REEL

Category: Features

  • REEL’s Top 15 Films of 2025

    REEL’s Top 15 Films of 2025

    After 2024 wrapped, our takeaway was that, despite some strong work from the independent scene, it felt like one of the more lacklustre years we’ve seen in recent memory. Not to say there weren’t some fantastic films – Anora, Flow and Nickel Boys come to mind – but it was in the depth of quality that 2024 fell short. Being the pessimists we are, we’ve been pleasantly surprised by the quality and diversity that emerged from 2025.

    Major auteurs each took a turn giving their view on the state of the world – PTA, Ari Aster and Yorgos Lanthimos all had a crack at it in their own unique way. It was also a year where international markets proved how monumental they could be, with Ne Zha 2 topping the box office – highlighting just how powerful Chinese audiences are and that financial success doesn’t just live within US borders.

    While major studios are still putting their faith in existing IPs, it’s been refreshing to see box office success for some original projects. Ryan Coogler’s Sinners and Zach Cregger’s Weapons were both successful purely because of their acclaim, and even Josh Safdie’s Marty Supreme cracked the $100m mark thanks to its star-driven marketing. While sequels, spinoffs and remakes still reign supreme, there have been a number of films that have captured the zeitgeist, giving us faith that originality is still a crucial part of contemporary cinema.

    15. If I Had Legs I’d Kick You

    Director: Mary Bronstein

    We’ve seen a number of films from this year that are about parenthood and all its challenges – Lynne Ramsay’s Die My Love very nearly made this list – but none have quite captured the exhaustion like Mary Bronstein’s drama. A taut and uniquely shot tale of motherhood that explores the unforgiving nature of the role.

    This will definitely hit different for a parent, whether they connect to this or not, but there are plenty of creative choices that can be appreciated by everybody. Even if we’ve seen films with similar themes, none of them approach it in the same way as Bronstein. With its invasive camera work and frantic screenplay, the film tries to physically exhaust you at times, and its balance of anxiety, humour and drama is perfectly performed by Rose Byrne.

    There isn’t much left to be said about her performance that hasn’t already been mentioned, but her multiple award nominations and wins speak for themselves. As an actress who carved a path in television and comedies, she was overdue for a role that could really let her shine. Byrne is the anchor, but hopefully her recognition will give this film a bigger audience than it definitely deserves.

    14. The Ice Tower

    Director: Lucile Hadžihalilović

    Lucile Hadžihalilović’s ethereal twist on a fairytale is one of the only films to truly surprise us from beginning to end. Its enchanting visual style will continually draw your eye – most of the film is set on a beautiful snowy soundstage – but at its centre is a story rich with character as it explores the volatile nature of idolisation.

    Both Pacini and Cotillard are excellent in different ways – one a doe-eyed and naive teen and the other a powerhouse actress with guarded vulnerability – but the film’s ability to juxtapose their frailty is what makes their relationship so fascinating. It’s shown in anxiety-inducing reality and dreamy fantasy sequences which slowly blend together, creating a narrative that blurs the lines of what is tangible and what is just a twisted illusion.

    13. Twinless

    Director: James Sweeney

    Despite being one of the most talked about films at Sundance, James Sweeney’s surprising and melancholic comedy didn’t quite get the same attention as films like Sorry, Baby or Train Dreams. But this lack of coverage might be its best asset. Going into this film under the impression that you’ll be watching a heartfelt, often funny indie film about connection through loss means you never expect the twist that is lingering at the centre.

    But despite the surprise, the core of the film still remains. Making those connections with people, and processing your grief with the help of someone, is still prevalent. But with its twist, it also explores what it means to be isolated and alone in this world. Sweeney balances all of this with a razor-sharp sense of humour, creating characters that are loveable despite being so utterly floored and withdrawn.

    Not only did Sweeney give himself a singular voice as a writer and director, Dylan O’Brien pulls double duty in a career-best performance. A dual performance is hard enough, but his role as grief-stricken twin Roman – wrestling with masculine insecurity and untamed feelings – is by far the strongest the actor has ever been.

    12. Palestine 36

    Director: Annemarie Jacir

    In a year with immensely successful films about rebellion and resistance (see later down the list), Annemarie Jacir’s recounting of the revolt against British colonisation 90 years ago could easily be lost in the shuffle. Less flashy and star-studded than PTA’s contemporary fictional tale, it might be just as relevant as it was when it actually occurred almost a hundred years ago.

    There are elements of the film that keep it from breaking the top ten: uneven editing in crucial sequences leads to less of an immediate impact, along with slightly stunted pacing, and some acting that leaves a bit to be desired. But once the credits are rolling, none of that matters nearly as much as the anger it swells up inside its audience. At its most successful, Palestine 36 doesn’t just make you want change, it demands it, using the pivotal events of the brutal occupation the British imposed and the efforts made by Palestinian people to repel control, turning them into all too familiar images.

    Clearly, the film takes a singular viewpoint on the war, opening on the text “History did not begin on 7 October 2023,” and it does not lionise the people it’s portraying. It may be a complex situation, as many people say, but one side is committing genocide, the other is not, and that’s not so complicated.

    11. The Secret Agent

    Director: Kleber Mendonça Filho

    It’s easy to see why audiences are comparing Kleber Mendonça Filho’s latest film to last year’s I’m Still Here – both explore the impact of Brazil’s military dictatorship during the 1970s – but The Secret Agent is unique because of its broader perspective and tonal singularity. This isn’t as focused, nor is it traditionally rhythmic as a narrative, but it captures a time and place perfectly, as well as the everyday challenge of existing in this time.

    It’s less straightforward than being a simple tale of espionage; it jolts in tone and sways in structure to capture a culture begging to be freed. Long stretches of its runtime are dedicated to capturing the city of Recife, as well as the people closest to Armando (or Marcelo), and just how resilient and vibrant they can be in the face of tyranny. But when it’s time to buckle down and create moments of tension, Filho doesn’t hold back.

    There isn’t a distinct genre or style to The Secret Agent, but its disinterest in finding one is exactly why the film is so brilliant. It’s bold, funny and tense whenever it chooses to be, and there is no apology given, or in fact needed.

    10. Left-Handed Girl

    Director: Shih-Ching Tsou

    Shih-Ching Tsou’s observant drama is about three women, all of different generations, trying to survive in a culture built on archaic traditions and superstitions. Its heavy narrative swings are beautifully balanced with an innocence brought by the titular child character, I-Jing, who is trying to navigate life while her sister and mother are fighting for their collective existence.

    Within that balance, writers Tsou and Baker, who often collaborate, capture both external and internal struggles in a personable way without ever compromising the thematic umbrella under which everything sits. Despite its big moments of melodrama, there are fantastic moments between the trio that speak volumes about their dynamic even when nothing is said.

    There is an underappreciated complexity to everything that’s happening in Left-Handed Girl, but there is also a soft and approachable aspect that makes it so easily watchable.

    9. Bugonia

    Director: Yorgos Lanthimos

    Along with a number of directors this year, Yorgos Lanthimos gives his two cents on the current state of the world in the only way he knows how – via a weird, satirical and unconventionally tense story. What has always set Lanthimos apart as a director, and why Bugonia succeeds, is that he’s able to find pockets of poignancy within the barbarity of his unique style.

    Both Emma Stone and Jesse Plemons give excellent performances in the leading roles, particularly Plemons, who is perfect at capturing delusion. But as the film transitions into more heartfelt territory, he understands the gravity of what drove his character to do something so drastic.

    Lanthimos has continued on his path of continual hits, proving that no matter how odd or unique his style is, he moulds it to fit any genre or tone – especially in a film like Bugonia that at its centre feels so unapologetically angry.

    8. It Was Just An Accident

    Director: Jafar Panahi

    Very rarely do you see films with such conviction as Jafar Panahi’s Palme d’Or-winning film. It’s almost an insult to approach a review of this from a filmic standpoint, as its boldness and singularity make it one of the only films from 2025 to be described as brave.

    One fateful incident on a highway sparks a chain of unpredictable and macabre sequences that force a group of people to face a past they’ve long tried to forget. Within these sequences, Panahi’s direction and writing are sublime – balancing dark comedy with a coldness towards the film’s intended target.

    It’s a courageous statement about existing tyranny and how you face it. Even if we aren’t shown the violence that these characters are so eager to avenge, we understand thanks to Panahi’s honest direction. It’s genuinely shocking that he hasn’t received a nod for Best Director at this year’s Oscars, considering just how important his work here is.

    7. Sorry, Baby

    Director: Eva Victor

    With her debut, Eva Victor achieved a tonal balance that feels nearly impossible to achieve. Drifting between devastation and humour with the flick of a switch, it’s earned because of such a genuine understanding of Agnes’ experience. It’s less about making light of a bad situation and more about how painful experiences slowly eat away at your fundamental persona, and how humour and resilience help to counter that.

    It’s extremely delicate for a first-time director, and despite being so focused on the trauma itself – regularly diverting back to when it happens in its non-linear structure – Eva Victor brings an incredible amount of warmth to the film through her screenplay and central performance.

    With an overwhelming amount of topics being challenged through film this year – a sad realisation in and of itself – Sorry, Baby’s quiet approach to dealing with sexual assault is one of the most stirring.

    6. Marty Supreme

    Director: Josh Safdie

    Much like the Coens a few years ago, cinema saw the split of another great directing duo, with Benny and Josh Safdie both taking on solo projects in 2025. Benny’s The Smashing Machine was an interesting diversion from the high-octane anxiety their films usually have, but Josh’s pulsating search for greatness feels stripped straight from Safdie’s playbook.

    Chalamet spearheads the chaos in a career-best performance as Marty Mauser, a young man with nauseating self-belief and a fixation on realising his dream – regardless of the cost. Much like Uncut Gems, we watch our main character leap from one bad decision to the next. Josh Safdie is no stranger to making protagonists inherently self-absorbed, but somehow he leaves just a shred of hope that one day Marty Mauser might redeem himself.

    5. Sinners

    Director: Ryan Coogler

    Very few films have been spoken about as much as Ryan Coogler’s passionate, one-of-a-kind horror–music mashup. Distilling the very best aspects of its respective genres, Coogler laces his story with deep-rooted thematic importance while never losing his tremendous understanding of mainstream storytelling.

    With the continual use of existing products to create success, Sinners reaffirms that originality isn’t dead. Coogler’s emphatic writing and directing, as well as the incredible score by Ludwig Göransson, prove that humanist storytelling and genre filmmaking don’t have to be two sides of the same coin – making its popularity one of the most important parts of 2025’s cinematic landscape.

    Having spent a number of years working with major studios on franchise projects – relaunching Rocky Balboa with the Creed films and working with Disney on Black Panther – it is refreshing to see Coogler explore his own ideas and remind people just how important his voice is.

    4. Hamnet

    Director: Chloé Zhao

    Adapting Maggie O’Farrell’s dense novel is no easy task, but director Chloé Zhao feels like the perfect filmmaker for it. Her delicate attention to characters as they journey through trauma seems fitting for a story so deeply linked to grief and how different people process it.

    The visual weight Zhao and Łukasz Żal put behind their shots makes the English countryside a thing of beauty, adapting the novel’s descriptive qualities whilst also capturing the intrinsic connection Agnes has to it. Jessie Buckley also gives the best performance of the year as Agnes, acting every emotion and inflection as if it’s being pulled from the deepest parts of the human soul – a performance that will be remembered for years to come.

    It’s easy to see Hamnet as a divisive film. It wears its emotional gravity on its sleeve – a quality that can often feel like awards bait – but Zhao approaches it with a sensibility that means its big moments are earned, particularly the heart-wrenching ending.

    3. One Battle After Another

    Director: Paul Thomas Anderson

    Paul Thomas Anderson’s latest film is a reminder of just how singular the director is – a storyteller like no other, whose creativity as a writer and director is unmatched with every film he creates. One Battle After Another is his most energetic and aggressive film to date: a call to arms that is whimsical, high-octane and poignant all at once. Anderson isn’t the only director who wants to challenge the current world we live in, but his approach feels like one of the more unique to come from the year.

    The pulpy elements that make this film so absurd are in the characters. Bob, played by Leonardo DiCaprio – an ageing revolutionary donning thick sunglasses and a dressing gown – is just one of many that feel almost comic-book-like in their bizarreness. But somehow, despite its satire teetering on farcical, One Battle After Another remains firmly planted in today’s world.

    The question of whether this is the best work Anderson has ever done is up for debate, but its quality can’t be denied and it is easily another roaring success for a director who very rarely misses.

    2. Sentimental Value

    Director: Joachim Trier

    In 2021 Trier and Reinsve delivered one of the best films of the year with The Worst Person in the World, and since then fans have held their breath waiting for their next collaboration. Sentimental Value is equally challenging and sharp as a humanist drama, but takes on generational trauma in piercing fashion.

    Often when films include filmmaking it’s easy to lean into a certain glorification of art, but here it’s used as a cause for family disconnect while also being a crucial part of its characters’ communication. It’s a delicate balance that is captured beautifully on screen, and in Trier’s writing, topped off by each actor in the film working at their zenith.

    Where the more stirring films from this year have approached their emotional fragility effusively, Trier is particular in how his characters show theirs. It’s restrained, often frustrating, but in doing so earns its emotional payoff and then some.

    1. Train Dreams

    Director: Clint Bentley

    Like Hamnet and Sentimental Value, Clint Bentley’s understated drama challenges the darkness and hardest experiences humans go through during their lives. But what makes it a rarity is the life-affirming feeling you get despite its gut-wrenching story. We’ve already mentioned humanist storytelling as a driving force for 2025, but making you genuinely reflect on and celebrate the moments of your own life makes Train Dreams completely singular – despite its vastly different setting.

    Set during a period of constant industrial and social change, Robert Grainier’s place in this evolving world is beautifully captured as he suffers the greatest loss anyone can feel, igniting thoughts of how stagnant grief can truly make you feel. Its beautiful backdrop is captured perfectly, and bringing it all together in such a celebratory way shows just how controlled and balanced Clint Bentley’s direction really is.

  • The Waiting Room and the loss of innocence – Interview with Karl Deehan

    The Waiting Room and the loss of innocence – Interview with Karl Deehan

    Director: Karl Deehan | 12mins | Short, Drama

    Woody, a young boy heading to an appointment for his father, wanders from the waiting room and embarks on a quiet but transformative journey through the hospital.

    Exploring a radical change in childhood has been a mainstay in cinema for sometime, whether it’s the fantastical tale of Pan’s Labyrinth or the harsh reality Stand by Me, stories on the cusp of adolescence always try to capture the last few moments before youth becomes adulthood.

    Writer/Director Karl Deehan finds a way to blend all of the above in The Waiting Room. Something more akin to Sean Baker’s The Florida Project, Deehan’s newest film explores the loss of innocence in a lyrical, meditative story of a young boy literally leaving the safety of his parents comfort zone, and finds the truths that come with growing up.

    We interviewed Deehan about his film, which is currently making it’s festival run and will be available on streaming shortly after.

    What inspired you to tell the story of The Waiting Room – where did the idea begin for you?
     Karl Deehan: It started with a memory from when I was five or six. My dad would take me to visit my grandad in the hospital, but I wasn’t allowed in because I was “too young,” so I’d sit outside imagining what I wasn’t seeing. I felt protected, but also strangely excluded. I didn’t know what was happening behind those doors, but I could sense its weight, or at least imagine it. The film grew from wanting to explore that unseen emotional space, the version of me left in the corridor, trying to make sense of that world.

    It explores childhood, vulnerability, and loss of innocence – how did that shape the film’s quiet, observational structure?
     KD: Childhood, for me, was quiet and observational, seeing things for the first time, noticing things that adults tend to overlook or have become overly used to seeing. As a child, everything feels bigger because it’s new. That led naturally to a more observational structure. I didn’t want to impose adult logic or pacing. The stillness felt true to how children process new information.

    The film has a very measured, grounded tone. What drew you to that style, and how did you approach creating tension without relying on major plot mechanics?
     KD: I wanted the audience to experience the day as Woody does, through moments rather than exposition. Tension comes from the set up of the idea, naturally we fear for a child wandering off on their own. That innocence can bring them into situations beyond their control. I wanted the audience to feel the unease that Woody may experience something he’s not ready for.

    To expand on that, the silence and sparse dialogue create a meditative atmosphere – did this start in the writing stage, and how did you carry that intention through on set?
     KD: It began in the script, with minimal dialogue. On set, I let shots run longer than necessary to give us room to experiment. But it was really in the edit that the film found its rhythm. Holding moments slightly longer gave the silence weight and made it intentional. Watching Yi Yi (2000) around that time definitely influenced my approach too. I liked how it gave the space for moments to breathe. As an audience member that space gives you time to think and meditate.

    Rory Wilmot (Woody) gives a wonderfully naturalistic and nuanced performance. How did you navigate directing a young actor?
     KD: I never wanted to over direct him. I found while working with Rory that kids are at their best when they’re reacting honestly. We mostly avoided rehearsal and kept the number of takes low. His best work always came early, when nothing felt overthought. We built trust first, and he actually started bringing his own ideas, which only helped the character. He understood the emotions in a way that felt instinctive.

    How did you help him balance innocence with awareness?
     KD: I would talk Rory through the scenes in a way a child might understand them, and he seemed to grasp the ideas through his own reading of the script. He responded naturally to what was happening in front of him. I drew a lot from Hirokazu Koreeda, especially Nobody Knows (2004). He trusts the inner world of children by showing them and then what they’re looking at. I tried to do the same, letting Rory experience moments rather than perform them, so the audience could interpret his thoughts without being told.

    A striking moment in the film is the audience expecting danger from the caretaker, only for the impact to come elsewhere. Why was that emotional misdirection important to the story you wanted to tell?
     KD: I wanted to create an atmosphere that felt off, that something could go wrong, that Woody was out of his depth and might experience something he shouldn’t. In the end it’s not from this interaction but later with the dying man. I think when the real emotional impact comes elsewhere, it lands harder.

    This film relies heavily on blocking, framing, and slow-building tension. What were the biggest challenges for you technically as a director?
     KD: I think the biggest challenge was balancing a quiet, observational style with keeping the audience engaged. I was trying to use the camera to follow the characters and their movements in a way that felt natural, without ever calling attention to itself. I wanted it to feel invisible, yet still carry the tension and emotion of each moment.

    Alongside directing and writing, you co-edited the film. How did the edit shape your understanding of tone and pacing?
     KD: Editing definitely taught me restraint. There were quite a few moments that worked on paper which hurt the overall feeling of the film, so we cut them. Taking them out revealed the right tone for the film, and pacing became about letting moments breathe rather than filling space.

    Is there a personal connection for you in The Waiting Room?
    KD: Yeah for sure. Woody isn’t literally me, but I suppose his perspective is. Noticing things you can’t name yet, that emotional lens is very personal. And the theme of lost innocence is something we all experience as children and continue to navigate as adults.

    Were you thinking about broader ideas of fear, innocence, or how children internalise adult problems?
     KD: Yeah I think so, kids notice things that adults sometimes don’t, without really understanding what they mean. I think that’s where their innocence starts to change, in those quiet, unnoticed moments rather than big, dramatic events.

    The real, everyday environments seem to reflect the naturalistic and grounded tones we spoke about earlier. Why did you choose these over stylised sets?
     KD: I think real locations bring an authenticity that can’t be replicated. Hospitals have a liminal, slightly eerie energy you can’t really fake. I wanted those details so I could place Rory and the rest of the cast in reality. It was also very much a budgetary constraint, I wouldn’t have been able to recreate any of these locations. The pre-existing lighting also helped massively too.

    How did making The Waiting Room influence the kinds of stories you want to tell next, and what are you bringing from this to your next project?
     KD: It made me realise I’m drawn to quiet turning points, internal shifts rather than big external events. I’m interested in character driven stories, letting the world unfold through a single perspective.

  • 2025 Best Picture Nominees Ranked From Worst to Best

    2025 Best Picture Nominees Ranked From Worst to Best

    Whether or not you care for the Academy Awards you can’t deny the chokehold they have on the film world as award season reaches its climax. Many people theorise and debate who will take home the big award on the night but, with the voting being heavily swayed by FYC campaigns and industry relationships, as well as the subjective nature of film, people are often left disappointed. In an ideal world the best film of the year should be the winner, and with this list we want to break down which of this year’s nominees really did deserve the award.

    10. Emilia Perez

    People have marked Jacques Audiard’s musical as one of the worst nominations for Best Picture of all time. Mostly due to its representation of Mexican culture and trans people, and because of the remarks made by one of its actors. It’s no secret that the Academy often looks for films with poignancy and timely themes, but it does seem like they’ve backed the wrong horse in this case – a film that is truly one of a kind for all the wrong reasons.

    Even if you take the film at face value without the controversies, what you have is an uneven blend of genres and styles that bring out the worst in each other. Forgettable songs, and a story that lacks nuance and tension are just the tip of the iceberg when it comes to the film’s issues, not even the stellar performances at the centre can keep the chaos at bay. 

    9. A Complete Unknown

    During his ‘pursuit of greatness’ speech at the SAG Awards Chalamet described the biopic genre as ‘perhaps tired’, a sentiment shared by most film fans as studios chase financial success through subpar music biopics. A Complete Unknown, while slightly more interesting than Bohemian Rhapsody who started the modern craze, does very little to revitalise the genre even with veteran director James Mangold at the helm. 

    The film has its moments though, particularly in its musical performances, but when the strongest aspect of your film is the pre-existing music of your subject, it’s difficult to place this any higher on the list. It’s entertaining within the confines of its formula and acts as a vehicle for its great performances, but A Complete Unknown is far too cookie-cutter considering the artist it’s trying to portray.

    8. Wicked

    Other than maybe Dune: Part Two in the early stages of the year, there really hasn’t been a film on this list to capture the zeitgeist quite like Wicked. The pre-existing love of the Broadway production helped that for sure, but John M. Chu goes above and beyond to create a visually extravagant film that perfectly moulds the musical into a cinematic experience, one that will have you humming and singing for weeks to come.

    The themes of Wicked aren’t played out with very much subtlety (a problem for all musicals), but that’s not really why you want to watch it in the first place. It picked up Best Costume Design and Best Production Design on the big night and these design awards perfectly capture the most impressive parts of the film – although an Ariana Grande win would have been great also – a visual feast and grandiose production that, despite suffering a little from ‘part one’ syndrome, is still an achievement in its own right.

    7. The Substance

    Coraline Fargeat’s bold commentary on beauty standards is grotesquely and quite brilliantly told through this high-concept body horror. A film that isn’t your typical Oscar bait choice, it’s nice to see The Academy nominating something different and even giving Fargeat a nod for Best Director. But, the film is let down by its final 20 minutes. It’s over the top nature is gory and glorious,  but you could argue that when Monstro Elsasue is finally formed the film goes overboard to hit home its messages.

    Demi Moore has gone head to head with Mikey Madison in award season and for good reason, her role as Elisabeth is a career best for the actress and is solidified by her own experiences in Hollywood. Despite its shaky ending though, The Substance just manages to maintain control of its madness through Fargeat’s direction and Moore’s committed and layered performance. 

    6. The Brutalist

    Self-indulgent, bloated and pretentious. All words that describe Adrien Brody’s acceptance speech at the Oscars this year, and have even been used a few times to describe Corbet’s near 4 hour epic. Although they capture Brody’s speech down to a tee, it’s unfair to categorise The Brutalist with such toughness as Corbet finds moments of brilliance in his film, giving us a taste of classic storytelling and paying homage to a by-gone era of cinema.

    Lol Crawley’s cinematography and Daniel Blumberg’s score work overtime to create a wonderful balance between the film’s behemoth scale and the intimate trials that László Toth faces on his journey, and Corbet delivers all of it in a bold and direct way. That directness sometimes damages the subtlety of the film’s symbolism, but for the most part The Brutalist is a staggering achievement.

    5. I’m Still Here 

    Fernanda Torres anchors Walter Salles’ heartbreaking and profoundly moving true story about a family trying to survive in a military dictatorship. Crucially though, the film spends a good chunk building the normality of this family and each of the dynamics, just to throw us into the deep end. This isn’t necessarily a violent film, but rather highlights the difficulty and uncertainty of existing in a world where people disappear without a trace.

    I’m Still Here picked up the Best International Film at the Oscars marking the first win for Brazil in this category. This feels right for a film so passionately representing a crucial part of Brazil’s history, and if the Best Actress nominees weren’t so impressive across the board, Fernanda Torres certainly could have added to the accolades for her powerful turn as Eunice Paiva. I’m Still Here captures national perseverance through the lens of a family perfectly, but Torres adds a certain strength and dignity that feels crucial to the film’s themes.

    4. Conclave

    Edward Berger’s palpable drama allows us to peek behind the curtain at one of Catholicism’s most interesting rituals. Deciding who will take the mantle as the next Pope is told in tense whispers and quiet strategizing, and Peter Straughan’s electric screenplay makes it some of the most captivating entertainment of the year. 

    It’s backed up by a tremendous cast who lend gravitas to every line of dialogue. Particularly Ralph Fiennes, whose task of leading The Church into a brighter future slowly wears away at his core. The performances and screenplay really are the stars of Conclave, but Stéphane Fontaine’s exquisite cinematography perfectly enhances the tension and beauty of such an event.

    3. Dune: Part Two

    Denis Villeneuve followed up his 2021 success of Dune with a bigger, broader and more epic sequel. Its early release in 2024 may have contributed to its lack of focus during the build-up to The Oscars, but it can’t be understated just how much impact this film had. Villeneuve has taken Frank Herbert’s chunky novel and adapted it into a cinematic spectacle, giving us awe-inspiring moments while never allowing the core messages of Herbert’s story to suffer under the weight of the film’s gargantuan visuals and grandiose battle scenes. 

    Unsurprisingly Dune: Part Two picked some technical awards for its tremendous visual effects and creative sound work, but there are so many elements that make this film so cohesive. Hans Zimmer’s award winning score from part one is continued and intensified for the sequel’s story and Greig Fraser’s cinematography is outstanding, but one of the strangest snubs from this award show is Villeneuve’s admission from Best Director. He steers the ship with prowess and control and has provided the Sci-Fi genre with some of its greatest work in this film alone.

    2. Anora

    Despite lining up against some behemoth productions this year Anora deserves every award it received at The Oscars. A testament to the importance of independent filmmaking, Sean Baker proves that artistic will is just as important as the financial backing. Anora is a chaotic, hilarious and oftentimes heartbreaking story that feels like a spiritual successor to The Safdie’s Uncut Gems. It’s surface is coated with a palpable and unmatched energy, but at its core Baker discovers something completely human. 

    Sean Baker became the first person to win 4 separate awards for a single film for his directing, editing, producing and writing. A wonderful achievement for someone clearly passionate about filmmaking and storytelling. While Baker deserves most of the plaudits for Anora’s roaring success, the film does rely heavily on the performance by Mikey Madison. She anchors the chaos with confidence, but as she sheds her tough exterior and shows us the depth of her performance Madison carries the heavy moments of the film firmly on her shoulders.

    1. The Nickel Boys

      With ten nominees across Best Picture a couple usually get lost in the shuffle and are barely mentioned when the big night arrives. RaMell Ross’ Nickel Boys unfortunately suffered this fate, barely on anyone’s mind as Billy Crystal and Meg Ryan announced the winner – but it’s a crying shame considering just how good this film is. Not nearly as showy as some of the films on this list, Nickel Boys succeeds in its adaptation because of its gentle and reflective style.

      Sometimes the simplest stories have the biggest effect on their audience, and Ross’ decision to make this film POV is done to fantastic effect. Not once is it ever in danger of becoming gimmicky, as films trying this style often do, instead it forces its audience into the very confrontational examination of American history. Although films about the Civil Rights Movement have been told a number of times, Nickel Boys is a reminder of why these stories are so important to keep telling.

      Snubs

      I’ve already mentioned a few snubs throughout the list (Villeneuve’s exclusion from Best Director being one), but there are a number of films that could have easily slotted into this list. After all, the Best Picture nominees should simply be a reflection of what the best artistic achievements were of the year. 

      Sing Sing

      Greg Kwedar’s stellar drama managed to get a few nods but its exclusion from Best Picture is truly baffling. The grace with which it tells its story and frames its characters does justice to the very authentic story being told. It has a single focus, but that focus is presented beautifully and it’s far better than a number of films nominated. 

      Challengers

      Probably the biggest exclusion across all categories is Trent Reznor and Atticus Ross’ hypnotic score not getting a nod, but Guadgnino’s tennis thriller took creative risks in the best way all in the name of entertainment. It’s one of the more exciting films of 2024 and it could have easily been nominated in a couple of categories, and even if The Academy didn’t quite see its merit vs the heavier subjects explored this year, it needs to be celebrated for its ingenuity. 

      A Real Pain 

      Eisenberg’s drama-comedy picked up a nomination for its screenplay and Keiran Culkin took home every award under the sun for his performance. These nominations arguably represent the films strongest elements quite well, but A Real Pain’s quaint charm and multifaceted themes certainly put it in the running as one of the best films of the year.

      Despite a few glaring admissions from the nominees though, the ten nominated all have their place. Like every year we can theorise and debate what the one true ‘best picture’ is, but most likely we will all move on pretty quickly once the night is over, ready to do it all over again the following year. 2024 may not be the strongest year we’ve ever seen, but the films that stood out the most to audiences have been honoured and respected throughout award season, and all in all we can all be satisfied with the outcomes of every award given at The Oscars. 

    1. The Essential Guide to The Coen Brothers – Part 1

      The Essential Guide to The Coen Brothers – Part 1

      Every filmmaker has their own vision when creating a piece of cinema, trying to convey their personal message with each film they make. With the film industry worth reaching well into the billions every year it would be impossible to see everything that comes out, but sometimes you’ll come out enjoying it so much, keen to see what the filmmakers do next. In this series of articles, we aim to guide you through the career of some excellent artists and their craft, highlighting the masterpieces and dissuading the lesser work.

      The next director’s we’re focusing on are the ever consistent Coen Brothers. Joel and Ethan Coen have been pumping out films since their first feature Blood Simple and over the past 35 years they’ve become two of the most revered directors of our time. They’ve cultivated a career for themselves that most filmmakers envy, working on nineteen films together and going their separate ways to explore new avenues as directors. They’ve also left their stamp on other projects with screenplays and producer credits, but for the sake of not stretching out the article, we’re focusing solely on their directing credits, from their low-budget beginnings in 1984 to the present day.

      Blood Simple (1984)

      Rating: 4 out of 5.

      Blood Simple works both as a Neo-Noir thriller and as a low-budget horror, and that’s down to the Coen’s early signs of technique, as well as their ability to hop from genre to genre. While it doesn’t explicitly set out to give you a scream it’s in the tension that the film finds its unnerving mood. Set in the humidity of midnight Texas, a businessman hires a PI to murder his unfaithful wife (played by Francis McDormand, who often frequents Coen Brothers projects) and her partner.

      These seedy and sweaty confrontations are shot masterfully, they build such beautiful tension while also pointing the audience to small details in order to follow what’s going on. This is by no means a complicated movie, but the Coen Brothers’ technical prowess, even this early on in their career, help to shape a film shrouded in uncertainty and mystery. If you compare Blood Simple to the rest of their filmography you could argue it lacks that specific voice the directors have, but even on their debut you can see why they have been such a unique voice of the last 35 years.

      After Blood Simple the two would also get a credit on Sam Raimi’s Crimewave (1985) as screenwriters, something that they have very often done throughout their career, allowing other directors to take a stab at their wonderful writing. But they wouldn’t begin directing again until their absurd crime-comedy Raising Arizona (1987).

      Raising Arizona (1987)

      Rating: 4 out of 5.

      Raising Arizona really was the beginning of the Coen comedy, an absurd tale of an infertile couple and their plans to kidnap a baby and start a family together. This is a film that involves the most theatrical prison break you’ll ever see, a wild 15 minutes police chase involving neighbourhood dogs and one of the most iconic Nicolas Cage performances in which his weirdness was born. But through all the absurdity there is still heart to Raising Arizona, finding sweetness in a couple’s struggle to be a family.

      While there is sweetness at the bottom of the Coen’s script, what is brimming and bubbling at the surface is a unique comedic voice that is unlike any other. Their attention to character and detail helps to make the comedy feel essential, prioritising scenes for the purpose of a laugh while making it flow wonderfully into the film’s structure. The Coen brothers have been redefining how you communicate film language to an audience, and even though its absurdity reigns supreme, Raising Arizona is a prime example of that.

      Miller’s Crossing (1990)

      Rating: 5 out of 5.

      Away from the absurdity The Coen’s find some of their best work with Miller’s Crossing, an ode to the gangster movies of the 30’s and the Noir films from the 40’s. The movie takes place around the prohibition era, following a mobster as he tries to navigate an oncoming gang war. Full of twists and turns, The Coen’s script is what’s key here, rich with verbal spars that would make Bogart and Bacall blush, as well as an underlying pessimism to shape the film’s dreary prohibition setting. Sure the director’s can’t help but add a little comedy into the fray, as each punch in the kisser feels as if Cagney is giving it himself, but it’s all part of the deconstruction of the genre. It’s something that they’ve found comfort in throughout their careers, taking something they love and stamping their own voice on it.

      Here, each line is fluidly written, wonderfully worded and delivered by an immensely talented cast. Albert Finney, Gabriel Byrne, Marcia Gay Harden and Jon Polito are all impressively subtle in their performances, and while the dialogue is the stand out, the underlying pessimism and labyrinthian story are what catch you the most. Tom Reagan’s got a big brain and potentially even a heart, but as he so aptly rhetorics at the end of the film “what heart?”, The Coen’s show the films true colours and in doing so, make it one of their crowning achievements.

      Barton Fink (1991)

      Rating: 4 out of 5.

      With nothing in between, The Coen’s stick to their early 20th Century America but this time they head to Los Angeles with their Palme D’Or winning Barton Fink. This time solely directed by Joel, Barton Fink is a dark comedy set in a hellish Hollywood nightmare as well as a writer in a catastrophic writers-block, trying to write a wrestling picture. There are a lot of arguments for what The Coen’s are trying to achieve here, warning young hopefuls about the seduction and destructiveness of Hollywood, as well as the disconnect between creators and the people they are writing about. It’s all wonderfully woven into a nightmarish script that’s beaming with dark humour and wonderful performances.

      Barton Fink as a character is complex in his own right too, a fragile man who fears his own mediocrity, but also has arrogance in the face of everyone around him (this is performed wonderfully by John Turturro). He’s a writer who’s fear of being a one-hit-wonder is gradually becoming real, unable to find a sense of progression with his ‘B-Picture’. But the most interesting thing about Barton is his disconnect, often shrugging off stories from his neighbour Charlie (played by John Goodman) despite wanting to give a voice to the common man, struggling to realise that “empathy requires understanding”, something Barton does not have. The Coen’s end their film with fire, murder and the possible link to nazism, but what the take away for Barton is that, despite smashing his writer’s block, maybe he is just mediocre.

      This is neither their best or worst work, but you could consider Barton Fink as the poster child of the early Coen comedy. It’s bleakness is balanced wonderfully with caricature characters, satirising the Hollywood experience with thin underlying warning, as well as a potential dig at their own capabilities as writers. Ironically for a film about writer mediocrity, The Coen’s prove just how genius they are.

      Hudsucker Proxy (1994)

      Rating: 4 out of 5.

      In a year that boasts films like Pulp Fiction, Forrest Gump and Disney’s The Lion King, it seems as though American audiences were too preoccupied to go and watch The Coen’s next feature – The Hudsucker Proxy. A fast-paced comedy fantasy that has the pastiche of Trading Places (1985), but with a rich wherewithal of its 1950’s setting. The film is about Norville Barnes, a simple man with a big heart who, for the sake of a stock scam, is made President of Hudsucker Industries in the wake of the owners untimely suicide. The film looks and feels like a Christmas movie, plastered with feel-good moments and light moral dilemmas that are sprinkled in a snowy fantasy world. Proof that, despite the Coen’s talent with dark humour and pessimistic stories, their ability to create overwhelming warmth is just as good.

      The Coen’s have never been box office smashers but it’s their consistency of genius that has kept them going for so long, and despite Hudsucker Proxy being one of their most bizarre it’s also their most accessible. You’ll find solace in Tim Robbins’ endearing performance, as well as Jennifer Jason Leigh’s ‘career gal’ Amy Archer butting heads with all the male scoundrels she comes across. All of the performances, as well as yet another dynamite script, push this movie above its festive themes and make it The Coen’s most underrated film.

      Fargo (1996)

      Rating: 5 out of 5.

      The Coen’s have become synonymous for their playful nature, and the “based on a true story” facade in the opening credits of Fargo is one of the more iconic. Usually considered one of the best of the directors work, as well as a fan favourite, The Coen’s uncanny ability to make the improbable, probable, is front and centre in every scene Fargo has to offer. Set in the crisp snow of Minnesota, the film is about a small-time car salesman, Jerry, who tries to plan his wife’s kidnapping in order to scam his Father-in-Law out of $80,000. The role is played wonderfully by William H. Macy, who builds frustration and fear while trying to keep with the Minnesota kindness. This is partly down to the Coens’ script though (which won the Oscar the following year), full of explosive scenes that are rich with humour and quirk while balancing the satirical nature of its setting and characters.

      As well as an Oscar for Best Original Screenplay, the film also got Frances McDormand her first Oscar for Best Actress. A wonderful performance as Police Chief Marge, a smart and loveable officer investigating Jerry and the small-time crooks. McDormand is far more subtle than people give her credit for here, as being just deadpan isn’t enough. The Coen’s script demands complex emotional response, something that she completely nails from scene to scene especially in final moments of the film.

      A playful script that is endlessly funny and entertaining, The Coen’s managed to make their best film to date. Its cold and deadpan dialogue is delivered beautifully, and while its immortalisation has been made through modern TV shows, there’s still an argument that the original film still outshines anything to come after it.

      The Big Lebowski (1998)

      Rating: 5 out of 5.

      Only two years later would The Coen Brothers’ match the quality of Fargo, with a film that has the same contained chaos as Raising Arizona and the very loose connection to Noir that a lot of the director’s films have. Starring Jeff Bridges as the titular “Dude”, it follows one of LA’s most laid back citizens as he gets embroiled in a kidnapping plot involving a disabled billionaire, a sleazy porn producer and a band that’s prescribed the belief of nihilism. Its consistency lies in its confusion, and even if it begins to hurt your brain the constant humour and unorthodox personality will keep you enticed no matter how scattered The Dude’s life gets.

      But there’s a reason The Coen’s are so revered, not because they create humour but more because of how they present it. The Big Lebowski is chock-full of surreal imagery of The Dude spinning down a bowling alley and floating in the sky, and when he’s not drifting into his own subconscious he’s framed in exquisite shots and architectural symmetry. The Coens’ have always had talent for composure (as well as having Deakins’ touch), but for all of The Big Lebowski’s critical and cult success it may be one of the most visually understated films in their catalogue.

      The Dude’s main goal in life is to smoke, chill out and bowl. Sure you might not feel the unconditional love for bowling but the philosophy still stands, doing the utmost minimum and enjoying life. It’s the reason that so many people “abide” by The Dude’s charity shop fashion, he’s a product of the Woodstock generation and has never really conformed to the rules of society – making his life one to envy and inspire. There really hasn’t been another character quite like The Dude, and it’s one of the reasons the film has embedded itself into popular culture so easily.

      O Brother Where Art Thou? (2000)

      Rating: 4 out of 5.

      The Coens’ next film takes them to the swampy south, for what is arguably their most absurd and funniest comedy. Loosely adapting Homer’s Odyssey into their own Homeric interpretation, O Brother Where Art Thou comfortably blends surreality and barbarity into a timeless tale about three men in search of riches and freedom. 

      George Clooney, Tim Blake Nelson and John Turturro play Everett, Delmar and Pete, Three escaped convicts on a journey to retrieve a hidden fortune promised to them by the silver-tongued Everett. It is, in its simplest form, a collection of chaotic and extremely funny scenes that act as building blocks for the bizarre journey these three men take. And despite the film never finding a poignant message, it’s still a gorgeously shot addition to the directors’ catalogue.

      The Man Who Wasn’t There (2001)

      Rating: 3 out of 5.

      The Film-Noir style has often been a source of inspiration for The Coen Brothers but they have never paid homage quite as much as they do with The Man Who Wasn’t There. The rich black and white cinematography plays a big part in this but its leading man’s arc is a wonderful twist on the classic archetype, as Ed Crane reluctantly falls into a web of murder, blackmail and punishment. 

      Despite Ethan being producer and co-writer, he leaves the directing to his brother Joel who excels in reflecting Ed Crane’s despair through the films style. But, with so much focus on style and tone the film often leaves out the depth that The Coen’s usually have in their stories. Although dull and full of despair on purpose, the film is on the verge of accidentally becoming mundane by the end. 

    2. REEL’s Top 15 Films of 2023

      REEL’s Top 15 Films of 2023

      This year in film has offered us the highest level of filmmaking from legendary directors and newcomers alike. Scorsese, Hayao Miyazaki and Christopher Nolan all gave us something new and fresh to add to their iconic filmographies, but what makes 2023 such a turning point for cinema is the mainstream attention for big budget auteurs. Audiences turned their backs on the formula-heavy comic book movies and set their sights on bolder and more original films – providing a glimmer of hope that people still really do appreciate originality. 

      The most notable impact on cinema in 2023 was of course Barbenheimer. Two of the biggest, and significantly different, films of the year opening on the same day, clashing heads and simultaneously making them two of the most successful releases. Most years have films that capture mass audiences but not many can say they inspired people to go to the cinema – either suited and booted or dressed head to toe in pink – to watch this unique double feature. Barbenheimer aside though, there have been multiple films released this year that offer originality and a range of style. From Indie Dramas to Western Epics, this year gave us many reasons to go to the cinema, so here are our top picks of 2023.  

      Saltburn

      Director: Emerald Fennel | 2h 11mins | Drama, Thriller

      The film that took social media by storm, Emerald Fennell’s second feature is much more than its most talked about moments. Sure, it’s quite difficult to get some of the scenes out of your head (the bathtub scene is especially hard to shake), but Saltburn succeeds far more in its commentary on the uber-wealthy than people have given it credit for.

      There is something quite tantalising and also terrifying about the titular ‘Saltburn’, one minute a paradise and the next, an uncomfortable trap for people not considered ‘worthy’ of being there. Fennel exercises a similarly on-the-nose approach as she did with Promising Young Woman, and while Saltburn isn’t nearly as important as her first film, there is something to be said for how outrageously entertaining it can be. Add to that yet another captivating performance by Barry Keoghan – what you have is a film that is impossible not to enjoy.

      American Fiction

      Director: Cord Jefferson | 1h 57mins | Comedy, Drama

      Jefferey Wright excels as Thelonious Ellison in Cord Jefferson’s striking debut, a film about a celebrated writer who, to send a giant middle finger to mass audiences and editors, writes a fictional book about the ‘black experience’ – which inadvertently becomes a sensation. It’s a film with bold ideas and even bolder humour, satirically jabbing at the white people who applaud the voice of black writers only when it’s suited to them, while never being afraid of tackling its heavier discussion head-on. 

      At the centre of all the discussion American Fiction still finds time for more personable arcs, exploring a family unit suffering from loss and major life changing events, and dissecting its main character and the man he’s becoming. It’s excellently balanced and tonally perfect, thanks to an intricate and sharp narrative and performances that wonderfully embrace humour and despair.

      The Zone of Interest

      Director: Jonathan Glazer | 1h 45mins | Drama

      Very rarely do films get described as ‘harrowing’ but Jonathan Glazer’s subtle drama is the perfect definition of the word. Stories from World War II have been told a 100 times over, but never have they been told with such focused honesty, capturing the everyday lifestyle and attitudes of the people responsible for one of history’s most horrific moments.

      The film follows the life of Auschwitz’s commandant and his family, living in domestic bliss, only separated from their atrocities by a single wall. There isn’t much in the way of story or style, but the haunting screams and whistling trains create an atmosphere that is second to none. If Scorsese’s Killers of the Flower Moon is about evil living in plain sight, then The Zone of Interest is about true evil living proudly with its actions. 

      Passages

      Director: Ira Sachs | 1h 31mins | Drama

      Aside from some film festival notice, Passages has gone slightly under the radar this award season, missing out on nominations in most major award shows. But, despite such a stacked year for range and quality, Passages still stands out for its subtle approach to its themes and three outstanding performances from Ben Whishaw, Frank Rogowski and Adele Exarchopoulos.

      The film is shot in a very simple way, but the static camera allows the actors to really explore the scene and offers us something raw in the process. If the film opted for a showy nature it would simply be disrespecting its story, one that is so entrenched in its characters psyche and feelings. Passages may not be showy or flashy, but what it achieves in its tight frames is a level of honesty and exploration that many films struggle to attain. 

      Infinity Pool

      Director: Brandon Cronenberg | 1h 57mins | Thriller, Horror

      After Brandon Cronenberg’s spellbinding film Possessor it was clear the director was carving a path away from being David Cronenberg’s son. While his Dad remains the master of the body-horror, Brandon has become an expert at psychedelic psychology, something that remains clear in Infinity Pool. It’s a film that transcends the word bizarre but remains one of the most captivating experiences of 2023.

      Alexander Skarsgaard thrives as a writer drawn into a hedonistic subculture, but it’s Mia Goth’s performance as the unhinged guide into this chaotic world that makes Infinity Pool as tense and absorbing as it is. This is a film that in every aspect is unexpected and certainly not for everybody, but if you give it a chance it rewards you with some of the boldest and most shocking moments that you’ve ever seen. 

      Are You There God? It’s Me Margaret. 

      Director: Kelly Fremon Craig | 1h 46mins | Comedy

      We’ve seen a lot of great voices tackle the coming of age tale but Kelly Fremon Craig is arguably the strongest one working today. Edge of Seventeen was a wonderful debut but Craig really finds her feet as a director with her adaption of Judy Blume’s acclaimed novel, finding a crucial balance between comedy and drama as well as the two forms of identity Margaret is trying to discover.  

      As the new girl in a new place the film easily finds humour in the body changes and awkward social situations but where the film finds its voice is in the discovery of a religious identity. With a dual-belief family, her mum’s side Christian and her Dad’s Jewish, the film curiously approaches this subject by blending it beautifully with Margaret’s own search for individuality. For that alone the film deserves to be on this list, but its wholesome nature and family warmth also make it one of the most watchable films of the year too. 

      Anatomy of a Fall

      Director: Justine Triet | 2h 31mins | Crime, Drama

      It feels like it’s been a long time since we’ve seen a truly brilliant courtroom drama, so it’s a genuine pleasure to see a film that not only offers us everything we love about the genre, but actually transcends it to explore its characters and motives with greater depth. This is not a cut and dry murder mystery, it’s a deep-dive into the battle of marriage that ultimately has no victor. 

      Justine Triet, as both director and writer, is able to find tension, anger and despair with the flick of a switch. But even in the midst of a dense murder mystery there is something unflinchingly human about the story being told, as a wife stands on trial she must watch her role as a mother come under scrutiny as well – something that is performed brilliantly by Sandra Huller. Anatomy of a Fall is much more than a simple “courtroom drama”, but an exemplary example of one that actually elevates the tropes rather than give in to them. 

      Spider-Man: Across the Spider-Verse

      Director: Joaquim Dos Santos, Kemp Powers & Justin K. Thompson | 2h 20mins | Animation, Action, Adventure

      In 2018 Into the Spider-Verse changed the game for both animation and superhero origin stories, giving us a fresh take on both and in turn, stamping its position as one of the strongest films of the 21st Century. Its follow up is just as fun, just as fresh and very nearly matches its predecessor in quality.

      This was arguably the most anticipated film of 2023, so the fact it sits so highly on our list speaks volumes to just how good it is. A bigger and more explosive film that ticks all of the sequel boxes, while never losing the identity that made the franchise so unique. Despite maybe lacking the spine tingling ‘leap of faith’ moments, it packs far more into its action set pieces and sets a path for a multi-film narrative that, if they nail the finish, will go down as one of the greatest superhero tales ever put to screen. 

      All of Us Strangers 

      Director: Andrew Haigh | 1h 45mins | Drama

      There are very few films in history that deal with unresolved grief and loneliness in the way that Andrew Haigh’s poignant drama does. A high-concept indie drama that is often just as reserved as its main character, but ultimately gives us some of the most heart-wrenching moments of the year.

      Andrew Scott delivers a career best performance as Adam, a screenwriter struggling to find happiness as he explores his past and his new relationship with his neighbour, Harry. It would be very easy for each narrative strand to feel completely separate from one another as the film leans heavily into its concept. But, rather than feel like parallels, they weave seamlessly into a final product that not only breaks your heart, but allows you to learn from the experience. 

      Monster 

      Director: Hirokazu Kore-eda | 2h 7mins | Drama

      There are only a handful of directors that are as consistent as Japanese filmmaker Hirokazu Kore-eda. His films capture a purity and a reality that we rarely get to see on film and his latest is no different. Interestingly named Monster, the film tells one story through three perspectives, never quite sharing what the film is really about until its ending. Despite a different approach to the storytelling though, Kore-eda directs this film with the patience and observation that make him such a master of his craft. 

      Monster won the Best Screenplay award at Cannes and rightfully so, as its non-linear storytelling doesn’t just act as a playful way to tell its story, but actually challenges audience expectation and offers us multiple ways to explore who the ‘monsters’ really are. It’s bold, intelligent and full of subtle twists and turns – it’s a film that proves why the director is one of the finest working today.

      The Holdovers

      Director: Alexander Payne | 2h 13mins | Comedy, Drama

      Although an entirely different film to Alexander Payne’s Sideways, there are stark comparisons in how The Holdovers blends melancholy and humour. Screenwriter David Hemingson intelligently offers us the comedic tropes of opposing personalities but more importantly never sacrifices the crushing reality of the three main characters. 

      On the surface this film captures three souls connecting through their loneliness during the holiday period, all very different people but united under one front. But, like Payne does in most of his other films, he’s able to dig a little deeper into each individual’s pain while never losing the connectivity in character that makes The Holdovers flourish. Even with such a storied career this is arguably Alexander Payne’s best work, spearheaded by three wonderful performances by Paul Giamatti, Da’Vine Joy Randolph and Dominic Sessa. 

      Killers of the Flower Moon

      Director: Martin Scorsese | 3h 26mins | Crime, Drama, History

      In his past 3 films Scorsese has shown a much more patient style of storytelling, allowing the morality-heavy themes to bubble wonderfully under the surface of his dense narratives. Killers of the Flower Moon isn’t as flashy as the director’s more famous work, but the tale of evil living in plain sight seems perfect for a filmmaker so comfortable with bringing evil characters to light. 

      Based on the true story of the Osage Native Americans, there was an argument to whether this is a film Scorsese should be telling. But, as one of the world’s best cinematic storytellers, nobody can argue that he handles the story with grace and humility. It’s also a joy to watch Robert De Niro remind us why he’s one of the greatest actors alive, as well as a powerful performance from Lily Gladstone – guiding us through a story of horror and resilience and acting as the heart of the film. 

      Barbie

      Director: Greta Gerwig | 1h 54mins | Comedy

      How Greta Gerwig turned a film based on a toy into one of the most culturally significant films of recent times is a staggering achievement. Sitting pretty at the top of the 2023 box office, Barbie has captured many people’s hearts through its unbridled dedication to baby pink fun while exploring crucial themes within its narrative.

      Margot Robbie leads as the ‘stereotypical Barbie’, who proves just how good she is with both comedy and heavier themes. But, Barbie succeeds mostly because of the director’s boldness. Gerwig entered this project with something to say, exploring patriarchy and misogyny and the role Barbie has played, while never missing a chance to give us a lengthy musical number or allowing Ken to find his purpose too. Every aspect of Barbie sings, from the all-pink world created to the wonderfully fun performances, completely meriting its title as the most successful film of 2023.

      Poor Things

      Director: Yorgos Lanthimos | 2h 21mins | Comedy, Drama

      After another highly original achievement in The Favourite Yorgos Lanthimos sets an even higher bar for weirdness in this adaptation of Alasdair Grey’s novel of the same name. While Lanthimos is no stranger to stories that can be deeply disturbing in nature, there is something devilishly hilarious and visually unique in his approach to Poor Things. Every set design is rich with colour and character, the CGI is oddly bad but perfect and more importantly, the performances from its all-star cast are just as wonderful as the world created for them.

      Emma Stone gives a blinding performance as Bella Baxter, capturing her humour and curiosity perfectly as well as guiding us through the main character’s odyssey of self-discovery. Despite being so in your face with comedy and visuals though, Poor Things sneakily injects themes of female empowerment (as well as the fear of it), and how easily life can wear down even the most wild personalities. A gift of a film from one of the world’s most unique directors – it’s highly likely that Bella Baxter will be remembered for years to come.

      Past Lives

      Director: Celine Song | 1h 45mins | Drama, Romance

      Celine Song’s excellent debut is a soaring achievement in how to create mood and connection between people. A story about two childhood friends connecting, separating and reconnecting over a number of years all while exploring ideas of its core theme ‘In Yun’. The spiritual motif accentuates both the child-like reunion of its two central characters Nora and Hae Sung, but more importantly the devastating reality of two souls so entwined unable to each other at the right time. 

      It’s a film that’s comparable to the tone that Wong Kar-Wai creates, finding romance and style effortlessly, but Celine Song deserves to be celebrated for her originality too. As we said in our review of Past Lives, the film finds more meaning and gravity in its thunderous silences than most romances could ever dream of. This is an impeccable achievement that sits pretty at the top of our list of the best films of 2023 – marking the year that everyone should have taken notice of Celine Song as a director and as a storyteller.

    3. The Essential Guide To Christopher Nolan

      The Essential Guide To Christopher Nolan

      Every filmmaker has their own vision when creating a piece of cinema, trying to convey their personal message with each film they make. With the film industry’s worth reaching well into the billions every year it would be impossible to see everything that comes out, but sometimes you’ll come out enjoying it so much, keen to see what the filmmakers do next. In this series of articles, we aim to guide you through the career of some excellent artists and their craft, highlighting the masterpieces and dissuading the lesser work.

      The next Director we are focusing on is arguably one of the most celebrated blockbuster filmmakers of the 21st Century, Christopher Nolan. Whether it be his low-budget beginnings or his high-concept Sci-Fi explorations, Nolan has always had a distinct voice throughout his career, revitalising the Superhero genre before the market became overly saturated and moving on to high-concept features known for their bold approach to entertainment. Whether or not you enjoy the more recent ventures from the filmmaker, you cannot deny the sheer grandeur and boldness of his ideas, always showing us freshness and originality in the form of pulpy entertainment. But, while he’s become a household name behind the camera of so many large scale projects, his earliest work comes in the form of short films.

      Short Films

      Like a lot of filmmakers Nolan made his start with a few short films. As much as we’d love to deep-dive into each of the three films he made, they are either too short to really dissect or lost to the world. The first, which was Tarantella, is a somewhat confusing experimental film that is no more than five minutes long. The second, Larceny, has never been released and only showcased at the Cambridge Film Festival in 1996. But, the last film Doodlebug, is arguably the most famous and notable of the three. A strange and subversive short film that has been attached as a visual aperitif to Nolan’s large-scale catalogue.

      Following (1998) 

      Rating: 3 out of 5.

      Before the acclaim and spectacle Nolan invested his blooming talent into an low-budget, almost amateur, debut feature. Following’s grainy 16mm visuals zip their way through the streets of London in unpredictable fashion and while the acting wreaks of drama school, Nolan’s direction is pleasantly mature – safely navigating his own choppy script and offering us glimpses of what he had to offer.

      The film is about a writer who’s search for inspiration leads him to a thief who takes him under his wing, leading down a path of crime. While the dialogue may be choppy and performances underwhelming, the raw filmmaking approach is something that should never be understated. As his film’s grew in budget and scale, Following is a reminder that Nolan had the fundamental understanding of storytelling and tone very early on in his illustrious career.

      Memento (2000)

      Rating: 5 out of 5.

      Two years after Nolan’s debut he would cement himself as a Director to watch with the wonderfully conceived Memento. A tight and perfectly executed script is what shines in Nolan’s Neo-Noir, telling it’s narrative of short-term amnesia in reverse while never losing it’s characters and story among the altered chronology. It’s now become a staple of pop-culture, with multiple shows referencing the film, but that should never sour the accomplishment that Nolan achieved. 

      Set in the grimy sun-kissed streets of Los Angeles, it follows Leonard, played by an underrated Guy Pearce, who is trying to find the man who raped and murdered his wife while also dealing with his condition. It’s a film that has a much glossier approach than Nolan’s first film Following, but in doing so it creates a much more cohesive and bolder visual style that compliments every unpredictable turn this film takes. But, arguably the most impressive feat of Memento is to be so incredibly enticing while also never losing its solid foundations of identity and time. Just two years after Memento, having clearly found his voice in American filmmaking, Nolan would take to another part of North America for his next venture.

      Insomnia (2002)

      Rating: 3 out of 5.

      Nolan’s foray into bigger budgets and more mainstream filmmaking came from the American remake of the Swedish thriller Insomnia. The film follows a famous detective who goes to a remote part of North America to investigate a murder and eventually becomes embroiled in his own dark side. Starring Al Pacino, Hilary Swank and Robin Williams, this is a crowd pleasing thriller that boasts great performances – as well as an interesting visual style – but ultimately feels like it could have been directed by anybody.

      The film is very good at showcasing the main characters’ literal insomnia, using the editing to capture an absence of time or space for the sleepless detective, but the film often lacks the distinction or flavour that the director has gone on to show. However, Nolan’s grasp of narrative is abundantly clear – understanding how to create tension and mystery with a clear view of its characters. These talents would be used on a bigger scale as the director made the leap to the Superhero genre.

      Batman Begins (2005)

      Rating: 4 out of 5.

      Often underappreciated because of its sequel’s sheer brilliance, Batman Begins still stands as a huge shift in Superhero filmmaking. This gritty and grounded adaptation of the Caped Crusader was a complete breath of fresh air in comparison to the lifeless and nipple-suited Batman of Joel Schumacher’s films, ushering in a new way to explore heroes and villains with a more realistic tone.

      Christian Bale’s portrayal of Batman is perfectly balanced. Effortlessly giving us the billionaire playboy archetype and the troubled hero beneath the mask. But, it’s Nolan’s attention to good and evil, and the lines blurred in between, that make this interpretation so captivating. Having enjoyed so much success with Batman Begins, everyone eagerly awaited the inevitable sequel. However, Nolan wasn’t quite ready to explore the Batman world again just yet, offering us something undeniably original with his next film. 

      The Prestige (2006)

      Rating: 5 out of 5.

      Based on the novel by Christopher Priest, The Prestige follows two rival magicians as they search for the perfect magical act – unafraid to get their hands dirty along the way. Much like the illusions the two magicians use, the film is full of wonderful misdirection and intelligent sleight-of-hand. There are elements of the grandeur and spectacle that the director would go on to use much more later on in his career, but in The Prestige they are used with much more precision and narrative relevance. Not only that, but Nolan’s maturity behind the camera keeps this film firmly grounded – exploring the lengths the human spirit will go to with dedication and obsession. 

      At one point in the film Christian Bale’s rough London magician Alfred declares, “The secret impresses no one. The trick you use it for is everything.” It’s ironic then, that despite having a standout twist in which all is revealed, even on the rewatch there is still so much to chew on. That’s because from start to finish The Prestige boasts an effortlessly entertaining mix of mystery and thrill, while also being led by a number of great performances all leaning into the complexity of the film. 

      The Dark Knight (2008)

      Rating: 5 out of 5.

      After breaking new ground in the Superhero genre expectations couldn’t be higher for The Dark Knight and, quite comfortably, Nolan exceeded them and gave us the greatest Superhero film of all time. Bigger and much bolder than its predecessor, Nolan achieved this by being an advocate for practical effects over CGI, while also giving us character work that is often unheard of in the genre. Ideas of mass hysteria and anarchy overcoming the human spirit carve a much more grounded path for Batman, and his head on collision with The Joker is the best hero vs. villain dynamic the Superhero genre has ever produced. 

      The Dark Knight showcases Nolan at his best, but part of the reason the film has gone down as a modern masterpiece is because of the groundbreaking performance from Heath Ledger. Playing The Joker with an unmatched dedication and embedded chaos, his role exemplifies the very best this film has to offer and while many have tried to imitate his performance, no one has managed to improve upon it. 

      Inception (2010)

      Rating: 5 out of 5.

      Once again taking a break from the Batman story, Nolan indulged his creativity with another original screenplay, but this time leaning heavily into the showy grand spectacles that the director has come to be known for. When Inception dropped down in 2010 it was one of the most successful films of the year, but somewhere down the line the novelty of the dream-jumping spectacle wore off for a lot of people. Arguably, the constant theorising and overhyped complexity have left a few people underwhelmed and tired of Inception, but these variables should never take away from just how well Nolan creates spectacle and grandeur while never losing the popcorny fun that captured so many people. 

      With a concept-heavy story, Inception leans heavily into its exposition and actually makes it a part of its entertainment. Rather than recoil at the over-talky explanations Nolan allows us to rejoice in it, and while this alone doesn’t make Inception a standout, Hans Zimmer’s thumping score and the film’s attention to detail make for an elevated blockbuster – something that is incredibly rare in today’s landscape. As easy and as tempting it is to knock Inception you absolutely cannot deny it’s impact on popular culture and just how impressive Nolan implements the large ideas on screen.

      The Dark Knight Rises (2012)

      Rating: 3 out of 5.

      Nolan’s output thus far in his career had made him the most watchable Director in the world and it looked like there was no doubt that The Dark Knight Rises was going to be yet another masterpiece of its genre. However, despite being tonally sound and having another interesting villain in Tom Hardy’s Bane, the final chapter of Nolan’s Batman felt somewhat lacklustre.

      It has grandeur, great action set pieces and a cast of Hollywood greats all willing to chew up every scene they are in. But, The Dark Knight Rises suffers from a slight pacing issue and a very underwhelming twist. So underwhelming in fact, that the majority of the film’s momentum comes crashing to halt as one of its major characters becomes nothing but a henchman. This, and a few other strange narrative choices, sully the legacy of Nolan’s near perfect trilogy.

      After helping bring Zack Snyder’s Man of Steel (2013) to the big screen, gaining a writing and producer credit for the film, Nolan finally looked to be leaving the Superhero genre behind to focus on stories with a much larger scale – both in time and space.

      Interstellar (2014)

      Rating: 4 out of 5.

      Nolan’s 9th feature is a visually gorgeous Sci-Fi epic, one that is densely packed with explorative exposition that is uniquely trying to balance entertainment with science. While Interstellar doesn’t quite hit the same philosophical notes as 2001: A Space Odyssey, there are still comparisons in its grandeur – while never falling into the trap of the space opera. But, the astronomical scale of the film does leave some of the character work drifting into the cold abyss of space. 

      Despite lacking a huge amount of depth McConaughey still navigates this film through alien terrain. His performance offers more grounded moments in a movie striving for grandeur and even if the monologues do lean into the melodramatic, the cast do well enough to bring home the little emotional levity this film has. Interstellar may not be the bonafide masterpiece it’s made out to be, with a lack of character and bizarre third act, but it’s a unique experience nonetheless. It’s a level of spectacle we’ve come to associate with Nolan and his playfulness with time is something we’ve seen more of in recent years.

      Dunkirk (2017)

      Rating: 4 out of 5.

      After associating his name with Sci-Fi and Fantasy epics, Nolan took a left turn to make Dunkirk. A World War II epic that boasts the Director’s signature scale while approaching the genre with a much more playful narrative. Set across three timelines, Dunkirk uses each one smartly to explore courage, heroism and survival and the pivotal role they each played in such a famous story. 

      Despite being a stone’s throw away from being a “Dad Movie”, Dunkirk is able to battle through the murky waters of mediocrity to achieve a level of technical achievements. The sweeping cinematography and tension inducing score give this film the ‘against the clock’ feel that it needs. While the film lacks definition of character and has a number of obsolete plotlines, Dunkirk still stands as a unique take on familiarity. Modern War films have always struggled to shine as the stories become more and more replayed, but Nolan does just enough to make this one of the more memorable War films of the 21st Century. 

      Tenet (2020)

      Rating: 4 out of 5.

      Next on the agenda for Nolan was another Sci-Fi of epic proportions. One that boasts some crafty camera work and ingenious technicality while still maintaining the accessibility the director has come to be known for. Nolan’s interest in time as a narrative concept was already well established upon Tenet’s arrival, but the director outdid himself with some of the finest action sequences to come from the current decade. It’s faults though, like a lot of large-scale Nolan films, is the clear lack of character once again. 

      On paper, naming the protagonist ‘The Protagonist’ may sound slick,  but what it actually does is reaffirm the lack of connection the audience has to each character. What the film lacks in character though, it certainly makes up for in astonishingly bold set-pieces that can often be breathtaking. Once you get past the talky and informative start of Nolan’s epic, allow yourself to become enthralled by action sequences of highest order – even if you’re only understanding his bold concept at a surface level.

      Upcoming Projects 

      Nolan’s next project, Oppenheimer, has now been released coming head-on with Greta Gerwig’s Barbie. It follows American scientist J. Robert Oppenheimer and his involvement with the creation of the atomic bomb, Nolan fans are salivating at the thought of what the director’s practical-heavy approach will mean for such a story and early reactions seem positive – making it likely to be another hit in his iconic filmography.

    4. 2023 Best Picture Nominees Ranked From Worst to Best

      2023 Best Picture Nominees Ranked From Worst to Best

      Now that the 95th Academy Awards are over everyone finds themselves in a state of quiet, eagerly anticipating 2023’s releases or, like us, reflecting on the winners of the big night. Whether or not you agree with the awards it’s safe to say that this year’s nominees for Best Picture were an eclectic group of films all bringing something different to the table. From franchise epics to dark comedies, from war films to music biopics, you cannot deny the quality on show. But, even though all the films were individualistic, some were better than others. Here is our ranking of the Best Picture Nominees from worst to best. 

      10. Avatar: Way of the Water 

      Most of the naysayers of James Cameron’s epic Sci-Fi sequel have been silenced as the film became the 3rd highest grossing film of all time. Absolutely nothing can take away the huge financial success of Cameron’s 3-hour water adventure, but, for all the vast landscapes, exciting action and visual wonder it offers, the film still gets bogged down by what plagued it’s predecessor. 

      For all its otherworldly qualities the film’s biggest problem is in its humanity. The multitude of characters, and their stories, feel like mere splashes in the ocean Cameron has created for us. While the visuals deservedly won big on Oscar night, there really isn’t enough consistency in Avatar’s vast 3-hour runtime, making the journey feel like a slog more so than the thrill-ride everyone was promised. 

      9. Triangle of Sadness

      Ruben Ostlund’s third feature had early signs it may follow a similar trajectory to the one Parasite had 4 years ago. Winning the Palme D’Or and getting nominated for a number of other awards across the globe, it looked like Ostlund would be celebrating deep into award season for his film. However, with no wins at this year’s Academy Awards, Triangle of Sadness has faded into the darkness as far superior films took the spotlight. This may just be circumstantial but arguably it’s because, despite being captivating in parts, this is Ostlund’s weakest effort.

      When compared to The Square and Force Majeure, both of which have an enigmatic quality to their stories, Triangle of Sadness regularly smacks you on the head with its themes. Even when Ostlund is showing us some of the finest direction of the year (particularly in the dinner scene on the boat), it still gets dragged out to the extreme – hitting home ideas that were already communicated 10 minutes before. Having said that, Ostlund remains one of the most interesting filmmakers working today and despite Triangle of Sadness feeling weaker than his other efforts, there are still moments of brilliance scattered throughout.

      8. The Fabelmans 

      The biggest takeaway from Spielberg’s reflective life story is that the Director has never lost his touch. Sure, some of his more recent ventures pale in comparison to Schindler’s List, Jurassic Park and Jaws, but his understanding of the medium and how audiences connect to it are the shining light in The Fabelmans. Scenes in which Sammy Fabelman watches his audience react to his films are wonderfully constructed, making it clear that the legendary director has never lost his love for cinema. 

      However, this film was always going to border on the self indulgent. If you compare this film to the reflective efforts of Cuarón’s Roma and Brannagh’s Belfast, The Fabelmans struggles to find a core reason to tell its story. Its backdrop dabbles with elements of depression, anti-semitism and bullying but never fully explores them and while Spielberg is telling the story with his heart on his sleeve, it still can’t find a genuine reason for the story it’s telling.  

      7. Top Gun: Maverick

      One of the year’s biggest surprises was the quality on show in David Kosinsky’s sequel to the cheesy 80’s classic. While it still adheres to its predecessors rules of topless sport and needless high-fiving the film’s technical aspects very often leave you in awe. The sound, visual effects and action set-pieces are wonderfully put together to create so much energy and tension – but the most surprising part of this sequel is the emotional attachments it holds to the first film. 

      Tom Cruise’s performance as Maverick is reflective and softer while never losing the rashness of the character, and the emotional beats between Maverick and Goose’s son (named “Rooster”) win you over every time. This could have so easily turned into just another sequel, but Kosinsky’s controlled direction and modern approach make for a mature follow up that surpasses the original with ease. 

      6. Elvis

      Over the past few years we’ve had a slew of mediocre music biopics, often boasting a great central performance but never understanding their subject, which makes it a delightful surprise to have a film like Elvis come along. Baz Luhrmann took the story of an icon and told it with the energy and glamour that make the Director so distinct. But, what’s even more impressive is how the film understands just how emphatic Elvis Presley was as an icon. 

      The film is by no means perfect, with Tom Hanks not quite hitting the mark as well as his co-stars, but this should be the definitive blueprint for music biopics to come. From his room-shaking begins to the darker days of his time in Vegas, Elvis tells us the story while never forgetting to inject the passion and personality that made Elvis Presley one of the most iconic performers of all time. Also, it’s impossible not to be impressed by Butler’s spellbinding performance.

      5. Women Talking 

      Sarah Polley’s chamber piece rightfully took home the Best Adapted Screenplay award for her talky adaptation of Miriam Toews novel. The script that Polley wrote is a beautiful balance between character, theme and discussion, lending personality and importance to create one of the most timely films of the year. 

      While Polley’s script is what shines the most it cannot be understated how important her direction is. Instead of being flashy and overbearing she opts for quiet and observational direction that allows her characters to shine with their own heartbreaking individuality. Like all great chamber pieces, Women Talking densely packs its small setting with so much – leaving you eternally affected by the film’s outcome. 

      4. All Quiet on the Western Front

      Edward Berger’s adaptation of Remarque’s novel takes a modern approach in its filmmaking to really hit home the timeless themes of the classic source material. Every battle scene is wonderfully constructed in order to capture the “War Is Hell” mantra of the film while never losing those individual struggles we see from the leading characters.

      There are different threads that the film pulls on that don’t work quite as well as the core story, but these merely provide extra layers to a film that’s already packed densely with story. War films have to really do something special to stand out these days and Edward Berger has ensured that his film stands head and shoulders above a lot of films of a similar ilk.

      3. Tár

      At times Todd Fields’ near 3-hour character piece can feel strenuous. The script never hides away from the world it’s set in, often allowing long stretches of dialogue about Classical music to play out in front of its sturdy camera, but the film succeeds because of its subtle character evolutions. You’d be quick to dismiss this film as a discussion on “cancel culture” or even the separation of Art vs. Artist, but really what it’s doing is building everything into its central character.

      Smartly made and marketed like a biopic, the film takes a grounded approach of talking about people who are considered otherworldly. Every action, conversation and thought Lydia Tár experiences is slowly etching away her mythical persona as one of the greatest composers of all time – until it all implodes in glorious fashion. The film will likely be remembered for Blanchett’s wonderful performance, but there is a quiet complexity to Tár that stays with you for a long time. 

      2. Banshees of Inisherin

      Martin McDonagh’s newest film is arguably his finest work. In Bruges loyalists will always argue against that, but McDonagh’s signature style has never felt more fluid than in Banshees of Inisherin. Not only that, but the razor sharp humour wonderfully compliments the quiet melancholic tone – as well as the allegory for the Irish Civil War.  

      McDonagh surrounds himself with the familiar faces of Colin Farrell and Brendan Gleeson who, along with the addition of two wonderful performances from Kerry Condon and Barry Keoghan, anchor this film’s themes perfectly. The chemistry seeping from every scene shared between the cast amplifies the humour but also gives the film a sense of community, reaffirming the bigger questions of death and legacy, as well as the impact we have on those around us. 

      1. Everything Everywhere All At Once 

      Easily the most original and unpredictable film of the year – maybe even of the current decade – The Daniels’ bizarre vision of the multiverse is told with veteran control. You easily find yourself in awe of the film’s barbaric narrative, but what’s even more impressive is the it’s ability to find so much heart at the centre of its chaos. 

      Amongst the confetti action, hotdog fingers and hundreds of other elements The Daniels pack into their film there is a quietly controlled narrative between Mother and Daughter, exploring their lack of connection and the solace they find in that shared experience. It’s a narrative that is extremely hard to balance at the best times but doing it with so much craziness surrounding it – as well as challenging a suffering marriage as well – is why this film easily stands as the best film nominated for Best Picture. Everything Everywhere All At Once won big at the Oscars and for the first time ever there isn’t a soul out there that can argue against with the wins. 

    5. 7 Great Films Snubbed at the 95th Academy Awards

      7 Great Films Snubbed at the 95th Academy Awards

      This year’s Academy Awards was a controversy-free celebration. Many of the awards handed out went to deserved winners, there were feel-good moments as Ke Huy Quan and Brendan Fraser accepted their awards after years away from the spotlight and there was no doubt that Everything Everywhere All At Once’s historic 7 wins were warranted. But, like all years at the Oscars, there are some omissions that deserved to be included. While we think this year’s winners were a wonderful collection of films, it would be remiss of us if we didn’t talk about some of the great films that were barely included. 

      1. Decision to Leave

      Director: Park Chan-wook | Crime, Drama | Language: Korean

      Arguably one of the best film’s from 2022, Chan-wook’s unique Crime Drama solidifies why he’s one of the most distinct Directors working today. The zippy pace and attention to detail are what hook you to Decision to Leave but the Director’s approach to storytelling is wholly unique – even when compared to the films nominated at this year’s Oscars. 

      Park Chan-wook’s storytelling is akin to that of Paul Thomas Anderson, while they are both dramatically different in style both filmmakers often tell their stories with an enigmatic quality that, although you’re not sure how or why, you are left completely in awe of the talent on show. Decision to Leave may not be as groundbreaking as Oldboy or as pitch-perfect as The Handmaiden, but it still stands head and shoulders above a lot of films released in the same year and while it’s been nominated numerous times over the award season, it feels like a shame not to see it honoured on the big night. 

      2. The Northman

      Director: Robert Eggers | Action, Drama

      The only logical reason that Robert Egger’s Viking epic could have been snubbed entirely for this year’s Academy Awards is that it was released so early in the year that it slipped everyone’s minds come voting season. Whether it was the striking score, beautifully constructed sets shot with stunning cinematography, captivating performances not only from the lead Alexander Skarsgard but Nicole Kidman, Anya Taylor-Joy, Ethan Hawke and Willem Dafoe, to the bold and inventive directing, there’s so much worthy of high praise.

      Arguably the only aspect lacking compared to Egger’s previous outings is a uniqueness that something like The Lighthouse held – but it’s no excuse for excluding one of the best films of the year from the Oscars, especially when there is so much across the film’s production to celebrate.

      3. Nope

      Director: Jordan Peele | Horror, Sci-Fi

      It’s difficult to pinpoint where exactly Jordan Peele’s newest film fits into the Oscars, potentially for its enigmatic screenplay, wonderful creature design or even for the scene stealing performance by Keke Palmer. But, regardless of where it fits, it seems a shame not to honour such a unique film. 

      The natural response to seeing one of his films is to compare it to Get Out, the film that won Peele his Oscar and became one of the most important films of the 21st Century. While Nope doesn’t feel as instant in its quality there is good reason to believe that in a few years, audiences will relish Nope for its singularity and also for Peele’s aptitude for storytelling. This is a wonderfully complex, funny and incredibly tense film that despite being snubbed for a lot of awards, will hopefully gather an audience for years to come.

      4. The Woman King

      Director: Gina Prince-Bythewood | Action, Drama, History | Languages: English, Portuguese

      Gina Prince-Bythewood’s historical tale got two nominations at the BAFTAs, one for star Viola Davis’ powerhouse performance and also a nod for the Director herself, leaving to wonder just why it was left out at the Oscars. Davis’ performance, while commanding, was up against a number of fantastic Leading Actress performances this year. But, Bythewood’s lack of nomination seems to be a misstep from the Academy. 

      2470911 – THE WOMAN KING

      There is an argument that structurally The Woman King isn’t much different from a number of action films we’ve seen but what’s more important is the representation and celebration it’s giving to it’s story. In recent years the world has been imploring Hollywood to create more diverse and dynamic roles instead of changing old ones and The Woman King does exactly that. It’s just a shame the Academy wouldn’t celebrate the film as much as we did.

      5. Broker

      Director: Hirokazu Kore-eda | Comedy, Drama, Crime | Languages: Korean

      Many people have compared Hirokazu Kore-eda’s latest film to his 2018 drama Shoplifters. In some ways it’s a spiritual successor (Kore-eda himself calling it a companion piece), skirting some of the same themes of class structure and social standings, as well as the functionalities of family and what makes a ‘traditional’ family. Broker manages to talk about these same issues as well as infusing discussions of parental responsibility whilst keeping the mood light and fun – no easy feat.

      Alongside this, Kore-eda somehow manages to make you sympathise with human traffickers – not the most malicious or intelligent, but pursued by the police for their crimes nonetheless. It might not be the home run Shoplifters was, but Broker still manages to inject some incredibly human and joyous moments in a strange tale of selling a child, all in his non-native language of Korean, not missing a step in cultural references either. Whether it was for Best International Film, Original Screenplay, or even an argument can be made for Best Director, the Academy missed a gem of a film this year.

      6. Aftersun

      Director: Charlotte Wells | Drama

      Charlotte Wells’ nostalgic drama is less of a snub due to Paul Mescal’s touching performance getting a nomination, but the film’s quality lies in much more than its performances. At the BAFTAs the director accepted the award for Outstanding Debut and described the film as a eulogy to her Father – something that she achieves with a visceral and subtle reflection of watching someone you love suffer in silence.

      As a distinctly British product it’s understandable that this film didn’t shake the Academy voters as much as the BAFTAs, but the film’s gorgeously told story is one of the best of the year. Many films that tell a ‘personal’ story rarely achieve the emotional connection that Aftersun achieves, and while it was a shame not to see more limelight shed on the film as a whole, there is no doubt that everyone will be eagerly awaiting what Wells does next.

      7. Bones and All

      Director: Luca Guadagino | Drama, Horror, Romance

      The most obvious reason for not including Luca Guadagino’s latest film could be the fact it’s a love story road trip about cannibals – but it’s for that same reason it seems like a missed opportunity to open up the wonderfully weird story to the mainstream. With films like Everything, Everywhere All at Once making waves it seems like the Academy are changing their tone to quirky independent cinema, branching into the originality out there.

      Whilst it might not have won many awards the performances from Timothee Chalamet, and more notably Taylor Russell and Mark Rylance, are enticing and exciting, bringing a grounded and relatable edge to a story that could have easily been disconnected and unrelatable. Guadagnino balances David Kajganich’s script with ease and a certain aesthetic beauty that many people first noticed in Call Me by Your Name – despite being in an unusual narrative, comes together in an intoxicating (and sometimes terrifying) coming of age tale.

    6. The Fabelmans (2022) – Reel Review

      The Fabelmans (2022) – Reel Review

      Director: Steven Spielberg | 2h 31 mins | Drama

      A young and aspiring filmmaker tries to navigate his childhood and chase his dreams, while his family begins to fall apart around him.

      Over the past few years acclaimed Directors have reflected on their lives. Alfonso Cuarón took us on a thought-provoking journey through 1970’s Mexico with Roma, and more recently Kenneth Brannagh put his showy direction aside and showed us a more vulnerable part of his filmmaking in Belfast. Now it seems Steven Spielberg wants to tell his story, navigating his own childhood and reflecting on the relationship between his Mother and Father. 

      There is a fine line to work when exploring your own story as a Director, trying to avoid self-indulgence while giving a real reason for the story you’re telling. In Belfast Brannagh achieved this by giving his film a more political backdrop but The Fabelmans struggles to find that key element that separates the film from being indulgent. However, Spielberg remains the master at creating ‘movie magic’ – something he establishes in the early scenes of his biographical drama. 

      The first scene of the film sees fictional Sammy Fabelman on his first trip to the cinema with his parents, ultimately scared but also blown away by The Greatest Show on Earth. He then follows it by trying to film his own train crashes in order to control the fear, awakening an early connection to filmmaking. Watching that ‘wonder’ that young Sammy sees in these early scenes is intoxicating, seeing a love of cinema through the lens of a Director who is responsible for some of cinema’s most awe-inspiring moments is The Fabelmans’ most endearing quality. 

      As Sammy grows older and reaches his teens, the family follow their engineering Father from city to city as he climbs the ladder of his industry, unaware that his wife is longing for a life she has left behind. Spielberg and Tony Kushner’s script delicately translates the depression through the eyes of Sammy more so than his Mother, but Michelle Williams boldly steals the show multiple times playing a woman having to mask her pain with such a flamboyant facade. 

      Having said that though, The Fabelmans often wrestles more subjects than it can handle. The film is much more comfortable showing us the awe-inspiring filmmaking moments more so than anything else, and while the stories about depression, antisemitism and bullying are by no means brushed to one side, they merely dangle like loose threads at the bottom of the tapestry Spielberg is weaving. 

      This film is almost certain to be divisive, but as a love letter to cinema it still conjures some wonderfully crafted moments. The script sometimes dodges its harder subjects and the film may even verge on self-indulgence, but Spielberg remains the master of awe-inspiring cinema – showcasing some of his best techniques and reminding us why he’s sat at the top of Hollywood for so many years.

      Rating: 4 out of 5.
    7. Puss in Boots: The Last Wish (2022) – Reel Review

      Puss in Boots: The Last Wish (2022) – Reel Review

      Director: Joel Crawford, Januel Mercado | Runtime: 1h 42mins | Animation, Adventure, Fantasy

      When Puss in Boots realises he’s burned through 8 of his 9 lives, he embarks on an adventure to find the mystical “Last Wish”. 

      After a few disappointing sequels and spin-offs fans longed for the days of Shrek and Shrek 2, when the franchise was at the height of its popularity. It seemed like nothing would recapture that magic but, lo and behold, in swings Puss in Boots: The Last Wish with a fresh energy that not only revitalises the Puss in Boots character, but may very well be one the most enjoyable action films of the year. 

      The new kineticism found in the action is instantly noticeable in the surging heroism of the film’s opening sequence. As Puss defeats enemy after enemy, swinging from a bell tower to defeat a monster, it reminds you of a similar energy that Lord and Miller perfected with Spider-Man: Into the Spider-Verse – although Puss in Boots finds its own voice from the central character and its sun-kissed backdrop. 

      The world in which Puss embarks on his adventure is rendered beautifully, but as the film falls more and more into the fantastical, the dusty Western motifs quickly change and the wilder elements of the world shine through. It’s here, in a mythical “Dark Forest”, where all the characters, enemies and allies, are faced with their own thematic challenges – but it’s Puss’ struggles with his own mortality that make this film far deeper than it has any right to be. 

      After years of living on the edge Puss in Boots has recklessly lost 8 of his 9 lives. It isn’t until he’s met by a mysterious Bounty Hunter that the fear kicks in, leading him on an existential journey – challenging legacy vs. happiness while also coming to terms with the inevitable end we all must face. It’s ironic that such a drastically different film of the same year, Martin McDonagh’s Banshees of Inisherin, challenges similar themes of legacy and what we leave when we die – but in a way it speaks volumes about the universality of the message and how despite being so different in audience and tone, the themes really can strike a cord no matter the style. 

      As Puss, old flame Softpaws and new friend Perrito head further and further into the “Dark Forest”, hot on their tails are the enemies made along the way. As well as the aforementioned Bounty Hunter tracking Puss’ every step, they are being hunted by Goldilocks and the three bears (voiced by an all-star British cast) and Jack Horner. While Horner is more throwaway as the irredeemable evil, it’s Goldilocks’ narrative, of finding a ‘normal’ family instead of the bears, that brings even more warmth and togetherness to an already wholesome story. 

      Much like Soul did two years ago, Puss in Boots: The Last Wish understands its audience while being unafraid to discuss a more poignant story about death, and what we leave behind. Its challenging themes sit wonderfully against the energetic animation style and despite the link to the Shrek universe still playing a big part in its characters, this film deserves to stand on its own four paws.

      Rating: 4 out of 5.