I love when indie films explore genre. Good horror and science fiction films can be incredibly thought-provoking and thoughtful. The problem (for me) is big budget Hollywood films tend to take everything to extremes and we end up with jump scares, buckets of blood, and special effects. My #’s 16 & 15 films of 2022 have a different, far more subtle take on these genres.
You Won’t Be Alone
#16) You Won’t Be Alone, directed by Goran Stolevski – Framed by a story steeped in folk horror, about a woman who was deeply wronged and transformed in to a vengeful spirit, YOU WON’T BE ALONE manages to delve into the mysteries of what makes life the hardship and the glory that it is by showing it through the eyes of ‘the other.’ The plot is twisty and complicated, but involves that afore-mentioned vengeful spirit, who creates an heir of sorts using the body of a girl given to her in an unholy bargain., This heir, lacking the drive for vengeance steeped in her creator, sets out to experience just what makes humanity what it is. Through a series of varied experiences, depending on the form se has taken on, she experiences helplessness, fear, power, arrogance… and eventually belonging, yet there’s still the fact that her creator is a vengeful spirit, and isn’t going to just let her spawn in peace. This Australian/UK/Serbian co-production is an astounding blend of genres and storytelling, with some incredible visuals, and great performances. A little gruesome at times, but I’m a wimp, and I didn’t have trouble getting through it, and it’s definitely worth it.
The Dog Who Wouldn’t Be Quiet
#15) The Dog Who Wouldn’t Be Quiet, directed by Ana Katz – I really loved this film. I was quite taken by Daniel Katz’s performance, how he managed to be so passive, yet so compelling at the same time. I also found the twist of the global pandemic fascinating, and how it played into issues of class, which actually threaded through the entire film. There’s a deadpan, absurdity to the humor that reminded me of some of Almodóvar’s early work. In a scene where Sebastian’s boss is telling him he can no longer bring his dog to work, she says something to the effect of, that behavior ultimately leading to ‘an office full of hens and everyone pole-dancing.’ That kind of absurd remark is prevalent.
The first of only a handful of films from the U.S. makes its appearance in the Top 20, paired with an Australian film featuring a long-time favorite actress. Other countries represented in the Top 20 include Thailand, Uruguay, South Korea, France, Belgium, Canada, Taiwan, Bolivia, Argentina, Serbia, and Rwanda.
Nitram
#18) Nitram, directed by Justin Kurzel – NITRAM is one of those stories that tries to examine the events leading up to an horrific act and make sense of behavior that seems incomprehensible. Based on the events that took place in the 1996 Port Arthur massacre on Tasmania, the film follows the awkward, lonely Nitram living with his Mum and Dad with few friends and fewer social graces. He gets involved with an eccentric, older woman of means and breaks from his parents somewhat stifling home but is never able to mature, whether due to neglected mental illness, or environmental factors, which the film, fortunately hints at but doesn’t try to use as an explanation. The film is dark for sure, but compelling viewing, made especially powerful by performances from the magnificent Judy Davis as Nitram’s Mum, Caleb Landry Jones (THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI; THE FLORIDA PROJECT; GET OUT), as Nitram, and Essie Davis (THE BABADOOK; THE JUSTICE OF BUNNY KING), as his eccentric friend, Helen.
The Man in the Woods
#17) The Man in the Woods, directed by Noah Buschel – While not quite as accomplished as THE VAST OF NIGHT, this nostalgia-focused thriller set in 1963 hits some similar marks, and surprised me at its cleverness and strong writing, after a slightly awkward start. The budget is clearly a lot less, and while the largely black & white cinematography is beautiful, the production design is a little sparse. In addition to the sharp, yet somewhat familiar screenplay, about a teenaged, prep-school girl who goes missing in the woods, the performances particularly by the bohemian Literature professor brought to sparkling life by Marin Ireland (star of last year’s Buried Treasure winner, LIGHT FROM LIGHT) and the Headmaster’s long-suffering, firecracker of a wife played by the accomplished Jane Alexander, really elevate this film to something worth notice. Additional kudos to William Jackson Harper (MIDSOMMAR; PATERSON) as the railroaded, black police officer, and Odessa Young (SHIRLEY) as the wisest of the missing girl’s friends showing off her investigative journalist skills as the head of the school newspaper. It’s heavily stylized, and surprisingly witty, but showing the darker side of the past often concealed by nostalgia.
I’m pretty pleased with my female to male director ratio in 2022’s Top 20. Eight of the 20 film to appear on the list were directed by women, with one more co-directed by a woman. That’s nearly 50%, and when you consider that only 24% of films released in 2022 were directed by women (according to the Center for the Study of Women in Television and Film.) My top 20 kicks off with two such films with female helmers. We also start off internatinally with #20 coming from the UK, and #19 coming all the way from New Zealand
The Eternal Daughter
#20) The Eternal Daughter, directed by Joanna Hogg – Completing (perhaps?) the unplanned trilogy begun with THE SOUVENIR and THE SOUVENIR PART II, Joanna Hogg’s take on the gothic ghost story, THE ETERNAL DAUGHTER, becomes my favorite of her films since ARCHIPELAGO (my #2 film of 2014). In a genius casting move, Tilda Swinton returns to play Rosalind Hart for the third time, this time also playing her daughter, Julia Hart, now at middle age in present day, and a stand-in for Hogg herself. Julia was played by Swinton’s real-life daughter Honor Swinton Byrne in the two THE SOUVENIR films. All three films are inspired by Hogg’s life, first as a young woman learning the craft of filmmaking, and then in middle-age struggling to understand her mother by writing a film about her. By setting it in a haunted house setting, complete with an inspired music department that leans heavily on the gothic horror genre. It’s an interesting concept t have the one actress play both parts, and Swinton pulls it off with amazing aplomb, her return to Rosalind Hart being the true winner here. Rosalind is the most interesting character in the first two films, and remains so in this film as well, although Swinton’s portrayal of Julia as an adult adds tremendous depth and interest in the character. And let us not forget Louis, Rosalind’s dog, portrayed by Swinton’s own hound. Certainly a performance worth noting.
The Justice of Bunny King
#19) The Justice of Bunny King, dircted by Gaysorn Thavat – Essie Davis is on a roll with portrayals of fierce but flawed mothers protecting their children. She made a big impression in THE BABADOOK (my #7 film of 2014), then followed that up with BABYTEETH. (She also turned in a fine performance in NITRAM, a film that will be appearing a bit higher up on this list). Now she tops THE JUSTICE OF BUNNY KING, which, with a name like that, conjures pictures of outlaws and rifles in the Australian outback. Instead, we have Bunny brandishing a squeegee, on the busy streets of a New Zealand city, trying scrounge up some change so she can find a place of her own to live and rescue her two children from foster care. Bunny is a complex character: quick-witted but with a hair-trigger temper. It becomes clear early on that her children are the driving force that keeps her going, but it’s also clear that there was an incident in her past that put her in this precarious position, one that challenges the meaning of fairness in a city that tends to forget people like her. Bunny refuses to let herself be forgotten though. While searching for a place to live, she’s sleeping on her sister’s couch, helping out with childcare, and washing her brother-in-law’s car. When she witnesses something that puts her teenaged niece (played exquisitely by Best Actress Chlotrudis nominee for LEAVE NO TRACE) Thomasin McKenzie, she can’t help but intervene, even though it dashes her latest hope for being reunited with her children.
I know it’s February already, and the time for year-end lists is probably well past. That said, I spent the first month of 2023 catching up on some more 2022 films in preparation for our Chlotrudis Awards nominations, so I now feel more confident that my list of favorite 2022 films is more comprehensive. I will be reporting on my Top 20 films of 2022, but in this post, I’m going to talk about my favorite documentaries, my favorite non-Chlotrudis eligible films, and my also rans (those that didn’t make the Top 20). I know I should integrate my docs and my non-eligible films into my list of favorites, but any opportunity to talk about MORE films that I loved is a good one.
The Cathedral directed by Ricky D’Ambrose just missed my Top 20 of 2022.
I will start with three films that were not eligible for Chlotrudis consideration, that I feel are worthy of mention. Granted, I only saw about five 2022 films that weren’t eligible, but I do focus most of my time watching independent films. Two of the three non-eligible films I enjoyed are considered independent films, but they were released wide, which takes them out of consideration for Chlotrudis. Todd Field’s Tár was my favorite non-eligible film, largely on the strength of the ever-reliable Cate Blanchett’s performance. I also enjoyed Field’s screenplay, especially the first 45 minutes of so of the movie, which included a television interview of Blanchett’s character, composer Lydia Tár, and a lengthy scene of her teaching a masterclass. I found those two scenes just riveting. Excellent sound design as well. Similarly, the indie crowd-pleaser Everything, Everywhere, All at Once worked so well for me almost exclusively on the performance of the magnificent Michelle Yeoh. How wonderful to see her in such a dynamic and fun leading role as an actress of a certain age… and to have it so well-received by the public. I also loved that despite all the wild and crazy antics, and universe jumping, and craziness, it was, at its heart, a mother-daughter relationship story. You definitely don’t get that very often. Finally, while it didn’t get all that much great press, I have to say I quite enjoyed She Said. Director Maria Schrader doesn’t take a flashy approach, but it was interesting after seeing Spotlight only a couple of years ago, I discovered how much I enjoy an investigative journalism story. Also, it’s the first time I really enjoyed a performance by Carey Mulligan. She really inhabited that character beautifully.
Tár starring Cate Blanchett
I”m much more a narrative film person than a documentary person, but I did find quite a few good docs to enjoy this year. Out of the dozen 2022 docs I saw, I came up with a pretty strong Top 5.
5) Sr., directed by Chris Smith – I’m not sure why I elected to watch Sr., a biographical documentary about Robert Downey Sr., conceived and powered by his son, Robert Downey, Jr. I’m not really a fan of Jr., but I didn’t know a whole lot about Sr., other than that he was a fringe filmmaker in the 70’s and 80’s, whose films I had heard about but never seen. The film, directed by Chris Smith (AMERICAN MOVIE, HOME MOVIE) in a unique meld of personal conversations between Sr. and his famous son, historical footage of their family, and Sr.’s filmmaking days, and a surprisingly powerful and moving chronicle of the final years, through the pandemic, of Sr.’s life. In addition, incorporated into this documentary, is the same story, as directed and edited by Sr. himself if he were to tell his story. The combination of all these varied themes and styles could have turned into a messy hodgepodge, but instead, it manages to elevate the story into something truly special. I’m very glad I took the time to see this film, and I learned quite a bit about both the Downey family, and Sr.’s filmography, which I fully intend to check out.
Sr., directed ny Chris Smith
4) Girl Talk, directed by Lucia Small – The final film Chlotrudis Awards-nominated documentarian, Lucia Small is a great look at high school girls on a debate team in Newton North High School. Framed similarly to other competition docs (Spellbound; Word Wars) where Small follows a variety of debaters through a series of competitions, it makes a unique comment by following the minority of female debaters, and ties them to successful and powerful women who all participated in their high school debate teams. Small has a strong collection of documentaries in her filmography, most notably her debut film, My Father, the Genius, and Girl Talk spotlights many of her considerable talents. I’m so happy Lucia was able to see the release of this film and tour with it to festival (including the Provincetown International Film Festival, where I saw it and was able to spend some good time with Lucia) before she died so young due to cancer.
Girl Talk, directed by Lucia Small
3) Fanny: The Right to Rock, directed by Bobbi Jo Hart – Sometimes a documentarian gets lucky and discovers a subject so fascinating, with amazing footage, that the movie practically makes itself. That’s what Fanny: The Right to Rock feels like. Brought back to some minor attention by a random quote from David Bowie in a rock journal, this documentary chronicles the career of an all-girl, Filipina, rock & roll band from the late 60’s – mid-70’s (yes, you can reread that description — all-girl, Filipina, rock & roll band). Filmmaker Hart was fortunate enough to have some amazing performance footage of Fanny, as well as photographs, and clips to use in the film. She also had access to four of the five main members of the band to interview in the present. Add to that some of the young female musicians that they have inspired, as well as several members from David Bowie’s band and other rock & rollers such as Joe Elliott from Def Lepopard, to provide some context. Is it a great documentary? Well, no, it’s good… but like I said, in this case, the subject matter elevates the film into the great territory.
Fanny: The Right to Rock, directed by Bobbi Jo Hart
2) Bad Axe, directed by David Siev – Is this documentary a love letter to the small Michigan town of Bad Axe? Or is it a love letter to director David Siev’s family? And in response to the couple of critics I read taking Siev to task on this question I say, does it matter? While a fairly straightforward document of a family and a community’s struggle through the last few years, I was amazed at the way Siev wove together a microcosm of our communal experience through the harsh COVID years, and how the pandemic, and the coinciding political climate impacted small businesses, racial issues, and family relations in profound ways.
The Siev family, led by a Cambodian father, and a Mexican-American mother, are deeply impacted when COVID shuts down the country. Their lives are supported by Rachel’s a successfully operating family restaurant in the small town of Bad Axe, Michigan. Their three children (oldest daughter, a college graduate living in Ann Arbor), middle son (an aspiring filmmaker living in New York City), and youngest daughter (college senior still living at home) all come back to Bad Axe, to their family home to help run the restaurant during this challenging time in an effort to allow their parents to stay at home and avoid health complications — despite their unwillingness to do so. When the Black Lives Matter movement erupts in mid 2020, the family and their assorted partners finds themselves struggling with their desire to speak out and support the movement, with the complexity of running a restaurant that serves a community that is largely populated by Trump supporters. All of this overlaid by the experiences the family patriarch endured escaping the killing fields of Cambodia which shaped his live and outlook. First-time feature documentarian Siev found himself in the middle of an incredible and incredibly relevant story, and had the good sense to document it. His straightforward style and with able editing assistance by Peter Wagner and Rosie Walunas has created a powerful portrait of a time that is compelling viewing and resonated strongly with me.
Bad Axe, directed by David Siev
1) Descendant, directed b Margaret Brown – This is one of those documentaries that I can only imagine started out with a particular premise, and as filming commenced, more and more was unearthed around this story that it turned into something so much more. Ostensibly about about the search for the last slave ship to travel from Africa to the U.S. before the Civil War, DESCENDANT evolves into a powerful story about community, history, racial injustice, Zore Neale Hurston and so much more. Part of what makes DESCENDANT so good is director Margaret Brown’s selection of subjects to follow. I’m sure she must have shot footage of dozens of folks — the descendants of the captive Africans who were on that slave ship and formed Africatown in Mobile, AL after they earned their freedom — but the ones featured in the film are so engaging, so compelling, and have such powerful stories to tell. Both important and adept as a film, Brown, whose 1994 doc, THE ORDER OF MYTHS won the Chlotrudis Buried Treasure award in 2009 deserves recognition for this film as well.
Descendant, directed by Margaret Brown
Finally a list of the also-rans. Films I really enjoyed last year, but couldn’t fit onto my Top 20. But I wanted to make note of them, because all of them are worth seeing, and are possibly films you’ve never heard of.
21) The Cathedral 22) The Wheel 23) Întregalde 24) Great Freedom 25) Zero Fucks Given 26) Cici 27) God’s Creatures 28) Hit the Road 29) Ahed’s Knee 30) The Worst Person in the World
The Wheel, directed by Steve PinkEverything, Everywhere All At Once, starring Michelle Yeoh
My favorite book read last year was also my only book to receive 5 stars, and it also happened to be the last book I finished last yea. It’s also notable that it;s the first book by this author that I have read, but undoubtedly not the last.
Madeline Miller has a new fan. I’ve always been fascinated by mythology, and the tales of haughty, impervious gods, and heroic, foolish mortals, and their interactions. But it’s the goddesses and heroines, who are lesser characters usually, that are the most fascinating. Miller’s novel, Circe, explores the life of a lesser goddess, daughter to a Titan and a nymph, and a witch, whose great powers come not from her divinity, but her will. In this compact, yet sprawling novel, we follow Circe’s troubled youth, leading ultimately to her exile, where she comes into her own, mastering both her fiery spirit, and her formidable powers. Other notable figures of Greek myth surround her, including the monstrous Scylla, the clever Daedelus, the horrific Minotaur, and the mighty Odysseus. Then there are the gods themselves, Hermes, Athena, Helios, and Zeus, whose uncaring, manipulative ways are in stark contrast to Circe’s compassion.
Miller’s prose is eminently readable, yet poetic and lovely. Her turns of phrase are startling, and her lengthy descriptions are surprisingly compelling. There are long passages when Circe is the only character, so there is no dialogue to break up the flow of words. I was thoroughly enchanted.
I only read a total of 27 books last year, with one re-read. I had a a lot of fun revisiting C.J. Cherryh’s novel, The Gate of Ivrel. I also read a couple of real stinkers, which will remain unnamed on this blog. And just as a reminder, here is the list of the Top 15 books read in 2002:
Madeline Miller has a new fan. I’ve always been fascinated by mythology, and the tales of haughty, impervious gods, and heroic, foolish mortals, and their interactions. But it’s the goddesses and heroines, who are lesser characters usually, that are the most fascinating. Miller’s novel, Circe, explores the life of a lesser goddess, daughter to a Titan and a nymph, and a witch, whose great powers come not from her divinity, but her will. In this compact, yet sprawling novel, we follow Circe’s troubled youth, leading ultimately to her exile, where she comes into her own, mastering both her fiery spirit, and her formidable powers. Other notable figures of Greek myth surround her, including the monstrous Scylla, the clever Daedelus, the horrific Minotaur, and the mighty Odysseus. Then there are the gods themselves, Hermes, Athena, Helios, and Zeus, whose uncaring, manipulative ways are in stark contrast to Circe’s compassion.