8. UNIDENTIFIED MURDER

A good twist can be fun and shake up your perception of a film. A twist every 10 minutes, on the other hand, is not good writing. It’s just annoying. Unidentified Murder is one of my least favourite types of movie: just rug pull after rug pull to the point where none of them become shocking anymore. Then, when it tries to raise the stakes, I’m too bothered by everything that has come before to care because said stakes are constantly shifting. It tries to disguise all that with “commentary,” but like the people it’s lampooning, it’s just shallow.

7. HER PRIVATE HELL

Have you ever watched a movie and thought to yourself, “that must have made a lot more sense in the filmmaker's head”? It’s clear to me that Her Private Hell’s janky dialogue and nonsensical narrative beats are intentional choices on writer/director Nicolas Winding Refn’s end, and to his credit, the visual pastiche gives the film an alluring vibe. But no, this is not a good movie. Refn’s trying to do his own Mulholland Drive, but there’s not enough connective tissue or clear thematic intention to offset the bewilderment. Maybe this could work if you're high; otherwise, not so much.

6. UNHOLY NIGHT

If you can’t tell by my name, I’m Italian, so accurately portraying Italian families, either ugly or beautiful, hits a soft spot for me. Unholy Night’s portrayal of Italian families at Christmas hits the nail on the head, showing the relatable dysfunction, quirks, and insecurities I’ve personally experienced (I’ve literally had some of the same conversations). It is a shame, however, that it’s all wasted on basic shock horror that simply isn’t enjoyable enough. To make matters worse, it clearly overstays its welcome and seemingly doesn’t know what to do with itself at some point. It’s a real missed opportunity.

5. DANCE FREAK

The bizarreness of Dance Freak’s off-the-wall style can take centre stage too much because the moments when the characters are reeling from personal turmoil are often flavourless compared to the dressing. But one can’t help but feel sucked into the surrealism of everything happening on screen. The way it’s shot, the sound work, the oddball sense of humour, the cast's commitment to the bit — it’s shamelessly one-of-a-kind. So, if the story doesn’t hook you, at least directors Alan Resnick and Bobby Rackleff have crafted an intoxicating experience that, if nothing else, is extremely unforgettable.

4. THE PERIL AT PINCER POINT

The Peril at Pincer Point packs a lot in at just over 80 minutes, and I’m grateful for all of it. I’m not suggesting it’s a particularly deep movie, but everything about the filmmaking is captivating. From Jake Kuhn and Noah Stratton-Twine’s atmospheric direction to the monochromatic cinematography, from the sound work to everything on display is effective in driving a nautically surreal experience. The story is compelling, as well, to be fair; nothing captivating, per se, but a fun character-driven story that’s more than enough to make this more than just a sensory exercise.

3. AFTER SCHOOL

After School balances so much that it’s a testament to the creative team that it all comes together so smoothly. It perfectly blends its humour with the tension generated by each increasingly zany scenario, but never in a way that underscores writers/directors Merijn Scholte Albers and Tobias Smeets’ statement on masculinity and bullying and the effects they subconsciously have on someone. Admittedly, I did feel there was some cribbing from The Teachers’ Lounge, but it has enough of its own identity and thematic interests to feel original.

2. WHEN YOU OPEN THE DOOR

I imagine there isn’t a lot left to explore with werewolves (unless you're director Robert Eggers later this year), but When You Open the Door finds ample material to expand on the idea. Using a slow-burn, coming-of-age story as opposed to outright terror, director/co-writer Eriko Katagiri (in her directorial debut, no less) mines the concept of this monster to show a girl (played by Serena Motola, who is great) coming into her own as her perceived place in the world becomes more and more confused. Well-executed, simmering with tension, and thriving with profound storytelling, this was an unexpectedly moving treat.

1. TEENAGE SEX AND DEATH AT CAMP MIASMA

As a vocal fan of Jane Schoenbrun, I’m delighted to say Teenage Sex and Death at Camp Miasma is another win for the surreal filmmaker, but in a way that feels fresh. As opposed to the dourness of their first two films, this one is not only silly, but it also showcases Schoenbrun’s fascination with identity and media in a more liberating register. I had a blast watching it, yet I’m still pondering its many themes and ideas. Once again, I walked away with the feeling that I’m watching an artist come into their own in real time.