Tag: year-end list

Midway through my Top 10 films of 202 we have a couple of stand-out films from Asian filmmakers, one familiar, one new to me. Both explore the mental state of the protagonist in ways that are surprising and thoughtful. It’s also great to see films with strong female leads still taking such prominent spots in my favorite films.

#6) The Falls, directed by Mong-Hong Chung – The Taiwanese film, THE FALLS came to may attention very early in the year with some strong reviews after being released in January. The descriptions were vague, something about a mother and daughter dealing with some difficulty while quarantined during the pandemic. That description is not only misleading, it completely misses the power and drama of this film. For brief moments during the first half hour or so, i wondered if I was watching a science fiction film… then a horror film… then the real story began to emerge. I will do you the same courtesy that was given by not revealing any more, other than to say that director Mong-Hong Chung directs a tough film with amazing skill and more importantly, compassion. In addition to the skillful directorial hand, Chung’s screenplay, which he co-wrote with Yoa-sheng Chang is strong as well, telling a story not often seen on screen with tenderness, yet without pulling the punches that may be painful for some to sit through.

The film takes it’s time too, with a two hour-plus running time, that at least one reviewer complained about. I didn’t find it too long at all, despite it’s somewhat leisurely pace. I like how things unfolded slowly… more like life than a film trying to meet a 90-minute running time. The film is really served best by the amazing performance of its two leads, especially Alysssa Chia, a film and TV star in Taiwan. Chia captures the nuance and tragedy of Lo-pin Wen subtly yet with grace and power. Gingle Wang as Lo-pin’s daughter brings it home as well. Two really strong lead actresses. This film might not resonate with everyone, but it’s just the kind of film I love.

#5) Memoria, directed by Apichatpong Weerasethakul – A new film by Apichatpong (or “Joe,” as he is colloquially called) is always call for notice, but this, the Thai director’s first multi-national film, set in Colombia, in English and Spanish and with a big international star, was something to really take note of. It helped in a really big way that the international star is Tilda Swinton who manages to bring us along this bizarre and fascinating journey with thoughtfulness and curiosity.

A woman seeks the cause of a strange recurring phenomenon that causes her to hear a loud, specific sound at random times that no one else seems to hear. Her search for a cause leads in many directions, but not, where anyone could possibly expect. The film is filled with shots of great beauty, and moments of sublime drama. Not so surprisingly, there are also moments of sudden, absurd humor that take you by surprise. It’s hard to imagine anyone other than Tilda Swinton in this role (except perhaps Cate Blanchett – the two becoming more and more internchangeable with the roles they’ve been taking). Don’t let the expected leisurely pace and lengthy running time put you off. The journey is exquisite, and the payoff, mind-blowing.

As we climb higher into the Top 10, it gets harder and harder to differentiate between the films as to their level of accomplishment: these are all such great films! What this pair of films share is a boldness of writer/director vision, and a pair of show-stopping lead performances.

#8) Anne at 13,000 Ft., directed by Kazik Radwanski – Kazik Radwanski’s films are up close and personal… so much so that there is a certain level of discomfort in watching them. He uses intense emotions and extreme close-ups to drive his points home. ANNE AT 13,000 FT. introduces us to a young woman who works at a daycare center. As a bridesmaid for one of her co-workers, she, along with the bridal party, jump out of a plane to do some tandem skydiving. The exhilaration and yes, calm, Anne feels is something she yearns for again when she is back in her regular life. And there’s definitely something different about Anne. At first it’s just some inappropriate laughter, discomfort in social settings, discomfiting work decisions… that soon reveal themselves to be a struggle with mental illness. This portrait of a woman dealing with an illness is poignant, yet unflinching, as those around her struggle to provide assistance and support.

Deragh Campbell is riveting as Anne, and it’s with trepidation we watch her try to navigate every day life with this incredible burden. Her performance is so raw and open it’s hard to remember you are watching a film. Radwanski’s directing style keeps that honesty up front and in your face, daring you to judge while his camera holds unflinchingly as Anne makes bad decisions or behaves in ways we can’t understand. I look forward to following Kazik’s career as he continues to confound and fascinate.

#7) Aftersun, directed by Charlotte Wells – This British father-daughter memory tale is a remarkable work as a first-time narrative film. Writer/director Charlotte Wells tells a very personal story through the eyes of a pre-teen girl about a time spent at a Turkish resort with her Dad, who is divorced from her Mom. Wells doesn’t tell a straight-forward story.In fact, for the first half of the film I found myself frustrated, not quite understanding the point of some of the extended scenes we were experiencing The latter half grew both more compelling and more obtuse, as shifting timelines, and unexplained scenes created a sense of unease, but little detail of what was actually going on. Fortunately the film is anchored by a remarkable performance by Paul Mescal playing the young dad. Loving and attentive, there is also a sense of desperation and anxiety beneath his actions. In the end when those elements grow stronger, his behavior suggests a darkness that is surprising although not entirely unexpected. Ultimately, I was very moved and impressed with the film, despite not having a solid grasp on some of the events and their sequence or meaning. It was one of those films that I wasn’t sure how I felt about as it concluded, and the next morning found I truly appreciated.

My top 10 films of 2022 kick off with the return of one of my favorite directors, and a special spotlight for a character actress in a leading role. These films also highlight the very different stories centered around women.

#10) Women Talking, directed by Sarah Polley – It’s so very exciting to see Sarah Polley back in the director’s chair after taking an extended hiatus to raise a family and to recover from a serious concussion, and she is in fine form. Polley’s adaptation of a novel based on actual events explores the discussions held by a group of women in an isolated religious colony after years of sexual abuse by the men in their colony have been uncovered. The title of the film is not wrong, this is all about the conversations these women have, and the sharing of very differing points-of-view of what should be done. Polley does a masterful job at having the narratives flow in a way that is natural, and also absorbing for the viewer. She is assisted by a phenomenally talented ensemble of women actors who bring each character’s story to vivid life. I hope this is the first of along string of films directed by Polley now that she’s back in the chair.

#9) A Long Song, directed by Max Walker-Silverman – This exploration of love, loss, and aging is a lovely story in and of itself, but as a vehicle to showcase the magnificent performance by character actor Dale Dickey, it’s a real show-stopper. Dickey is known for lots of memorable performances from films such as Winter’s Bone, Leave No Trace, and The Incredibly True Adventures of Two Girls in Love, but never has she been given a leading role that is so internalized and beautiful realized. A solitary widow, Dickey plays Faye, who waits in her trailer to meet a childhood sweetheart that she hasn’t seen for decades. Walker-Silverman spends luxurious amounts of time on Dale’s exquisitely weathered face as she spends her days catching fish, enjoying the magnificent vistas of the Colorado Rockies, and pondering her life thus far. She’s eager, she’s wary, she’s lonely, she’s sad… she’s a human being living a quiet life with hope and expectation, but also reality and experience. Aided ably by a great supporting performance by Wes Studi, A Love Song is a very special film, and one that is worth every moment.

Movies with child actors in leading roles are often tricky, but this pair of films is uncanny in the way children are presented. Much credit must go to the directors, Céline Sciamma and Laura Wandel respectively. The poise and sophistication of these performances is nothing short of outstanding.

#12) Petite Maman, directed by Céline Sciamma – It’s hard to talk about the creative exploration Sciamma plumbs in this deceptively simple story about a young girl who stumbes upon a friend in the woods who shares many of her characteristics. Coming off the sweeping romantic drama of Portrait of Lady on Fire, Petite Maman seems like a trifle, but it is perhaps one of Sciamma’s most ambitious films to date, thematically, at least. The two young actresses who play the film’s central characters make it all work. Without them it would have been a clever story, but their performances add to the depth and mystery that unfolds.

#11) Playground, directed by Laura Wandel – This hard-hitting examination of how children learn the harsh realities of adulthood is a tough watch, but the astounding performance that director Wandel reveals by child-actor Maya Vanderbeque is riveting. Nora and her older brother Abel, go to the same elementary school, and when she witnesses Abel suffering terrifying abuse by other boys in the playground, she is traumatized. Uncertain who to turn to, from her teachers to her father, Nora must thread the needle between fearing for her brother’s safety, to bowing to his wishes to stay out of it. Abel’s bullying has ramifications that spill over to Nora beyond her anxiety, as her friends start to shun her for being connected to him. As the situation evolves, Nora makes decisions in the name of self-preservation that affect those around her, It’s a frightening and painful film made all the more challenging by its stark truths.