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A MURDER AT THE END OF THE WORLD Starring: Emma Corrin, Brit Marling, Clive Owen, Harris Dickinson, Alice Braga, Joan Chen, Raúl Esparza, Jermaine Fowler, Ryan J. Haddad, Pegah Ferydoni, Javed Khan, Louis Cancelmi, and Edoardo Ballerini Creators: Brit Marling and Zal Batmanglij PAIGE To creators Brit Marling and Zal Batmanglij’s credit, A Murder at the End of the World provides a software update to the crime thriller genre. Thanks to the sincere performances of Emma Corrin and Harris Dickinson, this stylish and atmospheric whodunnit manages to be both compelling and unsettling. Overall, I quite enjoyed this The Girl with the Dragon Tattoo- type of murder mystery despite its flaws, including lackluster pacing due to the time jumps and a final product that maybe wasn’t entirely gratifying. QUENTIN Buried somewhere in A Murder at the End of the World , a sort of Knives Out meets True Detective murder mystery, is a good show. In fact, there are two good shows. However, the two storylines (one told in present day, the other in flashbacks) are constantly fighting with each other for screen time. This results in two half-hearted mysteries that are poorly developed, a problem that is exacerbated by the fact that the series is oddly just seven episodes. Also, I’m not sure I’d call it predictable, per se, but I guessed the murderer pretty early on; do with that what you will.

THE SYMPATHIZER Starring: Hoa Xuande, Robert Downey Jr., Toan Le, Fred Nguyen Khan, and Sandra Oh Creators: Don McKellar, Park Chan-wook ADRIANO I can't quite explain the joy of watching a show like The Sympathizer on a weekly basis. With Park Chan-wook at the helm, his style and unapologetic pacing make way for an entertaining show that's also gripping and stunning to experience. While its themes of colonialism and loss of identity hit home, the show never misses out on an opportunity to get into the weeds of its central character. Robert Downey Jr.'s headline-making performance (or performances, I suppose) is great, but Hoa Xuoande deserves just as much praise, if not more. There's simply nobody doing it like Park Chan-wook. AMARÚ There’s a very peculiar tone to Park Chan-wook’s The Sympathizer that is as eccentric as the many characters Robert Downey Jr. portrays. That energetic frequency enhances the dynamic nature of Chan-wook’s direction and Kim Ji-yong’s cinematography, but creates a massive tonal whiplash when compared to the show’s subject matter. This kept me constantly detached from the story no matter how engaging it appears to be, mostly because, even with a first-person narrative guiding you through it, I could never fully connect with its characters. The show is gorgeous to look at, but I couldn’t really tell you a memorable thing about it. CALEB The Sympathizer is a snappy, fine-tuned, political thriller bursting at the seams with intrigue and suspense. All the double-crossing and espionage are made even more exciting by Park Chan-wook’s unhinged directorial decisions. With all the wild transitions, wacky needle-drops, and intricately costumed Robert Downey Juniors (yes, plural), Chan-wook’s creativity seems almost endless. Underneath all of the visual insanity lies a genuinely moving story about identity that’s elevated by Hoa Xuande’s dynamic lead performance. The finale definitely becomes a little too convoluted for its own good, but The Sympathizer is still one of 2024’s best shows.

Previous April 4, 2025 Next A BITESIZE CHAT WITH SAMIR OLIVEROS In 1984, a down-on-his-luck HVAC technician with a get-rich-quick scheme obsession, that lived in an ice cream truck, made headlines when he appeared on the game show, Press Your Luck . Miraculously, this man won over $100,000, captivating audiences and driving CBS producers nuts. His name was Michael Larson, and what sounds like a miracle was actually deliberate and planned out, based on memorizing the game's patterns. Over 40 years later, Michael Larson's story is finally put to film in The Luckiest Man in America , directed by Samir Oliveros. I had the opportunity to speak to Oliveros to discuss the film and Michael Larson himself. BB: I remember hearing about the story of Michael Larson and the Press Your Luck scandal when I was a teenager and being so interested in it; I just knew I had to catch the film when it premiered at the Toronto International Film Festival last year. What was your relationship with the story of Michael Larson? Did this story come to you, so to speak, or was it one you were really interested in telling? SO:  It actually came to me when I was browsing through a thrift shop in LA. I like to do that because I like to browse through film negatives, photos, and old family memories because it's always a good inspiration for your characters when you're writing. I found this VHS tape and when I played it, it was a taping of Press Your Luck . I started researching about the show, and then I found out about the scandal and thought, “Oh, that must be an amazing movie,” and there was no movie. So that's when we decided to make it. BB: Now, I know Michael Larson passed away, I believe in 1999, but I'm curious if you were in any way in touch with his family during the writing or the production of The Luckiest Man in America . SO:  We were in touch with Bill Carruthers Jr., who's the son of the creator of the show and was a creative consultant. He read a couple drafts and helped us with a lot of the production design decisions. BB: What about Paul Walter Hauser? What was it in particular that stood out to you enough for him to play a role like Michael Larson? SO:  I think he manages to balance drama and comedy perfectly. I had seen him in Richard Jewell , and we needed somebody who could pull that off because what he does on screen and during the tapings is something that is extraordinary, but it's also funny when you see it. It's like, it gives you that nervous laughter in your stomach so we thought that somebody from comedy would be ideal, but who could also pull off those dramatic moments in the movie. Then at the time we were gonna start casting, they released Black Bird and I thought he was brilliant. That's why we thought he was the perfect Michael. BB: You also casted Walton Goggins as Peter Tomarken. Was that your first choice while watching tapes of the show or was he someone that came to you after? SO:  I'm a huge fan of Goggins, so we always thought of him for that role. Then we went out to him and he loved the role. It was great. He was amazing. He became Peter Tomarken for four weeks. BB: What did filming the Press Your Luck sequences look like? Was the set built from scratch? How many moving pieces were there in bringing the show to life? SO:  So, we had a perfect replica of the studio and my production designer was really focused on making sure that it was going to be identical. Because we were dramatizing some things for the movie, we wanted those known things to be very faithful to the original ones. There was a lot of focus on making sure that was gonna be exactly the same. Then, when we started shooting that stuff, it was amazing because at some point, Goggins just decided to just run the whole show. So, because we were shooting scene-by-scene, at one point he said, “Listen, let me run the entire taping in one go and let's see what happens.” I was super into that idea. That's when we let him do that and it was great because everyone else just felt the thrill and it felt like a taping of the game show. So, we were really happy with that idea. A lot of it made it into the movie, actually. BB: Reading up on Michael Larson, there is a lot that happens after the scandal. Was there ever any intention of portraying anything that went down with him after this situation? Or were you just steadfast on the scandal being the story? SO:  At some point, we spoke about a Catch Me If You Can multi-city epic which we were gonna just do like a big biopic with all of that included. But then, when we started focusing on the game show, we realized that there was this very interesting pace that the script was falling into and we loved it and we were like, “Do you think that it would be possible to keep it into one single location? Can we tell the whole movie in this one 24-hour moment in time?” The more we condensed it, the more we felt like this was a great movie. Also, because of the amount of exposition that we were gonna withhold and how we started structuring the movie so that we were peeling him like an onion, getting to his emotional core towards the end of the movie. It was really exciting; it felt like a great challenge. So, that's why we decided to make this the movie. BB: There is also an underdog story element to it. What was it about Michael Larson that you wanted to portray him, not as some schlub who cheated the system, but as a guy who succeeded in his own way? SO:  Because I believe that what he did was not wrong. I think what he did was just an unorthodox way of accomplishing his dream. He found a loophole and he exploited it. But at the end of the day, the guy had a good heart and what he wanted was just to get his family back together. The way in which he did it might have been questionable, but he was just a very driven guy and he just wanted to accomplish his dreams. I think that's very inspiring. We wanted to be able to have that complexity of character in which we see that gray area where we don't know if we're supposed to root for him or we're supposed to feel sorry for him. I think that's what makes for a good character. Make sure to check out The Luckiest Man in America now in theatres. Interview conducted on March 28th, 2024 by Adriano Caporusso.

Previous Next September 2, 2024 WRITTEN BY: KATIE I got to thinking about the notion of perfect films recently when I started making a real effort to catch up on some great films that, for no other reason than my own oversight, I had never seen. These films are not of any particular genre, and I cannot articulate why I waited so long to watch them, but they’re the classics generally agreed upon to be amongst the greatest films in the history of cinema. For example, until this year — and I am slightly ashamed to say it — I had not seen 2001: A Space Odyssey , The Godfather , or There Will Be Blood , among other films that make film fans gasp when you admit to having not seen them. That said, whilst I’ve been enjoying this experience immensely, I’ve noticed that many film books and online sources are repeatedly populated by the same titles when discussing “perfect” films. They also don’t pay much attention to genre films, family films, horror, animation, or comedies, and they tend to lack films focusing on women and female experiences. Admittedly, it’s hard to determine what constitutes a “perfect” film, and there are countless elements to take into account when considering if a film should be deemed flawless. Obviously, opinions of any art are totally subjective and personal, but I feel that when it comes to films, the ones that are considered perfect are those that are generally agreed upon by the largest contingent of groupthink, which can lead to a circular and self-fulfilling prophecy. To me, though, a perfect film is one that… · Resonates on an emotional level · Is visually engaging · Has a memorable score and/or music · Has enduring themes in a story that has wide appeal · Reveals or relates to something about the human experience With that in mind, I’d like to guide you through some films that I, personally, believe to be perfect based on the criteria above. Despite these films deserving such recognition, they usually are not the first ones mentioned when discussing the greatest films ever. For what it’s worth, I’m avoiding the films that often first come to mind in the public consciousness in these conversations, instead using my own subjectivity to highlight films that may not be considered as prestigious as the roundly agreed upon films you find populating most “Greatest of All Time” lists despite being just as good. This is not an exhaustive list, mind you (I do not have the word count for that), and yes, it leans a tad more recent, but it features shining examples, nonetheless. RATATOUILLE (2007) Ratatouille is my favourite film. It’s a true masterpiece, and everything about it is flawless. The voice acting is pitch perfect, the story is emotional and engaging, the visuals are exceptionally detailed, and it meticulously captures every element of a bustling kitchen, from the mouth-watering food to every pot, pan, and utensil. The world that it builds is immersive, making you want to crawl inside its warmth and stay there forever, and the time and attention that went into the film is obvious in every glowing city light and fleeting reflection off the Seine. The unique concept that drives the film lends itself wonderfully to the slap-stick comedy, yet the story at the centre of the film is grounded and humble, especially for a family film. The notion that “anyone can cook” is inspiring, and it can apply to every profession, passion, and pursuit while speaking to the power of perseverance in achieving what you want from life. I could speak about Ratatouille forever, and I believe it more than justifies itself as a perfect film. THE BABADOOK (2014) The Babadook is the true definition of horror with heart, and it utilises the genre to its fullest capacity with its visceral exploration of grief, motherhood, and trauma. One of the reasons The Babadook is so impressive is that it rides on the audience’s ability to empathise with the protagonist, Amelia (Essie Davis), who is both the victim and the monster. The film thoughtfully engages with Amelia’s trauma, never indulging in patriarchal tropes of motherhood whilst also having us fear her and her decisions at the right times. The same goes for her son Samuel (Noah Wiseman). He’s incredibly annoying, but the film also makes us feel sorry for him, desperately hoping for his well-being. It helps that the casting is flawless. Wiseman gives one of the best child performances I’ve ever seen, and Davis is captivating and terrifying. The film drags you along for Amelia’s terrifying ordeal, and genuinely keeps you guessing by convincingly blurring the lines between reality and figments of the character’s imaginations. Plus, the character design is simple yet uniquely creepy and original, conjuring up childhood fears of something lurking in the darkest corner of your bedroom. Lastly, and perhaps more importantly, the message is universal, showing that although grief never truly goes away, we can face it head on and deal with it little by little. MAD MAX: FURY ROAD (2015) Mad Max: Fury Road might be the best action film ever made (to me at least). The entire film is a perfectly calculated piece of pure non-stop adrenaline, but it doesn't lack substance or emotional engagement, keeping you on the edge of your seat for each and every moment. Every element of the film is distinct, impressive, and memorable, including the exhilarating soundtrack, cinematography, world-building, set design, stunt work, incredible action sequences, and vibrant colours that jump off the screen. The action doesn’t become repetitive either, gripping you in every moment, with not a single shot feeling out of place. Although it may seem overwhelming at times, you can simply focus on any part of any scene to see how deliberate it all is. The practical effects set it apart and contribute to its singular quality, and the mayhem taking place on the screen feels tangible, making you believe the carnage is actually happening. What’s more, Tom Hardy and Charlize Theron are fantastic in their roles, managing to convey tremendous amounts of emotion through their eyes and subtle facial movements alone. THE WITCH (2015) The Witch is one of my favourite horror films, and one of the few that is just as impactful no matter how many times I’ve seen it. Robert Eggers’ feature debut quickly establishes a dark, immersive mood before topping it with rising, paranoid tension; an eerie, discordant score; and a sense of historical authenticity that makes it feel like something evil is woven into the fabric of the film. Exploring ideas of Christianity and fears of witchcraft, it explores how the strict moralistic constraints of the time, which mostly concern women, are used against the family to make them turn against each other. All of this is framed by cinematography that emphasises the family’s isolation and heightens the effects of every sound and movement. The performances are also formidable, with a cast including Kate Dickie, Anya Taylor-Joy, and Ralph Ineson, who each shine in their roles and make the period language sound natural. Furthermore, the ending is bonkers and surprising, yet also feels like the most fitting ending for this chilling story. PETITE MAMAN (2021) Céline Sciamma’s beautiful film Petite Maman is both heartwarming and heartbreaking, exploring the simple notion that your parents also were children once, with their own unique childhood experiences, fears, and dreams. The film follows the young Nelly (Josephine Sanz), the eight-year-old daughter of Marion (Nina Meurisse), whose mother has just passed away. They travel to Marion’s childhood home to clear out her mother’s belongings, and Nelly meets another girl her age in the woods behind the home. The new friend looks remarkably like her, and they begin a beautiful friendship. The film has a fairytale-like quality that captures the childhood experience in a way that is magical yet realist, and the world it creates is quiet, understated, and mysterious. Some of its impact lies in the fact that it doesn’t rationalise or explain the fantastical situations that happen but leaves them open for each individual's interpretation. At only 72 minutes, the film breezes by but completely secures the audience’s perspective with the young protagonists, familiarising us with their private, intimate world.

Previous Next October 31, 2025 WRITTEN BY: THE BITESIZE CREW As everyone probably knows, Quentin is Bitesize’s resident old man. With that often comes complaints about how some of the opinions and views of Bitesize’s younger writers — the youths, as he lovingly calls them — tend to skew too recent, especially when it comes to rankings and Bitesize Top Five. Sure, his rantings can often be taken as an old man yelling at clouds, but during a recent brainstorming session for future group articles, we might have found some truth in his possibly senile harangues. The idea pitched was “Deep Cuts,” where each writer would pick a lesser-known movie from a popular performer’s filmography and discuss why it’s underrated. The thought process was that this would highlight movies we enjoy even though they were critically maligned, underseen due to release circumstances, or simply forgotten by the general masses. However, when we started tossing out the names of actors and actresses to focus on, we had a problem. For every suggestion, all but one had at least two writers who hadn’t seen anything but the most popular or most recent movies of said performer. The knowledge base simply wasn’t there. A deep cut list for Tom Cruise that features the likes of Mission: Impossible , Jerry Maguire , and Rain Man isn’t a list of deep cuts at all. The idea just didn’t work. All said and done, 24 actors and actresses were suggested, from Sylvester Stallone to Saoirse Ronan. The only performer who had at least seven writers that could contribute to a list of deep cuts was, of all people, Ryan Reynolds. As a result, we flipped the idea. Instead of highlighting deep cuts that we love, our writers will look back through the annals of film and watch and review a movie that we very obviously should have seen but haven’t for whatever reason. This will make us all better film fans and critics while maybe giving you additional insight into why each writer reviews newer movies the way they do. So, welcome to “Film School,” our new recurring article series. Each iteration will be topic-centric, so feel free to offer topic suggestions in the comments on Instagram, Facebook, or X. For our first lesson, since today is Halloween, let’s dive into Horror Classics. Class is in session… THE CABINET OF DR. CALIGARI (1920) After seeing The Cabinet of Dr. Caligari on movie superlative lists for years, it wasn’t until The Unbearable Weight of Massive Talent — where Nicolas Cage calls it his favorite movie — that I added it to my watchlist. Well, the time is now, and the hype is quasi-real. If you can get past it being a silent movie from 1920 (a big ask, to be sure), you’ll be treated to a tremendous example of expressionism whose fingerprints can be seen on works from a wide range of filmmakers, from Tim Burton to Robert Eggers. On top of that, the score is incredible, a mix of electric guitar, synthesizer, piano, and horns that has clearly influenced both heavy metal and jazz musicians alike. Once you consider the inherent creepiness that stems from being a 105-year-old German movie, from the old-world makeup and distorted set design to the sheer graininess of it all, it’s easy to see why Caligari has been considered an all-time classic as the first horror, cult, and arthouse film. I don’t need to watch it again, mind you, but it was a worthwhile experience. Also, it’s on YouTube if you’re interested. — Quentin NIGHT OF THE LIVING DEAD (1968) Despite studying film for four years, one of my most glaring film blindspots was Night of the Living Dead . I obviously knew of its significance, but finally watching it revealed the extent of its impact. It highlighted to me just how much contemporary zombie movies are inspired by George A. Romero’s iconic picture, particularly 28 Days Later , as both films employ scrappy filmmaking techniques and a story focused on confused, scared civilians (some more heroic than others) who are forced to work together to survive. Also, Night looks incredible, especially the striking use of lighting and shadows that is almost Hitchcockian. Every shot is purposeful, and the violence, whilst somewhat mild compared to what audiences are accustomed to today, is shocking in its own way. Additionally, I really enjoyed the pre-1970s acting, which doesn’t rely so much on realism but rather on a more operatic style of emoting that really lends itself to heightened tension. Lastly, the ending is a smack in the face, a brutally bleak conclusion after we’re given a sliver of hope. Overall, Night of the Living Dead is one of the best zombie films I’ve seen. — Katie SUSPIRIA (1977) I compete in a horror movie trivia league, and no matter how well-versed you THINK you are, you will find others who run circles around you. Fortunately, this article presented an opportunity to round out my genre knowledge because, despite previously studying a varied slate of Dario Argento’s films, I missed Suspiria . I’ve learned that was a mistake. Argento is a master of ramping up suspense and drawing out kill scenes by using sound and visuals as a distraction in the lead up to a crescendo of artful violence. It is like ballet, which is apropos for this film since it is set at a dance academy. Despite some acting difficulties stemming from language barriers, it isn’t hokey; it remains tense and unsafe throughout. Even the supernatural aspects don’t seem outlandish but consciously considered, like everything else that comes across the screen. — Robert THE SHINING (1980) The Shining ’s slow descent into madness is anything but slow moving. It always has your attention, whether through director Stanley Kubrick’s beautiful one-shots, composers Wendy Carlos and Rachel Elkind’s haunting score, or the brilliant acting from the Torrance family (Shelley Duvall, Jack Nicholson, and Danny Lloyd). I also can’t pass up the chance to mention that this supernatural psychological horror from yesteryear, has to, of course, feature a magical black man (Scatman Crothers), and it isn’t a misused trope for once. Yes, The Shining is long. Yes, it’s meticulous. But dammit if it doesn’t live up to the hype. — Amarú TWILIGHT ZONE: THE MOVIE (1983) As a fan of The Twilight Zone , it’s baffling that I had never seen Twilight Zone: The Movie . I think I steered clear for so long because of the horrific tragedy that occurred on set during the filming of John Landis’ segment, which resulted in the death of Vic Morrow and two children. That said, I tried my best to go into this film with a clear mind. Each outing certainly offers a different take on the beloved series. Joe Dante’s “It’s a Good Life” delivers a Carrie -like narrative that is quite creepy, while Steven Spielberg presents a more whimsical and heartfelt story with “Kick the Can.” However, George Miller’s “Nightmare at 20,000 Feet” is the most successful at capturing the authentic tone of the show. Unfortunately, as a whole, the film never lives up to expectations, nor does it come close to the unsettling brilliance of the original series. The 1983 movie just doesn’t hit like the iconic episodes from the early 60s do. — Paige THE LOST BOYS (1987) The sad truth is, sometimes, you just see a movie too late. Had I seen The Lost Boys as a kid, I would've eaten it up. Unfortunately, without that nostalgia attached, this one just doesn't do it for me. I'm not saying it's a bad film (it's not), but there just isn't anything that made me understand its reverence. The effects, characters, and performances are fairly average (even for the time), and the most memorable thing about it is Gerard McMahon's "Cry Little Sister." Yes, the track is a banger, and its use throughout the film is perhaps the film’s greatest strength. Look, it's a nearly 40-year-old film, and the fact that I liked it at all still says something. Having said that, I don't think I'll ever feel a need to revisit it. — Nick CEMETERY MAN (1994) If you find yourself watching Cemetery Man , you'll likely be telling yourself, "wow, this is a lot of fun!" but also "what the hell?!" It’s a delightfully silly and creepy 90's B-movie, directed by Michele Soavi, about a cemetery night guard (played by Rupert Everett) tasked with killing the undead rising from their graves, and it revels in the zaniness of its concept with genre flair and gothic perfection. It pushes the idea to its limit, and considering all the gore and sex this movie offers, that limit is not for the faint-hearted. I'm willing to bet that most people reading this have never heard of this movie, and frankly, I hadn't either until recently; however, I'm very glad I did because, even if you aren't into the B-movie type of grind, you can safely say there's nothing like Cemetery Man . — Adriano THE INNOCENTS (2021) The Innocents begins in the dark. Literally. For what feels like a minute, the viewer is treated to nothing more than a black screen scored to the isolated sound of a young girl singing the folk song “O Willow Waly.” That then bleeds into the 20th Century Fox logo, denying us the pleasure of hearing that iconic fanfare in the process. It’s a perfect setup for an increasingly chilling feature. Director Jack Clayton takes much of the ambiguity that fuels Henry James’ novella The Turn of the Screw and maximizes it for all that it’s worth, slowly but surely. Its wide CinemaScope frame heightens the darkness that surrounds Bly Manor, and its editing, scoring and sound techniques are truly ahead of its time. All these aspects effectively add to the question of whether the hauntings are truly supernatural, or if they are actually a result of Miss Giddens’ (Deborah Kerr) worsening mental state. This was a blindspot of mine that I was more than happy to find myself enveloped in. — Bode

Previous Next December 1, 2022 WRITTEN BY: JACOB The mission of Bitesize Breakdown is to address a variety of perspectives for every movie we cover, hence the notion that no singular film will ever be covered by fewer than two writers (we, of course, have alternate rules for television). With that in mind, there are some instances – such as in our coverage of film festivals like TIFF and NYFF – wherein our viewing experiences do not overlap. While several of our writers may attend higher profile showings, such as those for Glass Onion: A Knives Out Mystery or Noah Baumbach’s White Noise , we also strive to break off during these events to discover more obscure works individually. Reviews for the aforementioned larger titles (and many others) are forthcoming as their official release dates move closer, but since some release dates have not yet been set or made known, we offer a singular perspective on the following films. CORSAGE Starring: Vicky Krieps, Colin Morgan, Finnegan Oldfield, Jeanne Werner, Alma Hasun, Katharina Lorenz, and Ivana Stojkovic Director: Marie Kreutzer An unexpectedly funny opener to the NYFF press week, Corsage is a well-helmed film with another magnetic performance by the great Vicky Krieps, even if the film itself doesn’t fully live up to its potential. It certainly looks beautiful, but not everything in the frame seems to land as it was likely intended to. Some of its more dramatic moments ring more hollow than they should, while the occasional joke fails to land properly (although most of them work overall). As Austria’s official submission to the Best International Feature race, it’s got a pretty damn good shot at landing a nomination. ONE FINE MORNING Starring: Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Camille Leban Martins, Sarah Le Picard, Pierre Meunier, and Fejria Deliba Director: Mia Hansen-Løve One Fine Morning finds itself split between two main narratives: one being an extramarital affair of its lead character, and the other a slow decay of her renowned father as he succumbs to Parkinson’s. The latter of the two is definitely the stronger one, carrying most of the film’s emotional heft and offering Léa Seydoux her best moments in a stellar lead performance; however, it doesn’t quite tie together with the other storyline. Neither feels truly whole, rendering their mutual inclusions unjustifiable. That said, if you enjoy international cinema of the slice-of-life variety, this one works well enough in other ways. SAINT OMER Starring: Kayije Kagame, Guslagie Malanga, Valérie Dréville, Ege Güner, Atillahan Karagedik, Mustili, Aurélia Petit, Faith Sahin, Salih Sigirci, and Lionel Top Director: Alice Diop Alice Diop’s fiction debut, Saint Omer , is a difficult film to unpack right from the outset. Both structurally and thematically, it is decidedly non-traditional. How does one tell the story of an infanticide in a nuanced fashion, and is it even ethical or responsible to do so? Diop’s film grapples with these questions as much as it wrestles with all the socio-economic circumstances that influenced its origin, for good or ill. Whether or not the mostly conversational courtroom settings will resonate with audiences or drive them away is anyone’s guess, but one thing is for sure: they will not soon forget it. STONEWALLING Starring: Honggui Yao Directors: Ji Huang and Ryûji Otsuka Stonewalling means well, but stumbles right out of the gate and never quite recovers. The drama from directors Ji Huang and Ryûji Otsuka is clearly meant to be a high-stakes venture, but given how long things take to happen, the film feels about as low-stakes as it can be. Its protagonist is thinly-drawn, and the surrounding characters don’t really seem to have been drawn at all, acting more as placeholders for plot developments than people. At two-and-a-half hours, the film is far too long, and by the film’s end, whatever point it is trying to make is lost amongst the wasted time. UNREST Starring: Valentin Merz, Alexei Evstratov, Clara Gostynski, Li Tavor, Monika Stalder, Laurent Ferrero, Laurence Bretignier, Mayo Irion, Nikolai Bosshardt, Hélio Thiémard, and Daniel Stähli Director: Cyril Schäublin It takes a little while into Unrest to click into what it’s doing in terms of time and spatial geography, but this tale of anarchism slowly enveloping a small European town until it has taken over does eventually come together. Its most interesting element is the cinematography, which can feel odd, but soon reveals itself to be telling its own story through the way things are carefully placed. Even without a singular protagonist to follow, and being driven by theme rather than story, Cyril Schäublin’s NYFF entry is likely to be one of the most underrated films at the festival. SCARLET Starring: Raphaël Thiéry, Juliette Jouan, Noémie Lvovsky, Louis Garrel, Yolande Moreau, François Négret, Ernst Umhauer, Inès Es Sarhir, Antonin Stahly, Athénaïs Sifaoui-Blanc, and Bernard Blancan Director: Pietro Marcello While Pietro Marcello’s Martin Eden may be his better work, Scarlet is a more-than-worthy follow-up effort. Raphaël Thiéry’s performance is one of the year’s best, a softly rendered gentleness hiding behind his giant eyes, while Juliette Jouan (the spitting image of Alicia Vikander and Natalia Dyer) leads the second half with poise. Noémie Lvovsky charms in a supporting role, while the film’s music and sound back them all up by being excellent as they can be. The film’s halfway point does throw the viewer off as it shifts perspectives, but not so far that one can’t appreciate the ride. NO BEARS Starring: Naser Hashemi, Reza Heydari, Mina Kavani, Bülent Keser, Mina Khosrovani, Vahid Mobasheri, Jafar Pahani, Bakhtiyar Panjeei, and Sinan Yusufoglu Director: Jafar Panahi No Bears has one of the most impressive beginnings of any movie released in 2022, but following act one, it devolves into something decidedly more average than what those opening minutes promised. The film isn’t exactly bad as is, but its repetitive storytelling and largely ambiguous ending drag down some of its better moments, including a few top-notch jokes and solid performances. To be fair, it does feel somewhat incomplete, and knowing the director is currently in prison does shed a different light on proceedings, but even then, it’s not quite as strong of a film as it could be. ALCARRÀS Starring: Jordi Pujol Dolcet, Ainet Jounou, Xènia Roset, Anna Otin, Albert Bosch, Josep Abad, Montse Oró, Carles Cabós, Joel Rovira, Isaac Rovira, Carles Cabós, Antonia Castells, Djibril Casse, and Jacob Diarte Director: Carla Simón Alcarràs runs about 30 minutes too long, but gorgeous photography and excellent color grading does put it a cut above most other international films of its kind. A terrific ensemble cast buoys Carla Simón’s tale of industrialization closing in around small businesses, even as the story itself becomes somewhat repetitive. It’s a shame the actual story of the film doesn’t seem to know what point it’s trying to make narratively as much as thematically, but the film’s final image remains a real knock-out. It’s far from astounding, but this movie will likely work for most world cinema fans. ENYS MEN Starring: Mary Woodvine, John Woodvine, Edward Rowe, Callum Mitchell, and Joe Gray Director: Mark Jenkin Echoing films such as The Lighthouse via David Lynch-like directorial sensibilities, Enys Men ’s abstractness is the thing that both helps and hurts it the most. In one sense, that abstractness detracts from clarity for the audience, making its 90-minute runtime a test of patience as much as interpretation. On the other hand, Mary Woodvine’s internal performance and the film’s overall look and sound are tremendously well-rounded; aesthetically, the film emulates 1970s expressionism almost perfectly. Unfortunately, it’s not quite enough to keep the film on the minds of viewers, and it certainly isn’t likely to produce any return customers once completed. EO Starring: Sandra Drzymalska, Isabelle Huppert, Lorenzo Zurzolo, Mateusz Kosciukiewicz, Thomasz Organek, Lolita Chammah, Agata Sasinowska, Anna Rokita, Michal Przybyslawski, and Gloria Iradukunda Director: Jerzy Skolimowski Although imperfect, one would be hard-pressed to not find something to like in Jerzy Skolimowski’s EO . An often gorgeous film with a few indiscernible style choices and a second half that fails to stick the landing, at least its first half is pure visual storytelling. It’s tough not to care about animals in movies, but the way Skolimowski invites us into EO the Donkey's perspective with little more than some well-placed cuts and a few different camera angles is a remarkable feat for any film to pull off. It’s a shame the film doesn’t otherwise work. RETURN TO SEOUL Starring: Park Ji-Min, Oh Kwang-rok, Guka Han, Kim Sun-young, Yoann Zimmer, Louis-Do de Lencquesaing, and Hur Ouk-Sook Director: Davy Chou Park Ji-Min’s stellar, multi-layered performance as Freddie is the centerpiece holding director Davy Chou’s Return to Seoul to the fulfillment of its own promise. Without her, the film doesn’t feel as authentic or as affecting. Luckily, she’s good enough to carry it because the story itself – while interesting and poignant – doesn’t quite come together around her as well as it hopes to. As Freddie moves through no less than three time jumps, the audience must forego connection in favor of scope. That trade doesn’t entirely sink the film itself, but it does prove difficult, especially with supporting character attachments. PACIFICTION Starring: Benoît Magimel, Sergi López, Lluís Serrat, Pahoa Mahagafanau, Montse Triola, Marc Susini, Baptiste Pinteaux, Cécile Guilbert, Mike Landscape, Mareva Wong, Matahi Pambrun, Alexandre Mello, Michael Vautor, Laurent Brissonnaud, and Cyrus Arai Director: Albert Serra The ambition of Pacifiction cannot be understated as it attempts to thread a spy thriller through its largely lackluster narrative, which sacrifices audience interest for sounding smarter than it is. Perhaps it is better than I’ve insinuated, but its gorgeous looks can’t substitute for the confusion and exhaustion it offers. Like a mid-game chess board to a novice player, the film is so ahead of itself by the time the plot gets going that audiences aren’t likely to catch up to what’s happening before it moves on yet again. Structurally and narratively, it’s moderately messy. R.M.N. Starring: Marin Grigore, Judith State, Macrina Barladeanu, Orsolya Moldován, Rácz Endre, József Bíró, Ovidiu Crisan, Zoltán Deák, Cerasela Iosifescu, and Andrei Finti Director: Cristian Mungiu The way in which R.M.N. attempts to juggle two separate narratives at once does leave it a little distracted, forcing it to commit to neither story as much as it should to either. That said, it does have a decent bit to recommend, namely solid performances, great photography, and one of the year’s better movie endings. Unfortunately, all that good will can’t keep it afloat amongst its themes of sheep-like racism and bigotry, which may be as realistic as they can be given the film’s setting, but still feel a bit too bluntly handled for a movie format. TRENQUE LAUQUEN Starring: Elisa Carricajo, Verónica Llinás, Juliana Muras, Laura Paredes, Ezequiel Pierri, Cecilia Rainero, and Rafael Spregelburd Director: Laura Citarella There are few examples of films more exhausting to watch than Trenque Lauquen . Three hours and twenty minutes is far too long to tell a story that is only half essential after both parts are combined. That said, the essential half is pretty good, and a committed performance from Elisa Carricajo, as well as the intriguing mystery surrounding her whereabouts, is what makes most of it bearable. To direct something of this scope takes enormous skill, even if that scope is far too wide-ranging for the story being told. I admire Laura Citarella’s gumption, but I can’t call it inspired. ALL THAT BREATHES Starring: Salik Rehman, Mohammed Saud, and Nadeem Shehzad Director: Shaunak Sen All That Breathes is one of the finest shot movies of 2022, and one of its most rewarding documentaries. At first, it seems as though it’s simply an impressively done bird rescue doc, but it soon morphs into something on a larger scale with a more intimate story. Truthfully, it’s not so much about the bird rescue op as it is about the three brothers running it and how they manage to stick by each other in the face of the conflicts threatening their livelihoods. Director Shaunak Sen’s gamble in the structure of it pays off, and documentary fans will love it. DE HUMANI CORPORIS FABRICA Directors: Verena Paravel and Lucien Castaing-Taylor The human body is fascinating, and to that end, De Humani Corporis Fabrica certainly exhibits educational value. To witness in real-time the stresses that medical professionals deal with day to day on little-to-no sleep for long stretches of time is in itself a miracle, bound to enhance respect for those in the field. That said, the film’s unflinching showcase of reality may be its ultimate shortcoming. The ultra-graphic nature of watching full c-sections and genital surgeries may prove to be too much even for interested parties, and it seems as though that rawness is the film’s entire (and only) point. IS THAT BLACK ENOUGH FOR YOU?!? Starring: Margaret Avery, Harry Belafonte, Charles Burnett, Suzanne De Passe, Laurence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Glynn Turman, Billy Dee Williams, and Zendaya Director: Elvis Mitchell Netflix’s Is That Black Enough for You?!? is by no means a waste of time, but it lacks the necessary structural tools to assert itself as essential documentary filmmaking. Apart from educating people about the history of Black cinema, especially in the 1970s, the film doesn’t do much to keep the audience engaged, nor does it say much of anything the audience doesn’t already know. The editing is fairly choppy as well, while the narration is too overbearing, occasionally challenging the viewer’s engagement. It’s not a condemnation, but this probably would have worked better for a network like the History Channel. DESCENDANT Director: Margaret Brown Perhaps Netflix’s strongest documentary feature yet, Descendant is an inspiring look into not only the search for the slave ship Clotilda (the last to dock in the U.S.), but the communities to which its discovery is most precious. Expertly directed by Margaret Brown, the film’s examination of generational recovery and communal reclamation across Black America is one of its many rich offerings, and every minute spent within this community offers new layers to unfurl. This is a surefire contender in the Best Documentary Feature Oscar race, and – if campaigned right – could yield Netflix their fourth win in just six years. Photo Credits: NYFF

Previous Next The holiday season is here and it's time to dive into those comfort films that give us the warm and fuzzies. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Heartwarming Films. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. ROCKY The Best Picture winner of 1976, Rocky , is a lot of things: uplifting, exciting, funny, and as the list suggests, heartwarming. The main source of comfort for me is the title character himself. In spending time with Rocky Balboa (Sylvester Stallone), you get to see the world through his eyes, and his outlook makes me feel optimistic. Plus, every time I revisit the film, it's like catching up with an old friend. The character of Rocky has now been in a total of 8 films, and what endures is his attitude and charm. - JTE 4. FORREST GUMP To me, Forrest Gump is the most heartwarming film to ever grace the silver screen. It presents us with countless life lessons, whether it be appreciating the little things, not taking oneself too seriously, or knowing it’s okay to be an outsider. No matter who you are, you can take away something significant from this film because all of us can empathize and relate to this character through his experiences. It’s also the perfect movie for some soul searching because, at the end of the day, “life is like a box of chocolates…” - Paige 3. FIELD OF DREAMS Sports movies in general tend to be heartwarming, but Field of Dreams even more so than most. Featuring great performances from Kevin Costner and the late Ray Liotta, not to mention the beautiful score by James Horner, this 1989 classic still holds up today. It has even led to the creation of an actual MLB game at Field of Dreams ballpark next to the original location 30+ years later. Now that's a film that has left an impression. Also, that scene where Ray (Costner) gets to play catch with his father (Dwier Brown)? Waterfalls. - Nick 2. SCHOOL OF ROCK School Of Rock …rocks! It’s hard not to find Jack Black’s enthusiasm, as well as his character's infectious commitment to the art of rock & roll and, more importantly, to his students, endearing. The way the kids grow on ol’ Dewey Finn (Black) and how he teaches them to stick it to “The Man” will never fail to warm my heart. - Adriano 1. E.T.: THE EXTRA-TERRESTRIAL Few films released in the modern era have a truly multi-generational audience and a legacy that endures past nostalgia, but Steven Spielberg’s masterpiece E.T.: The Extra-Terrestrial is one of them. It’s one of the most iconic films ever made, and it still holds up to this day in every way. The effects are great, the story is emotional without being overly saccharine, and it stays with you long after watching it. It’s a heartwarming tale you likely grew up with, and one that will be shared with generations to come. - Joseph HONORABLE MENTIONS WILLY WONKA AND THE CHOCOLATE FACTORY PADDINGTON 2 THE PRINCESS BRIDE MRS. DOUBTFIRE A LEAGUE OF THEIR OWN Photo Credits: Photo 1 - United Artists; Photo 2, 4 - Paramount Pictures; Photo 3, 5 - Universal Pictures

BETTER CALL SAUL: THE COMPLETE FINAL SEASON Starring: Bob Odenkirk, Jonathan Banks, Rhea Seehorn, Patrick Fabian, Michael Mando, Tony Dalton, and Giancarlo Esposito Creators: Vince Gilligan and Peter Gould QUENTIN PART ONE Despite having some idea of how things must turn out (and the fact that they did the dumb “split final season” thing), Part One of Better Call Saul ’s final season manages to tell a mostly complete story full of tension, schemes, laughs, and emotion. This batch of episodes stands on their own more than any other “Part One” I’ve seen by never feeling like they exist solely to set up Part Two. Everyone involved does typically excellent work, but special shoutout to Patrick Fabian, who may have earned an Emmy nomination with his work in the mid-season finale. Overall, a terrific beginning of the end. PART TWO While the structure of Part Two leaves a little something to be desired (the first two episodes feel like Part One’s finale followed by four episodes of black and white epilogue), there is no denying the masterclass this series has given in handling both a prequel and a final season. It’s tense, emotional, and perfectly acted, all while delivering satisfying ends to Kim (Rhea Seehorn) and Jimmy (Bob Odenkirk). Admittedly, the epilogue aspect makes it a tad anticlimactic towards the end, and some may claim it’s too predictable, but these minor complaints don’t detract from what has been one of the best shows this century.

PARTY DOWN: SEASON THREE Starring: Adam Scott, Ken Marino, Ryan Hansen, Martin Starr, Zoe Chao, Tyrel Jackson Williams, Megan Mullally, Jane Lynch, and Jennifer Garner Creators: John Enbom, Rob Thomas, Dan Etheridge, and Paul Rudd QUENTIN After 13 years off the air, it’s remarkable just how much Party Down has still got it. The laugh-out-loud humor, relatable situations, and sharp commentary all boast the same dry spark that made it such a cult hit over a decade ago. But, most importantly, the cast chemistry remains undeniable. The holdovers from the first two seasons haven’t missed a beat, and the new additions slide right in like they’ve always been part of the crew. It makes the whole series feel real and lived in, even when it veers into hilarious absurdity. I only wish there were more than six episodes.

HEARTSTOPPER: SEASON TWO Starring: Joe Locke, Kit Connor, William Gao, Yasmin Finney, Tobie Donovan, Sebastian Croft, Corinna Brown, Kizzy Edgell, and Olivia Colman Creator: Alice Oseman PHILL Heartstopper : Season Two continues to go from strength to strength, remaining a beacon of affirmation for LGBTQ+ people and one of the most important shows in queer culture. The representation remains incredibly authentic as Alice Oseman’s exceptional writing balances positivity and light-heartedness whilst the show tackles mental health issues in a delicate, realistic manner. Nick (Kit Connor) and Charlie (Joe Locke) continue to have some of the best on screen chemistry in terrific performances, and they are supported by an equally outstanding cast. However, Tobie Donovan’s performance as Isaac, who discovers what his own sexuality means, is the real standout this season.

Previous Next February 21, 2024 WRITTEN BY: THE BITESIZE CREW It’s Oscar season! Typically, around this time of year, the conversation is centered around what movie or performer got snubbed. For example, how many articles have you read about Greta Gerwig and Margot Robbie in the past few weeks? However, what you rarely see from critics like us is a discussion…or in this case, a light head-to-head debate…about the movies and performances that were nominated. Not so much in a negative, “that movie sucks” way, but from a “uhh…why? I really don’t understand the love for that nominee” perspective. Having said that, in an effort to not be entirely negative, we wanted to give equal time to show our respect too. We aren't looking to be disrespectful or take away from someone’s career achievement. So, for each writer who picked a nominee they “didn’t get,” we allowed a separate writer to come to the defense of that nominee. This way, you get the good and the bad, and the information to make your own decisions. Sounds like a good plan, right? It was almost perfect... until Annette Bening. Several writers didn’t understand why Bening was nominated for Best Actress in Nyad , which led to a bit of a competition to write “against” her. As well, no one was ready and willing to defend Bening's nomination, which complicated things because we didn’t want a writer to defend a performance they weren't passionate about. None of this is to say anything negative about Bening, by the way, who is about as close to Hollywood royalty as one can get without being named Meryl Streep, but…hey, it is what it is. Points for honesty? In any case, let’s get to our near-perfect plan, and talk about a few certain Oscar nominees that are on trial. What’s your verdict? ON TRIAL: JONATHAN GLAZER - BEST DIRECTOR Prosecution: Paige The adoration for Jonathan Glazer's work on The Zone of Interest is beyond me. Don’t get me wrong, from a technical perspective, the movie is excellently made; however, it lacks depth and substance entirely. The role of a director is to tell an audience a tale that they can either… A. connect with, or B. find entertaining. This movie falls short on both counts. I especially found it difficult to relate to any of the characters or the plot, and I felt cold and emotionally cut off from its outcome. That's because Glazer's direction (and his script, for that matter) failed to pique my interest in the film’s subject matter. There is just no weight to this Nazi drama, which leaves me baffled that it got Glazer a Best Director nomination. Defence: Adriano I truly believe that once the decade is over, The Zone of Interest will be widely considered amongst the decade's absolute best films. Director Jonathan Glazer's work here truly is remarkable, not just as a writer, as he flawlessly crafts an invisible script that follows these people's lives, but the directorial tricks he pulls off are something I can't recall ever having seen before. This film is an analysis of evil and our desire to build perfect lives for ourselves in the face of said evil, which often results in us putting up walls to separate us from the horrible atrocities of humanity. Glazer explores that conflict by focusing on a Nazi family in an uncomfortably familiar way. Zone also is more colourful than your typical Holocaust drama, and the way Glazer sets the cameras up to give us an observational perspective is pretty jarring. There's no way to sugarcoat it: Jonathan Glazer’s work is masterful on this film. ON TRIAL: AMERICA FERRERA - BEST SUPPORTING ACTRESS Prosecution: Caleb Barbie was a summer highlight for me, but this particular nomination is a bit of a head-scratcher. America Ferrera’s performance is serviceable, but I’d hardly call it Oscar-worthy. Sure, her monologue in the third act is noteworthy, but it’s actually one of the only muddled moments in an otherwise tight script. If she was up against some lighter competition, then maybe I could understand, but you’re telling me she deserved that nom over THE Julianne Moore for May December ? That’s insane. It’s equally insane that we live in a world where America Ferrera got an Oscar nod for Barbie , but Margot Robbie didn’t. Ferrera’s nomination reminds me of Jamie Lee Curtis’ from last year - it may be a decent performance for what it is, but she’s wildly out of place amongst the other nominees. Defender: Nick As good as America Ferrera's noted monologue is, this performance is far more than just a single scene. Ferrera is the heart of Barbie and the bridge between the world of toys and reality. Where Margot Robbie's reaction to the real world provides many cute and funny moments, it's the realism and authenticity Ferrera provides as the only "adult" woman that makes the film work. She is a working-class woman, a mother, and the link that makes Barbie relatable to women of all ages, which she does with determination and poise. Much like the straight man in a comedy duo, she's not flashy, but she's just as important as her counterparts. ON TRIAL - BRADLEY COOPER - BEST ACTOR Prosecution: Adriano Much has been said about Bradley Cooper's seemingly desperate desire for an Oscar, but not enough has been said about how it truly does bleed into Maestro and his performance…not in a good way, either. There is nothing easy about a biographical performance, but when done right, it can truly transport us into the mind of a historical figure. However, when done wrong, it can come off as a cheap impression. As Leonard Bernstein, Cooper sadly leans towards the latter. He isn't bad, but much of his performance relies on the impressive makeup, and in terms of actually acting, Cooper's performance feels like a put-upon performance instead of a real human being. There is more to a performance than just how loud you are. The best performances can convey emotion with merely a look, something Cooper's fellow nominees and even his costar, Carey Mulligan, pull off, but it seems like Cooper was more interested in the in-your-face aspects of Bernstein than authenticity. Defence: Quentin Way back in September at Venice Film Festival, I witnessed the glory of Maestro , a film I called “exquisite.” What did I mean by “exquisite?” Well, for starters, it has since been nominated for seven Oscars, and none of its nominees are more important to the film’s success than Bradley Cooper’s lead turn as Leonard Bernstein. Hell, even in September, I called Cooper’s performance Best of the Fest. Why? Because this Best Picture contender simply doesn’t work if Cooper can’t sell you on his portrayal of Bernstein. Truth be told, I had no connection or personal interest in the real-life composer or his love life, but Cooper’s performance made me care. He disappears so fully into the role that I often forgot I was even watching Cooper, one of the most handsome and recognizable actors in Hollywood. Do you realize how hard that is? If rendering yourself unrecognizable, giving yourself fully to a character, and driving an uncaring viewer to become wholly invested in the story being told isn’t the stuff Best Actor performances are made of, what are we even doing here? ON TRIAL: THE BOY AND THE HERON - BEST ANIMATED FEATURE Prosecution: Preston If the only criteria for “Best Animated Feature” are fantastic animation and a decent (but forgettable) score, then I would agree with The Boy and the Heron ’s inclusion in this year’s nominees. The issue is, however, that the story itself is completely disjointed, which leads to extreme pacing issues…and then sleepy eyes. Most problematic though, is that our traumatized boy is portrayed as an almost non-reactive, robotic puppet whose actions only work to move the story along and completely undermine the audience’s desire to care. His intuitions regarding the Heron are inexplicable, and the main inflection points injected through his mother and father are abandoned; what we are left with is a barely sensical narrative that tries too hard to be artsy for its own sake. Studio Ghibli and director Hayao Miyazaki’s accomplishments are renowned, and this movie in no way takes away from either’s legacy, but it simply falls short of the mark (that they, themselves, have set). Defence: Caleb Alright, I know I wasn’t that hot on The Boy and the Heron either, but it’s not exactly up against stiff competition. Hayao Miyazaki is a titan in this industry, and if his new anime epic didn’t grab a nomination, then what would have? Wish ? Teenage Mutant Ninja Turtles: Mutant Mayhem ? The Super Mario Bros. Movie ? Heron is a little messy, sure, but I’d still rather see an ambitious, hand-drawn, original fantasy story make it in over another American IP film. That aside, Studio Ghibli’s latest is drop-dead gorgeous, and while it admittedly stumbles at points, it’s at least attempting to tackle some thought-provoking themes. If I had to give any of these nominees the boot, I’d set my sights on Nimona or Elemental sooner than I’d go after Heron . I’m not saying it’s a masterpiece, but considering this could very well be Miyazaki’s last outing, I’m alright with it getting some love. ON TRIAL: LILY GLADSTONE - BEST ACTRESS Prosecution: Nick I'm not here to make the claim Lily Gladstone is just ailing throughout Killers of the Flower Moon (although it is a fairly stationary performance), and I'm not here to make the claim that Lily Gladstone should've been nominated for Supporting Actress instead (although it's a case I'd listen to). I'm certainly not here to say it's a bad performance, either. But... A performance some are calling the best of the year, even going as far as to say it's an all-time showing? I just don't get that. In a film with an admittedly stacked cast giving varying levels of terrific performances, Gladstone is never able to match or outdo them. Even when she does get her big moments, they're solid, yet fleeting. What she supplies is a good, one-note performance that works for what is needed within the film. That’s it. Culturally, I understand the significance, and the progression towards more diversity in film is necessary; however, when you line it up against the other contenders, it's not the "Best" anything. As a matter of fact, I think Cara Jade Meyers is the female performance in Killers of the Flower Moon worthy of accolades. Defence: Amarú I keep hearing that Lily Gladstone is “outdone” or “outshone” or “overshadowed” by the very talented cast surrounding her, including the underrated Cara Jade Meyers, but I would agree only with the first half of each of those words. Everyone else in the film is going “over (the top)” and “out(ward)” with their acting choices, leaving Gladstone’s subtlety standing out in this extravagant crowd. She emotes more in her eyes than the rest of the cast does in more than three hours of showy (yet amazing) dialogue. You can be drawn to the bigger performances if that’s your thing, but Lily Gladstone’s marvelous turn proves the old adage, “it’s the quiet ones you need to look out for.” ON TRIAL - PAST LIVES - BEST PICTURE Prosecution: Quentin Touching. Beautiful. Romantic. These are words that have been used to describe Past Lives . However, I struggle to reconcile those labels with the movie I saw, mostly because the story paints the main character, Nora (Greta Lee), as a sympathetic figure when she is, in fact, extremely selfish. For 12 years, Nora has been happily married to and in love with a husband that openly admits he feels insecure in their relationship. Soooo, why is she spending a week galavanting around New York with her first love - a first love who has lingered in her mind for 24 years and who flew across the world specifically to see her - while the husband (mostly) sits at home? That’s not touching, beautiful, or romantic from the husband’s perspective despite the movie hinting towards him maybe being okay with it. When a movie is a complete gaslight job like this, I can’t begin to consider it one of the year’s ten best, even when, all things considered, it’s not actually a bad movie. Defence: Katie The central point of Quentin’s criticism is that the film paints Nora (Greta Lee) as a sympathetic character, one we are called to identify with and relate to; however, I don’t think the film paints Nora, or anyone, as a sympathetic figure. The film is simply gentle in its approach, in every aspect, and doesn’t impose moralistic judgments on any of its characters. The question of “why is Nora spending a week with her first love whilst her husband stands by?” is one that the film acknowledges but does not wrestle with. Instead, the film is concerned with exploring metaphysical themes of fate, identity, memory, and nostalgia. Past Lives is as far from a typical love triangle situation as you can get, and Nora’s husband is not suffering from anything as shallow as run-of-the-mill jealousy, but the more nuanced notion that he cannot relate to or understand his wife as much as someone who shares her past. It’s almost unfathomable that this is writer-director Celine Song’s feature debut because the masterful camera work, magical music, and bittersweet story, combined with understated yet deeply moving performances, make this the most worthy nomination for Best Picture. ON TRIAL - CAREY MULLIGAN - BEST ACTRESS Prosecution: Katie Maestro is this year’s most predictable contender for many awards, and Carey Mulligan’s nomination for Best Actress is at least the film’s most deserving among them, especially when juxtaposed with Bradley Cooper’s imitative performance. However, I don’t believe Mulligan is the most deserving choice for a nomination when looking at the scope of exceptional performances this past year, much less a win. Don’t get me wrong, Mulligan’s performance was not bad in any respect, but it's a good example of the Academy favouring big and cliché acting to genuinely unique, accomplished performances. Whilst Mulligan brings pathos, I was overtly aware I was watching a performance contrived to elicit pity rather than feeling a genuine emotional connection with her character. Instead of cliché Oscar bait of the most obvious variety, I would have much preferred to have seen nominations go to Greta Lee for Past Lives , Natalie Portman for May December , or Cailee Spaeny for Priscilla , all leading performances that bring nuance, complex emotion, and subtlety. Defence: Preston When I am asked to conjure my overall thoughts on Maestro , two things explicitly overwhelm my memory: First, Carey Mulligan’s performance; Second, incidentally, Bradley Cooper’s makeup and vocal affect. Maestro ’s stylized cinematography and the unique (and choppy) directorial framework highlight just how much Mulligan’s portrayal of Felicia Montealegre deeply enriches and, frankly, outshines all aspects of a film that is nominated for seven Oscars. Her approach as Leonard Bernstein’s wife is the exact opposite of the cliché, in-your-face performances that more often reflect simply the available leading roles within a clever film rather than how a talented actor is able to single-handedly enhance the work of art we are experiencing. Her show-stealing success lies directly in the nuance, complexity, and subtlety she brings. She is both stoic and delicate, formidable and forgiving, serving as a firmly grounded lightning rod amidst the storm. It is precisely because she shines within this frenetic environment that she sets herself apart from the competition. ON TRIAL: RYAN GOSLING - BEST SUPPORTING ACTOR Prosecution: Amarú Y’all really thought Ryan Gosling was funny? Or unique? Or something we haven’t seen before in a film going satirically at the patriarchy? Because to me, there was nothing in Gosling’s performance that stood out as outstanding or particularly award-worthy. While the man can certainly act, and he did a fine (really, truly, just ok) job as Ken, when the man said “mojo dojo casa house,” I stared in awe wondering why everybody around me was laughing. Half the time, I felt like his role would have fit perfectly in Not Another Teen Movie , and I’m pretty sure director Greta Gerwig wasn’t trying to go that far with her satire. In all honesty, I’m very happy that the Academy is more open to nominating comedies and comedic performances, but maybe, just maybe, nominate a role that was actually funny next time. Defence: Paige The part of Ken was destined for Ryan Gosling. Looks aside, the man has the acting chops and “Kenergy” to take on any role, and he sure as hell proved it in Greta Gerwig’s Barbie . Sure, he has done comedies before, but none of them have quite compared to his portrayal of Ken, undoubtedly one of his best performances to date. This character could have easily been a silly sidekick, but Gosling brings genuine depth. The most remarkable aspect of his portrayal, though, is that he practically steals the movie in every scene he’s in. Not only do I think he delivered the best performance in the movie, I think he delivered the best male performance of the year!

Previous Next It's March and with International Women's Day coming up, we figured what better time to spotlight some of our favourite women behind the camera. With that being said, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Female Directors. To avoid any confusion, we are only focusing on singular directors here and have omitted co-directed features. Each writer ranks their top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. PROMISING YOUNG WOMAN Considering we're here to talk directors, it can't be understated what an explosive debut Emerald Fennell made with Promising Young Woman . The subject matter itself is one rarely tackled in this manner, and some of the decision-making was definitely a risk, but man, did it pay off. The chemistry between Carey Mulligan and Bo Burnham is terrific - with Mulligan giving my personal favourite performance of her career - and they do a great job finding levity within the dark subject matter. Then, there's that ending. Without getting into spoilers, the ending alone warrants inclusion on this list. This is the kind of film that forces you to take notice, and it is the reason why Fennell shot up the ranks of “directors to watch.” - Nick 4. A LEAGUE OF THEIR OWN Penny Marshall directed an all-time classic in so many aspects with A League of Their Own . Top-notch sports film, top-notch characters, top-notch performances, and one of the top quoted lines in all of cinema history. Whether in a theater or on a baseball field, how often have you said, “there’s no crying in…” you know. The Rockford Peaches’ roster is filled with the epitome of an ensemble, from the comedic back and forth between Rosie O’Donnell and Madonna to the family drama between Lori Petty and Geena Davis, all under the beautifully curmudgeonly energy from Papa Tom Hanks. Marshall provides entertaining as hell baseball games with lovable characters and a feel good story that is utterly rewatchable. Add in an upbeat Hans Zimmer score, and you have one of the most crowd-pleasingly excellent films directed by anyone, let alone a woman. - Amarú 3. AMERICAN PSYCHO American Psycho is one of the most misunderstood films directed by a woman. Luckily, it has undergone some revisionist history, so it has been reclaimed from the film bros and is now better understood as a biting feminist satire that comments on toxic masculinity, overconsumption, and capitalistic greed. Guinevere Turner and Mary Harron wrote the adapted screenplay, and they chose not to focus on the gruesome treatment of women in Bret Easton Ellis’ 1991 novel of the same name. Instead, they focus on Patrick Bateman, played with terrifying glee by Christian Bale, and his fragile sense of masculinity and obsession with appearances. Overall, American Psycho is delightfully twisted and absurd, one of the funniest films I’ve seen, and still stands up today with its sharp critique of notions of masculinity. - Katie 2. BIG Penny Marshall’s sophomore feature, Big , is a genuine classic. Not only was it the first film directed by a woman to gross more than $100 million at the box office, but it also earned Tom Hanks his first Oscar nomination for Best Actor. Marshall deftly tackles the film's exploration of wanting to grow up too fast in a way that is both subtly insightful and endearing. Even if the movie is a bit cheesy and contains some scenes that didn’t age well, it’s still able to get its bittersweet message across. It’s just one of those sentimental movies that will strike a chord whether you're a kid or an adult. - Paige 1. CLUELESS Amy Heckerling’s Clueless is one of the rare movies that defines a decade, if not a generation, as evidenced by its inspiration for everything from Versace’s 2018 fall collection to 2023 Super Bowl commercials, from music videos to Mean Girls . A modern take on Jane Austen’s Emma , Clueless is a teen comedy, a rom-com, and a coming-of-age movie wrapped in era-defining fashion, a killer 90s soundtrack, and oft-quoted catchphrases. It was so culturally significant that it led to a spin-off sitcom that ran for three seasons, a 21-book series of YA novels, a comic book series, a stage musical, and video games. Considering Heckerling wrote, directed, and produced the movie, her fingerprints are on every single aspect of the culture shifting hit, including rare-at-the-time takes on modern feminism, sex-positivity, and LGBTQ visibility, all while being at the forefront of today’s referential and euphemism-driven conversational style. Are there comparatively better women-directed films than Clueless ? Maybe. Have any been nearly as influential? As if… - Quentin HONORABLE MENTIONS LITTLE WOMEN THE VIRGIN SUICIDES ANATOMY OF A FALL THE SUBSTANCE POINT BREAK