Johnson has done it again this year with “Glass Onion”, which was arguably the most entertaining and downright fun film I saw all year. And let's face it, that is what these Benoit Blanc murder mysteries are all about: fun! They do not take themselves too seriously, while at the same time are also very clever in regards to their mystery. You can also see that it is not just cinema audiences that enjoy these films, as it is very obvious the cast is having a ball making them too. Particularly Daniel Craig who seems to relish the silliness of it all, especially after playing the self-serious James Bond for so long. If I was really pushed, I would still say that I prefer “Knives Out” over “Glass Onion” but it really is by the barest of margins, and only because the original film is slightly more serious, where “Glass Onion” really leans further into the comedy, but that is also a strength of the film. I would also say that the original film had a bigger name cast, but all those in “Glass Onion” do an excellent job, really working well as an ensemble, and just having a ball with it all. Initially I was really disappointed in “Glass Onion” with its initial set-up and story plotting, but the film gets to a certain point before going back to the beginning, this time showing us the same events but from a different point of view and with added information, and suddenly it all just clicked into place and I thought it was so very clever. Outside of Craig who is the heart of these films as the brilliant detective, Benoit Blanc, the person who stood out most in the cast was Janelle Monae, who I thought was amazing in the role of Andi. Really though, the whole cast is great with Kate Hudson also memorable as a ditsy model, with Edward Norton hilarious as the not-as-smart-as-he-thinks-he-is billionaire. Rian Johnson has a lot of fun with Norton's character, often making fun of him, with him being a not-so-subtle substitute for Elon Musk. The mystery itself was also very clever, particularly in its simplicity which is also very funny (he says trying to give nothing away). Rian Johnson directs with flair, and along with Steve Yedlin, his regular director of photography, they have created a very glossy, expensive looking world. I also liked that Johnson didn't cheat with some of his mystery elements, having things play out exactly in front of us, if only we are looking in the right places to notice these details. Once again, “Glass Onion” is fun, fun, fun and I would recommend it to anyone looking for a good time at the movies. It is well acted, superbly written and directed, beautifully shot, and is filled with amusing cameos. I cannot wait for the third film in the series.
11. MARCEL THE SHELL WITH SHOES ON
If someone had said to me at the beginning of the year that I would have a film about a talking shell on my top twenty list, I would have laughed them out of town, and yet here we are. “Marcel the Shell with Shoes on” is based on a short series of animated YouTube videos, that were created by married couple Dean Fleischer-Camp and Jenny Slate, with both parties contributing to the writing, while Fleischer-Camp directed and Slate provided the voice of Marcel. The couple created three shorts about Marcel, which had earned a dedicated following, and soon the idea for a feature length Marcel came about. By this stage, the couple's romantic relationship had ended but their creative relationship was still strong, so the two combined to create one of the most lovely, and genuinely delightful films I have seen in ages. It is just so cute, and so damned sweet, that you cannot help but love little Marcel. The film is a mockumentary with Fleischer-Camp playing himself as the director of the documentary about Marcel and his grandmother Connie. Throughout interviews with Marcel, we learn about the colourful life Marcel and Connie live, as well as the fact that they are the last two remaining shells of a once, much larger colony of shells. Marcel aches for his missing family, and being moved by this dilemma, Dean soon posts a video on the internet about Marcel to help in the search for his loved ones, which in turn makes Marcel something of a celebrity and gives the little shell some renewed hope that he and his family may finally be reunited. “Marcel the Shell With Shoes On” is an absolute joy from start to finish, and is also very, very funny. The rapport between Dean and Marcel is both hilarious and brilliant, with Dean often found laughing at Marcel's very honest, but amusing answers to his questions. The film is so creative in terms of the everyday things Marcel uses for other purposes, such as the broken tennis ball that he uses to get around the house in. I also dare you not to laugh when he explains what he and his grandmother use to make their rope. Besides all the laughter to be found in the film, you find yourself genuinely caring for this shell and his ordeal in trying to locate his family. You empathise with poor Marcel when he realises just how big the world actually is, and how unlikely it will be that he will succeed. I happened to see “Marcel the Shell With Shoes On” in a sold out session at MIFF with my brother and for once, we actually agreed on a movie. At the end of the film, he turned to me and said “that's a five star film”. Whilst I didn't rate the film that highly myself, I still thought it was a stunning achievement, and it seemed like I wasn't the only one who felt that in the audience.
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