In a year hampered by strikes and the knock-on effects of the pandemic, it was still easy to find yourself with a great film to see in the theater. Let’s narrow down some of the standouts of this year that maybe didn’t get the Big Box Office attention.
I Saw the TV Glow
This tale of isolation, trans identity, and the general sensation of feeling uncomfortable with who you are has stuck with me since its theatrical run in May. The palette of light blues and bruised drab stark colors compliments the hopeless suburban setting. The calculated depiction of 1990s late-night kid’s horror like Goosebumps struck a chord of nostalgia. The film rounds out with not only “You can never go home again” but also “What if it’s your home that’s suppressing who you really are?” Jane Schoenbrun’s second entry into what seems to be a trilogy about queer identity will not be one I forget. She’s one of the most exciting young new directors right now.
Dune Part 2
Dune Part 2 feels like an anomaly: an IP project backed by a visionary filmmaker and a gargantuan follow-through. This is a theater-going experience that you’ll never forget, laden with sound design and visual effects that are satisfyingly unique. The film is a medley of craft that director Denis Villeneuve manages to bring together to create a new aesthetic for a blockbuster space opera. A glimpse at the future in Hollywood as every young movie star featured here is effective, Dune Part 2 is probably the most impressive accomplishment of the year, and the film most likely to have a viewer come away thinking, “My dream is to make something like this.”
The Brutalist
Child actor turned prestige director Brady Corbet started his directorial career out with Vox Lux and The Childhood of a Leader. With The Brutalist, Corbet takes a step back from his ambitions as an auteur and threads a needle and make a new great American epic that’s both tender and grand. By the end, he turns the camera back on the viewer, making them rethink how they envision the lives of great artists and public servants.
In a Violent Nature
Chris Nash, a first-time director, blew some minds at Sundance earlier this year. Imagine following an inhuman, unstoppable force every step of the way as it kills every human in its path. …Nature’s novel appeal lies in its portrayal of the lush Ontario wilderness as we follow the beast. What the camera does and doesn’t show us tells us that this film is less interested in the in-your-face classic slasher moments (it still has some “kills” you won’t forget) and more in capturing what it would be like to encounter a being this terrifying near someone’s cabin vacation getaway.
Red Rooms
Pascal Plante’s bone-chilling thriller ponders the question that rings true today: what if you had the world at your fingertips and could materialize anything, and you used that power for chaos? Red Rooms features an absolutely banner performance from newcomer Juliette Gariépy. Her coldness and ability to stare through some of the most disturbing places on the Internet makes this one the gem of the year.
-Mike Archer
Photo: Getty Images
Interesting read!