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Previous Next January 8, 2025 WRITTEN BY: ADRIANO Another year has come to an end, and 2024, like most years, has been a year of highs and lows when it comes to cinema. For those who don’t ardently follow such things, I imagine many are trying to figure out what movies are worth catching up on, especially since awards season has thrown a bunch of movie titles at you. I’m assuming, more likely than not, you’ve seen the big blockbusters like Dune: Part Two and Wicked , and maybe you've even caught some buzzy hits like Longlegs and Challengers . As we speak, many of you are probably trying to get caught up on awards hopefuls like Anora and The Brutalist . However, I'd be remiss if I didn't mention some films that, in my opinion, are easily amongst the year's best offerings while flying completely below the radar. So, here are ten underappreciated films from 2024 that everyone should watch. HOW TO HAVE SEX I saw How to Have Sex for the first time at TIFF 2023, and it has remained in my head ever since. I'm genuinely at a loss for words that it's Molly Manning Walker’s directorial debut, but that has made me excited for whatever she does next. Following three teenage girls on a week-long summer vacation to Malia, Greece, the film focuses primarily on Tara, played spectacularly by Mia McKenna-Bruce, as she seeks to lose her virginity. While the film begins as a somewhat familiar, albeit energetic, coming-of-age party film, it evolves into something much more profound, becoming a seething indictment on hook-up and party culture and how it pertains to women and consent. It's the kind of film I'd show my kids when they become teenagers, not just because it's so good, but because of how important it could be in shaping their minds on the subject. I SAW THE TV GLOW After their surreal previous film, We're All Going to the World's Fair , I was pretty intrigued by whatever writer-director Jane Schoenbrun cooked up next. I Saw the TV Glow validated that excitement big time, making them the upcoming filmmaker I'm most excited for. Something about Schoenbrun's way of exploring themes of finding individual freedom, especially for queer and trans people, via entertainment, esoteric horror, and colourful imagery that crawls under your skin is simply mesmerizing (not to mention the performances Schoenbrun got out of Justice Smith and Brigette Lundy-Paine). However, the best part of it is that, even once the credits rolled, it felt like it still hadn't ended, as the movie kept me pondering every scene and detail long after I left the theatre. Now, I'm not going to pretend I Saw the TV Glow is a film for everybody, but I still believe it's a film everyone should seek out and experience at least once. HIS THREE DAUGHTERS The power a good writer-director can capture in a single room for almost an entire movie’s runtime is something that I'll never understand. In Azazel Jacob's chamber piece His Three Daughters , we follow three adult sisters who resolve their broken relationship as their father is about to die. The biggest sell of this movie has been the central performances from Carrie Coon, Elizabeth Olsen, and most notably, Natasha Lyonne. All three of them feel as lived in as possible, with every grievance and past trauma feeling very authentic. His Three Daughters shines as a devastating yet strangely endearing film of familial baggage and what grief can bring out of people. Simply put, it's a worthwhile tearjerker that should leave a long-lasting impact on any viewer. DÌDI I might as well throw another great coming-of-age movie in the mix with Dìdi . In the feature directorial debut of Sean Wang, Dìdi is about a 13-year-old Taiwanese-American kid named Chris, played amazingly by Izaac Wang, in the final month of summer vacation before beginning high school. The kicker: the film takes place in 2008, meaning the rise of the digital era plays a major role. As someone who came of age in this era, I can speak to the film's unflinching authenticity, from the performance of the entire ensemble of kids to the way they speak. Plus, the embarrassing and emotional beats the kids go through all felt very familiar, for better and for worse. However, the film's secret weapon lies in Joan Chen, who gives one of the year's best performances as the protagonist’s struggling mother. If you grew up in the 00s, you'll find something really special here, but even if you didn't, it's still a funny and heartwarming coming-of-age film. HUNDREDS OF BEAVERS A common accusation I hear whenever I speak ill of a superhero slopfest is that I "don't like fun." Thankfully, Hundreds of Beavers is here to prove that I do, in fact, love fun because it’s just a total blast. Directed by Mike Cheslik for just $150,000, the film follows a 19th-century applejack salesman who suddenly must survive a hoard of conniving, human-sized beavers. This movie is essentially a feature-length, live-action Looney Tunes cartoon, featuring slapstick that harkens back to the era of Charlie Chaplin and loads of laughter from its wild visual gags. The gags themselves genuinely make me wonder how they made this film with such a tiny budget. There is nothing about Hundreds of Beavers that is necessarily profound; it's just a sincerely silly movie that sucks you in with its pure mayhem. KILL Speaking of pure fun, let's talk about Kill . Directed by Nikhil Nagesh Bhat, the film follows two commandos who are aboard a train that's been hijacked by bandits. Also, the two commandos seek revenge and justice after the bandits kill the girlfriend of one of the commandos. While there is an effective emotional throughline with the murder that really sets the plot in motion, if you're like me and just a kneejerk sucker for well-executed, hyper-gory hand-to-hand combat, this is the film for you. I was lucky enough to see this for the first time with a Midnight Madness crowd at TIFF, which was exciting enough as is, but subsequent viewings of the film have only affirmed just how radically exciting Kill is. SASQUATCH SUNSET No dialogue, just grunts and bodily fluids being chucked everywhere. That's Sasquatch Sunset for you. A bizarre film across the board, it tells the story of a family of sasquatches who venture across the wilderness. That's the essential plot of the film, but the movie offers much more under the surface. Directed by Nathan and David Zellner, Sasquatch Sunset gives us some incredible performance work from Jesse Eisenberg, Christophe Zajac-Denek, Nathan Zellner, and especially Riley Keough as they demonstrate absurd levels of humanity despite being trapped under several layers of prosthetics. But the thing about this film that is really special is its ability to give us a lovely tale of finding a connection to each other and to the earth. It shows that even at its most ridiculous and in the face of heavy hardships, life has a way of turning things around. Trust me when I say this one will make you laugh and possibly even cry. SNACK SHACK A running theme in this article seems to be that of the coming-of-age genre because I really want to talk about just how much I adored Snack Shack . Set in the 90s, the film follows two teenage boys who start running a concession stand at the local pool. Writer-director Adam Carter Rehmeier has stated that this film is semi-autobiographical, based on experiences from his own childhood, and that level of authenticity is apparent in nearly every scene. The movie has a lot of heart and plenty of laughs, and even at the film's most familiar beats, Snack Shack is just charming all the way through. A big part of that charm are the excellent lead performances from Connor Sherry and Gabriel LaBelle. There are not many people I wouldn't recommend this to. It's just too likable. THE ORDER If it was still the 90s, The Order would've been huge. A thriller about an FBI agent trying to take down a white supremacist terrorist group? It has everything a movie-goer would love… and it was just ignored. It has all the pulse-pounding thrills you'd want from an effective true-crime action-thriller, with great cinematography, engrossing storytelling, and an all-around amazing ensemble, including one of my favourite performances from Jude Law. It may seem like a tough watch due to its subject matter, but director Justin Kurzel crafted a timely yet enthralling film that can satisfy any audience. THE SHADOW STRAYS Whenever I hear that we don't get original, high-concept, action films anymore, I roll my eyes hard because they do exist, you just have to look deeper. For example, The Shadow Strays , a martial arts film by acclaimed director Timo Tjahjanto, is about a female ninja who sets out to rescue a child from human traffickers. I mean, what about that concept doesn't sound enticing? I'll admit, when I saw the film at a Midnight Madness screening on the 10th day of TIFF, I was tired and considered leaving before the film began. And then 15 minutes in, ninjas were shooting and slicing people up in stylized and gory ways, so I decided to stick around. Totally worth it. An unrelenting blast from start to finish with plenty of heart, it ends on a sequel set-up, which I usually get annoyed at; however, this time? I welcome it.

Previous Next March 25, 2022 WRITTEN BY: THE BITESIZE CREW Time for the Bitesize Crew to predict the 94th Academy Awards. Who do we have taking Best Picture? Did anyone vote for Kristen Stewart? How many awards will Dune walk away with?

Previous Next May 31, 2024 WRITTEN BY: QUENTIN I did it! Another major film festival crossed off the list, and another 41 movies watched. Yes, you read that right: I saw 41 movies. In 11 days. It was a lot — like, a lot a lot. I might even say too much, only because most of these movies I probably wouldn’t have seen had it not been for Cannes, and honestly, I don’t know that I would have even noticed or cared that I didn’t see them at some point. For comparison, of all the movies that dropped at Cannes in 2023, I’ve seen just eight of them. Two of those were Best Picture nominees Anatomy of a Fall and The Zone of Interest , and truthfully, I didn’t care for either one of those. The real talk is, I’ve learned, even as a movie lover, most of Cannes’ film slate just doesn’t appeal to me and my American sensibilities. Also, at least this year, so many movies focused on the same themes, so there ends up being a lot of repetition as filmmakers from various countries all take on the same topic. This year’s topic du jour was #MeToo and the general mistreatment of women in patriarchal societies, which… obviously those are stories worth being told, but how many times do I need to see it in such a short timeframe? I agree, 100 percent: men are the worst, and women deserve better. I’ll never not agree, but by the tenth movie in six days with that message, it just became exhausting to sit through. Honestly, I'd feel the same way after a glut of thematically similar heist movies too. Still, though, I persevered because…why wouldn’t I? It’s Cannes, and I needed to make the most of it, both for me and for you. However, that has created a list of movies that is incredibly hard to rank against each other. How do you rank an American action blockbuster like Furiosa against a quiet Indian meditation on sisterhood? Something like Motel Destino might be objectively better than Horizon , but I’ll rewatch Horizon and all of its overlong sequels. I’ll never rewatch Motel Destino . It creates a quandary. As a result, the ranking below is not a single, top-to-bottom ranking of every movie I saw. Instead, I decided to break it down into three ranked categories: 1. The Top 11 Movies, overall; 2. Foreign-language movies; 3. English-language movies. The Foreign-Language and English-Language Rankings will not include any titles that made the Overall Top 11. Also, you may ask, “Why Top 11?” That’s a fair question. The Top 11 is made up of five English-language movies, five foreign-language movies, and one movie that has zero human dialogue. It just worked, perfectly balanced, as all things should be. So, who wants to read some reviews? FOREIGN-LANGUAGE MOVIES, RANKED 18. GHOST CAT ANZU Despite boasting an animation style reminiscent of Studio Ghibli, Ghost Cat Anzu doesn’t deliver a story anywhere near as moving, humorous, well-paced, or emotional as that famed studio’s offerings. The first hour follows the titular ghost cat as he farts, plays cards, rides a moped, and laughs annoyingly at random things. Eventually, a Spirited Away -esque plot kicks in that features genuine stakes, a semblance of character arcs, and less randomness, but by the time it gets to that point, I was already mentally checked out of its meandering nonsense, even as I found the innovative animation generally pleasing to the eye. 17. ARMAND Armand starts off incredibly strong, featuring terrific performances and a tone similar to 2021’s underrated gem Mass . However, what begins as a tense “he said/she said” chamber piece about lies and preconceived notions eventually goes off the rails. There is one scene where Renate Reinsve annoyingly laughs for what feels like 10 minutes, like a Family Guy joke that just won’t die. From there, it just gets weirder with the introduction of ghosts and random dance numbers. It makes me curious if director Halfdan Ullmann Tøndel even knows who his audience is. Then again, maybe these are typical sensibilities in Norwegian cinema and I’m the asshole. 16. PARTHENOPE The great irony of Parthenope is that, at its core, it’s an exploration of beauty and the superficiality that lies therein, yet it remains as shallow as a Calvin Klein ad. Yes, it’s beautifully shot, with beautiful people doing beautiful things in beautiful locations, but that’s about it. There is little in the way of emotional depth or resonant meaning, and it plays out just as one might expect. Gary Oldman does solid work in a small role as John Cheever, but sadly, he just made me long to watch the 1992 Seinfeld episode “The Cheever Letters.” 15. FILMLOVERS! Of all the movies on this list, Filmlovers! probably is the least accessible to a non-French audience. Film can mean different things to different cultures, and when you create a love letter to cinema that is part philosophical essay, part historical documentary (complete with film clips and testimonials), and part narrative…all told from the French experience…something is bound to be lost in translation. It makes it hard to relate to the talking heads or to see yourself in their proclamations about how a certain movie may have changed their life. I understand and respect the approach, but American “filmlovers” aren’t the right audience for this. 14. JULIE KEEPS QUIET Going into Julie Keeps Quiet , I was expecting something close to 2019’s The Assistant — a tense examination of what happens when one stays quiet in the face of observed abuse. As it turns out, Julie Keeps Quiet is too literal of a title because this is a tension-less film filled with long silences and avoided conversations. The thing Julie (Tessa Van den Broeck) is keeping quiet about lingers so subtly in the background that you forget it’s the crux of the story, leaving us with nothing more than a collection of lifeless scenes of people running tennis drills (“lifeless” compared to Challengers , at least). 13. ALL WE IMAGINE AS LIGHT In all honesty, I only saw this movie because the buzz on the ground at Cannes was that it could win the Palme d’Or (it ultimately won the Grand Prix, effectively second place). Personally, I don’t get it. Despite some terrific shots of Mumbai, this subtle tale of three women simply existing in a patriarchal society, shown through their friendship, desires, and traumas just didn’t grab me. I heard a lot of people call it “dreamlike,” which makes sense because it definitely made me want to take a nap. I get there is importance in the representation, but that alone doesn’t make for an amazing movie. 12. THE GIRL WITH THE NEEDLE Shot in gorgeous and haunting black and white, The Girl with the Needle is a bleak, sorta gothic horror movie that failed to resonate with me. I can certainly recognize the dark tragedy at hand, but other than lightly bumming me out, which has as much to do with its overall aesthetic as it does the particulars of the horrendous true story, it failed to evoke much emotion out of me. The imagery never elicited gasps, the dark turns were never shocking, and the performances never made me sit up in my seat. I’ll probably forget this movie exists within the next six months. 11. MISERICORDIA While the story beats are reminiscent of The Talented Mr. Ripley (or Netflix’s latest adaptation, Ripley ), Misericordia is a much more pared down, subtle, and quiet look at sexual repression, needs, and desires. Oh, and there is murder. It’s very dry and very slow, boasting perhaps the most indie feel of any movie from Cannes Film Festival, and while I can’t assuredly say it works, it doesn’t not work either. Personally, though? I wasn’t overly compelled by it. 10. SANTOSH Much like All We Imagine as Light , Santosh is the story of an Indian woman navigating the patriarchal society of Northern India, this time through the lens of a constable investigating the disappearance of a young girl. The investigation is nominally the core of the story, but it too often takes a back seat to the sexism and ugliness that Santosh (Shahana Goswami) must endure to get anything done, as well as the knowledge she gleans from a senior female officer. It’s not entirely unlike Indian Training Day , but it would have been more compelling with a better balance between the case and the social commentary. 9. SAUVAGES I’m always a sucker for stop-motion animation and claymation set designs, which Sauvages has in spades. On that front, I have no notes. However, the story itself is very preachy as it explores the question of (and obvious answer to) who the real “savages” are, natives or capitalists. Environmental protection is an extremely important and worthwhile message, especially in this era of climate change and its deniers, but it makes the movie feel more like a lecture than anything else. As a result, I suspect most adults will feel talked down to while most children will be bored by the dryness, cute monkey notwithstanding. 8. BEING MARIA Being Maria is the story of Maria Schneider, the female lead in the controversial erotic drama Last Tango in Paris , played terrifically by Anamaria Vartolomei. When the movie focuses on the trauma endured by Schneider while filming Tango , particularly the scandalous “butter scene,” it’s striking and heartbreaking. However, once it moves to the aftermath that occurs once Tango is released, it devolves into standard and shallow representations of “the downward spiral,” including typical scenes of addiction, sex, and generally dysfunctional behavior. Thankfully, Vartolomei elevates it all to be slightly more than the Lifetime Movie tropes we’re given. Also, Matt Dillon is surprisingly excellent as Marlon Brando. 7. SHE’S GOT NO NAME Yet another movie that is exploring domestic abuse and the treatment of women in a patriarchal society, She’s Got No Name looks back at a true story from 1940s China about a woman on trial for killing her abusive husband. Though there are some beautiful shots and Ziyi Zhang is fantastic as the alleged murderess, the story is extremely overstuffed with random diversions, which creates a movie that is too long and exhaustingly disjointed. The pieces are there for an important story with an important message, but it simply undermines itself by trying to include too many details. 6. I, THE EXECUTIONER Unbeknownst to me, I, the Executioner (a.k.a. Veteran 2 ), is a sequel. I didn’t see (or have even heard of) its predecessor, so I have no idea if there were important nuances or backstory I was missing as I watched this movie. That said, it’s an enjoyable but fairly standard action cop thriller. It reminded me of movies like S.W.A.T. and Striking Distance — you know, the kind of movies you stop on when flipping channels but never intentionally watch. If it were in English, it may have ranked higher, but being somewhat generic and in subtitles makes for nothing more than a one-time diversion. 5. ON BECOMING A GUINEA FOWL Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though. 4. WILD DIAMOND The biggest compliment I can give Wild Diamond is that I very much hated — and I mean HATED – Liane (Malou Khebizi), but that is such a testament to Khebizi’s performance as she plays the character as sympathetic but abrasive, vulnerable but tough-as-nails. Khebizi aside, I found a lot of the Gen-Z-ness annoying, but I’m a grumpy old Xennial, so… shrug emoji . On a more serious note, I genuinely can’t get on board with its message that one should do whatever it takes to live that “Influencer Life” (especially the end takeaway); however, Khebizi is so damn good that I can’t dislike the movie as a whole. 3. MOTEL DESTINO Whether director/co-writer Karim Aïnouz intended to remake The Postman Always Rings Twice , or if he just made a movie with similar plot points and themes is hard to say. Either way, despite what is easily described as a Brazilian adaptation of Postman (even if it wasn’t on purpose), Motel Destino is a sexy, sweaty, grimy, and primal approach to the familiar tale. Aïnouz uses searing colors, lush cinematography, and lusty rawness to cover for a somewhat flawed but never-less-than-engaging erotic thriller. You may have seen the Postman story before, but never like this. 2. THE BALCONETTES Another of the many movies from Cannes to touch on themes related to #MeToo , The Balconettes is a horror-comedy that relies on a wide-range of recognizable (but French-infused) vibes. There is a bit of Coen Brothers, some Quentin Tarantino, a lot of madcap burlesque, and a touch of vaudeville. Sure, it creates some massive tonal shifts, especially as it veers more towards the supernatural, which results in the movie losing steam towards the end because of the sheer scattershotness of it all, but I can’t say I didn’t have fun. 1. DOG ON TRIAL When one talks about finding hidden gems at film festivals, Dog on Trial is a perfect example. A movie that, on its surface, appears to be light and goofy (which it is) also works as a terrific metaphor for how society sees women, as well as a more straight-forward look at animal rights. Though almost never preachy, it explores the nature of the legal system, societal constructs, and humanity in humorous yet thought-provoking ways. It’s absurd and whimsical, but also deeply philosophical and observant. Plus, who doesn’t love a Movie Dog? ENGLISH-LANGUAGE MOVIES, RANKED 12. THE DAMNED While I commend what The Damned wants to do (and it does it well, to be fair), it doesn’t make for an enjoyable movie-watching experience. This is the type of war movie that isn’t about characters or battles, but the tedious mundanities that come between the battles. Plus, with it being set during the U.S. Civil War, the analog aspect of it all makes it even more of a slog to watch. It’s a lot of people just walking around, filling canteens, and eating beans next to a fire. Granted, it made me feel the same disillusionment the soldiers felt, but who wants that? 11. MEGALOPOLIS Although a modern world in which ancient Rome never fell is an incredibly fascinating premise, Francis Ford Coppola’s Megalopolis is an unmitigated disaster that vacillates from (presumably unintentional) campiness to overbearing self-seriousness at the drop of a hat. In addition to that, the story is so overstuffed and poorly developed, it’s like Coppola simply gave his stacked cast a handwave gesture and basic gist, leaving them to figure everything out on their own, which results in a collection of A-list actors who clearly aren’t working on the same wavelength. It’s not lacking in ambition, but the execution isn’t there. The visuals look sorta nice sometimes, though. 10. THE SHROUDS While The Shrouds isn’t without moments of intrigue, it’s generally let down by a convoluted conspiracy mystery, stilted acting (especially from Vincent Cassel), and atrocious dialogue. Also, not that I’m exactly complaining, but why is Diane Kruger naked for most of her scenes? In any case, I want to give writer-director David Cronenberg the benefit of the doubt because I know he’s using this movie to work through grief about his wife passing, not to mention it was originally written as a series for Netflix; however, in the end, I think he might have been a little too close to this one to recognize its flaws. 9. RUMOURS As a political satire, Rumours is certainly clever, but probably a little too smart for its own good. It requires a certain level of winking, “if you know, you know” awareness, and I’m not sure audiences lacking a general knowledge about geopolitical reputations will get a lot of the jokes present in this surreal sci-fi comedy. That awareness is the difference between a movie worth your time and a movie that is merely a mildly amusing diversion. No complaints about the cast, though, all of whom are game for the B-movie weirdness happening on screen. 8. FAYE Documentaries about movie stars tend to fall in one of two camps. They either are self-aggrandizing puff-pieces or unvarnished examinations that present the subject warts and all. Sadly, while Faye very lightly dips its toes into the latter, it’s mostly the former. Aside from a few passing references to Faye Dunaway battling mental illness and having a reputation for being difficult, this documentary offers little more than Wikipedia-level biographical facts and a collection of movie clips. That said, it may drive you to watch Bonnie & Clyde , Chinatown , and Network again (or maybe even for the first time), which isn’t a bad thing at all. 7. OH, CANADA Despite what other critics and Rotten Tomatoes might have you believe, director Paul Schrader hasn’t made a great movie in years. Sadly, Oh, Canada keeps that streak alive. The weird thing is that there are several things to like here, including a terrific performance from Richard Gere, poetic dialogue, and a great Americana-folk soundtrack, but all those things are squandered by lethargic and muddled storytelling that lacks passion. It wants so hard to be a melancholy treatise on life, death, and the regrets in between, yet it fails to make you care enough about the character to care at all about his remorse. 6. CHRISTMAS EVE AT MILLER’S POINT There are two plots in Christmas Eve at Miller’s Point — one that generally worked for me, and one that didn’t. If you grew up going to big family gatherings on Christmas Eve like I did, the fly-on-the-wall approach to the family get-together offers enough relatable holiday charm and nostalgia bombs to carry you through. However, once the B-plot about annoying teenagers sneaking out takes over, I started to lose interest because all the initial recognition of my own youthful holiday seasons faded away. I suspect one’s appreciation of this movie will depend entirely on how much of their own life they can see in it. 5. LIMONOV: THE BALLAD OF EDDIE Here is the thing about Limonov: The Ballad of Eddie — I absolutely loved parts of it. Ben Whishaw has never been better, giving a punk-rock performance that is as unflinchingly energetic as it is fascinatingly complex. Meanwhile, Kirill Serebrennikov’s direction is delightfully chaotic, grimy, intense, and stylish, capturing the vibe of 70s New York perfectly. That said, by the end, I was left wondering why I just watched a 140-minute biopic about a guy that I had literally never heard of before. It’s simultaneously too much and not enough, and for the most part, the details of Eddie Limonov’s (Whishaw) life have already faded from my memory. 4. HORIZON: AN AMERICAN SAGA — CHAPTER 1 Horizon — Chapter 1 is tough to review because, frankly, it’s not really a movie. Or at least it shouldn’t be. It’s like watching the first three episodes of a miniseries, which means it’s mostly just introducing a sprawling number of so-far-unrelated characters. There is very little development on any front, and nothing remotely resembling a typical multi-act story structure. The best way to describe it is “just western vibes,” so fair judgment probably should be reserved until after seeing Chapter 2 , if not Chapters 3-4 . Still, the acting, cinematography, and production design are very well done, and I’m invested enough to see the sequels through. 3. BIRD Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and sensitive realism than delivering an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances, but predict that others, particularly women, are likely to be more moved by this picture than I was. 2. KINDS OF KINDNESS After Poor Things , one had to expect at least a small hangover with director Yorgos Lanthimos’ next outing, so it’s not exactly surprising that Kinds of Kindness is underwhelming. Don’t get me wrong, it’s good; however, it might be Lanthimos’ least good movie, which is all because of the story structure. Kindness is basically an anthology of three short films, and there is inconsistency in their levels of intrigue and development. I would have rather watched any of the three as a standalone feature instead of the truncated versions we get here. Still, all the typically weird greatness you’d expect from Lanthimos and this cast are present. 1. GOOD ONE Good One is a tremendous feature directorial debut from India Donaldson and a showcase for young star Lily Collias. Funny and insightful, understated yet complex, it explores Sam’s (Collias) transition from dependent teenager to empowered adult as she deals with two, generally harmless but not quite enlightened, middle-aged dads struggling to navigate the line between “daughter figure” and “fully realized woman.” Donaldson does a great job of putting us in Sam’s shoes as she observes their bickering, regrets, selfishness, and sexism, which creates a low-simmering tension throughout as we’re left wondering when enough might be enough. It’s simple and spare, but never slight, and always compelling. TOP ELEVEN MOVIES OVERALL, RANKED 11. INTO THE WONDERWOODS Truth be told, I don’t watch a ton of animated movies. It’s not that I don’t enjoy them, per se, but so many of them are unabashed toy commercials aimed at children. There is no real weight behind the storytelling, and it’s hard to tell which ones are worth my time. Enter Into the Wonderwoods , a charming and delightful spin on Alice in Wonderland that features beautiful and varied animation, as well as a surprisingly emotive score. I admit it’s a small sample size, but it’s one of the better animated movies not named Spider-Verse that I’ve seen in a while (...but hold that thought). 10. THE KINGDOM Although generally a coming-of-age tale, The Kingdom takes a darker and grittier approach than most genre offerings by focusing on the daughter of a Corsican mob leader in the middle of a gang war. It’s like watching Narcos from the perspective of Pablo Escobar’s daughter, which delivers two captivating aspects we don’t often see: 1. The effects gang life has on unaffiliated family members; 2. the dichotomy of a ruthless crime lord that is, first and foremost, a loving father. It makes for a taut, moving, and gripping experience. Even more impressive? This is director/writer Julien Colonna’s and star Ghjuvanna Benedetti’s feature debuts. 9. THE SECOND ACT I probably didn’t get every joke in director Quentin Dupieux’s The Second Act given its overall Frenchness, but I still laughed a lot, especially at Manuel Guillot’s hilariously nervous energy and physical comedy that work in any language. In addition to Guillot, the four French A-listers (Léa Seydoux, Vincent Lindon, Louis Garrel, and Raphaël Quenard) playfully play with their real-life public personas while making fun of just how silly actors and the film industry are. It’s breezy, playing like Tropic Thunder meets Extras , and though it may be sacrilege to say, there is a lot of potential here for an American remake. 8. THE APPRENTICE Much like Oliver Stone’s W. , The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL -style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers. 7. TWILIGHT OF THE WARRIORS: WALLED IN With thrilling and incredible video game-inspired fight choreography (especially during the finale’s wild “Final Boss” fight) and a decent amount of character development, Twilight of the Warriors: Walled In is a total blast! The 80s throwback vibes and gritty noir-ish feel only aid in making this one of the best martial arts movies I’ve seen since maybe The Raid series (admittedly, I haven’t seen a ton of recent martial arts movies). The story beats strain credulity at times, but if you’re like me, you aren’t coming to a movie like this for the story, and Warriors more than delivers the carnage we’re all here for. 6. THE SUBSTANCE If you get squeamish with gross body-horror imagery and flat-out disgusting noises, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. 5. THE SURFER Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. 4. EMILIA PEREZ I genuinely have no idea how Emilia Perez works as well as it does. Sure, it features terrific performances across the board (especially Karla Sofía Gascón), but it’s just such a bonkers premise and approach that you keep waiting for it to collapse under the weight of its own ambitions. It never does, though. The gritty crime elements are tense, the musical sequences are percussive and propulsive, and the character dynamics feel real and sincere. The fact that it all comes together near flawlessly is a testament to director/screenwriter Jacques Audiard’s ability behind the camera and the self-confidence in his vision on the page. 3. FURIOSA: A MAD MAX SAGA Given the (unexpected?) modern-day masterpiece that is Fury Road , there was some concern on my end that returning with a prequel would result in a disappointing cash-grab of a movie. Thankfully, Furiosa is anything but. It might be a bit too long, but you hardly care when the acting (Chris Hemsworth, especially), action, and writing are this good and compelling. It’s the rare prequel that stands on its own merits while expanding on the lore of everything that came before it and improving the depth of its immediate predecessor. Only time will tell if it’s better than Fury Road , but it deserves genuine consideration. 2. ANORA Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems , then you’ve got a pretty good idea of what to expect. It’s worthy of any and all awards consideration it’s surely to garner as we get deeper into 2024. 1. FLOW I surely didn’t expect the best film out of Cannes to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. Photo Credits: Cannes Film Festival

Previous Next February 19, 2025 WRITTEN BY: AMARÚ It may be Black History Month, but for those who really know, every month is Black History Month; even though I have watched every kind of movie there is over the course of my 36 years of movie-loving life — no matter the demographic, culture, or target audience — that same reverence isn’t always reciprocated back by non-minorities. Black cinema (and Asian and Latino cinema, for that matter) is essential to the zeitgeist of movie history, but I’ve stopped counting the times I’ve had discussions about the best [insert genre here] films and had to teach somebody about all-time hood classics: “You haven’t heard of I’m Gonna Git You Sucka ?!” Or, “what do you mean you love romance movies but have never seen Love Jones ?!” Frankly, I’m never surprised by this, particularly since I entered movie criticism circles seven years ago, because it’s pretty common that I’m one of the few people in the room who looks like me. While there are a few non-melanated folk who are in the know (you know who you are and I see you), from online movie trivia to my own very wonderful and welcoming critics association, I very often have to fight between my conflicting urges to either blatantly put Black films in the faces of my fellow movie-lovers, or go full-blown KevOnStage and yell “IT’S FOR BLACK PEOPLE, ANYWAY!!!” But if you know better, you do better. So, I have taken the opportunity to help the Bitesize Breakdown crew rectify some film gaps that they undoubtedly have. For this personalized guide through classic Black cinema, I have curated a line-up of essential hood classics that my fellow Bitesizers have not seen, each based on what I think are films they would enjoy. Then, they wrote a review on those first-time watches. I was not immune from this lesson, as I also watched and reviewed a film that I have never publicly admitted to not seeing for fear of having my Black Card revoked. Feel free to take this journey with us if you haven’t seen these movies, and if you’re like me, make a playlist for your fellow uninitiated. Most importantly, if nothing else, for the love of film, go watch Black movies. ADRIANO For our resident awards aficionado, I needed to find a movie filled with vibes. That is what always seems to get Mr. Caporusso out of bed in the morning: lowkey pretentious, high-key aura, and monumental performances. There was one movie that stood out in my mind that covers all those prerequisites. For Adriano, I chose…… EVE’S BAYOU (1997) I was fairly shocked to realize that not only was Eve’s Bayou directed by Kasi Lemmons, but it was her debut film. Despite the (mostly) grounded storytelling, the movie is presented in an oddly mystical way. Even though it’s a domestic family drama, there's something about the gothic undertones that drive the film (both narratively and thematically) that feel otherworldly. Memory plays a heavy role in the film, and the exploration of how hazy it can be only adds to the effect, not to mention the excellent ensemble. I genuinely can't stress enough just how well-made the movie is. The Louisiana setting makes way for some beautiful cinematography, especially with the way the lakes and nature are filmed, but I also couldn't help but notice how well-lit the interior scenes were. Plus, the sound work gives the film a very lived-in feel, and while the score might be a little soap opera-y on its own, it works with the tone of the film. With every genre sensibility that Lemmons presents here, Eve’s Bayou never comes up short emotionally. Obviously, history plays an integral role in the story, but the family drama gives it even more authenticity. These lives feel very real, and through the relationship between the father and daughter (Samuel L. Jackson and an 11-year-old Jurnee Smollett), we get a very profound look at the way we process our familial baggage. KATIE There is nothing about Katie that doesn’t yell “sweetheart.” Kindness, intelligence, and care just oozes out of every word she types, so I looked for a coming-of-age film that brings a combination of joy and thoughtfulness. Plus, she is something of an academic (or at least she writes like one), and I needed a film she could relate to as a student. For Katie, I had to go with… DOPE (2015) As a fan of coming-of-age narratives and American indie cinema, I was very excited to watch Ru’s recommendation Dope , especially after having recently loved Shameik Moore’s hilarious role in The Gutter. I can see why Ru thought I’d enjoy this movie because it's brimming with unconventional coming-of-age themes and irreverent indie humour while taking a unique storytelling approach to the serious issue of bias in academic processes. Dope both defies and satirically indulges stereotypes. As I was watching, I realised that I could not recall another instance of black nerds on screen, much less a film that focuses entirely on their experiences and nuanced identity. So, although Dope is thoroughly entertaining, it also made me think about the lacking representation of these character types elsewhere. At times, the film veers from offbeat high-school comedy to sudden violence, but the tonal shifts reflect the uncertainty and unpredictability of the L.A. neighbourhood. The cast has great chemistry and no issues handling the diverse emotional demands of the story, and their close friendship feels convincingly authentic. Plus, it's absolutely stacked. Since I went into the film blind, I was pleasantly surprised every time I saw a younger-looking familiar face. The energetic editing and creative cinematography keep the pace brisk, yet it also knows when to tone it down for maximum emotional impact. What’s more, the incredible soundtrack is an education in itself, featuring original songs that are genuinely catchy! NICK Honestly, Nick was, by far, the hardest person to choose for. He always just seems to be around, meaning unless we’re talking about Back to the Future, he’s down for just about any kind of movie with no extreme emotions about any particular genre. Do I go action? Horror? Sports? A great drama? For Nick, Mr. Middle-of-the-Road, I went with a movie that is underrated even in the Black community but still is hella solid. That film is… HIGHER LEARNING (1995) Considering his reasoning (although I push back on being middle-of-the-road), I completely understand why Amarú picked Higher Learning for me as it’s a mix of all genres. There is comedy, drama, thrills, and some entertaining moments, to be sure. Unfortunately, there’s a little too much of everything without director John Singleton giving things enough of a chance to settle and have the weight they should. He is even quoted as saying, “I was 25 years old making [ Higher Learning ]. I'm, like, chock full of everything that would concern young people: lesbianism, and racism, and everything I could put in that movie.” It shows, John. The other thing that unfortunately works against the film is that it feels incredibly dated. Not so much in the content (sadly, that’s still all too prevalent these days), but the quality. You get some solid performances from the likes of Laurence Fishburne, Ice Cube, and Omar Epps, but the remainder of the cast is forgettable. As I said, there are entertaining (and harrowing) moments, but they don’t amount to a film that does anything better than its contemporaries. Amarú claims that this film is underrated in the Black community, but I’d argue it’s rated just as it should be: middle of the pack. PAIGE If there is a movie that allows a woman to take the sweetest revenge, Paige is there for it. She is known for being a horror queen, but she is always all in on women empowerment. No matter the genre, if somebody (especially a man) is getting their comeuppance from a spurned woman, Paige will be rooting her on from the front row. For Paige, I had to give her the ultimate woman’s anthem on film… WAITING TO EXHALE (1995) I’d be lying if I said Waiting to Exhale isn’t an overlong and overstuffed story that feels dated in some respects; however, despite these drawbacks, it’s full of passion, heart, and humor. While the movie tackles the difficulties of dating and relationships, at its core, it exemplifies the strength of friendship between our lead characters, portrayed by Whitney Houston, Angela Bassett, Lela Rochon, and Loretta Devine. This quartet feels like a genuine friend group that would have each other's backs, no matter what. Director Forest Whitaker’s (yes, the Forest Whitaker) film may fall prey to shallow romantic clichés, but at least he made sure to flesh out the central friendship to feel as authentic as possible. These women can overcome anything, as long as they have each other by their side. That’s true girl power, right there. Hoes over bros! QUENTIN At this point, you’re probably expecting me to call Q an old man. While that’s always something of an exaggeration, the truth of Q is that he is a grown-ass man. He is interested in nothing but being grown at all times, and there’s one film that screams being grown. Grown jokes, grown characters, grown plot line, grown love interests. For Q, I had to pick the grown man’s movie… A LOW DOWN DIRTY SHAME (1994) As a dude who grew up loving Keenen Ivory Wayans’ I’m Gonna Git You Sucka and In Living Color (and later, Scary Movie and White Chicks ), not to mention old-school actioners featuring wisecracking badasses like The Last Boy Scout ( starring Keenen's brother, Damon, incidentally), it’s easy to see why Ru chose A Low Down Dirty Shame for me. Had I seen it when it first dropped in 1994, I have no doubt it would be a nostalgic favorite that I’d still be quoting regularly. But nostalgia is a funny thing. There are so many movies I love for their 90s-ness, but when you don’t first experience that 90s-ness in the actual 90s, it can make for a cringey watch — and watching Low Down for the first time 30 years after its release is rough. Wayans does a decent enough job both as director and star (though, unsurprisingly, he’s better at the comedic bits than the action ones), but everything is undermined by how dated and cheesy it all is without the nostalgic lens of familiarity. On that same note, in 1994, Jada Pinkett probably stole the show because she is legitimately great as the sassy Peaches. But in 2025? Fair or not, I have a real hard time wanting to even watch her on screen given what she has become. Overall, Low Down probably always felt like Wayans grasping for mainstream Eddie Murphy status, and time certainly hasn’t done it any favors for fresh eyes. AMARÚ Ok, don’t crucify me, but when certain cultural staples came out, I was too young to want to watch. Yes, I watched adult movies at a young age, but there were certain vibes that I just didn’t gravitate to. To this day, I’m still not the biggest Scorsese-like gangster film fan. This one isn’t a gangster film, but I’ll finally admit that, until 2025, I had not seen… MALCOLM X (1992) I haven’t decided whether Spike Lee’s greatest cinematic achievement is Do the Right Thing or this three-hour, intimate look into one of the most important and complicated figures in American history. What I do know is that the Academy needs to figure out a way to stop handing legacy wins to people who don’t deserve them that year (sorry, not sorry, Al Pacino). Malcolm X — and Denzel Washington’s performance — takes three tonally different movies and immaculately tells them as one magnificently earnest film. It perfectly exemplifies the last century of this country through the Civil Rights leader’s rich story. Every line, shot, and performance is perfectly placed to magnify the reality of the American experience: racism, poverty, the hustle of the American dream, religion, fame, betrayal, redemption, family, and tragedy. This film is multi-faceted, surprisingly funny, unbelievably harrowing, and outright truthful. I’m glad I finally sat down to learn something that day.

DEAD TO ME: THE FINAL SEASON Starring: Christina Applegate, Linda Cardellini, James Marsden, Diana Maria Riva, Brandon Scott, Sam McCarthy, Luke Roessler, and Garret Dillahunt Creator: Liz Feldman NICK Dead to Me was a great two-season series that really didn't need a third season, yet here we are. The writers find a way to keep the story going (including a hard left turn in the latter episodes), but it lacks the magic of the earlier seasons. That said, Linda Cardellini is just so great in this role, and her chemistry with Christina Applegate is among the best on television. All said and done, this series will be remembered for its unabashedly honest handling of grief underneath its central mystery and the heartfelt platonic love story it became. I’ll miss this one.

Previous Next January 15, 2025 WRITTEN BY: KATIE Since the early 2010s, there has been a significant surge in the proliferation of female filmmakers, especially in horror. Beginning with the unprecedented success of hits like the Soska Sisters' American Mary , Ana Lily Amirpour’s A Girl Walks Home Alone at Night, and Jennifer Kent’s The Babadook, these films have been central to discourse concerning their subversive approach to the horror genre. Ever since then, female horror filmmakers have continued to reach new heights of success. In 2017, Roxanne Benjamin, Jovanka Vuckovic, Karyn Kusama, and St. Vincent combined forces to create the first all-female horror anthology, XX . Between 2017 and 2021, Julia Ducournau, Natalie Erika James, Rose Glass, and Prano Bailey-Bond earned critical acclaim with their eminent debut features. In 2021, Leigh Janiak found major success with the Fear Street trilogy for Netflix, Julia Ducournau won the Palme d'Or for Titane (making her the second woman ever to be awarded the prestigious prize), and Nia Decosta became the first black female director to debut at number one at the U.S. Box Office with Candyman. This year alone has been an impressive year for female-helmed horror, especially seen in the surge of body horror films, including Arkasha Stevenson’s The First Omen, Michael Mohan’s Immaculate ( although not in the director’s chair, Sydney Sweeney’s producer role was integral to its film’s success), and Coralie Fargeat’s Golden Globe-nominated The Substance. So, why is this significant? This surge has offered new and unique perspectives in a genre that has long been dominated by white, male directors who typically sexualize women, represent them as monstrous, or are treated as nothing more than helpless victims. Not only do these films defy traditional assumptions about women’s role in horror, but they are aligned in how they wield tropes and genre hybridity to address real-life concerns. Barbara Creed (an amazing feminist scholar and one of my personal heroes) addresses this in her latest book, Return of the Monstrous-Feminine: Feminist New Wave Cinema. She revisits her theory, which was first published in her seminal text The Monstrous-Feminine in 1993, by examining a selection of contemporary films made by women, arguing they constitute a specific historical movement — Feminist New Wave Cinema. These films focus on women first, telling stories about revolt against patriarchal oppression and definitions of femininity. Unlike in her earlier text, which focused on female monstrosity in relation to male fears rather than female subjectivity, in Feminist New Wave Cinema, monstrosity is an empowering, potentially even liberating, concept. Inspired by Creed’s latest take on the monstrous-feminine, I want to explore the ways in which several films have used tropes and aesthetics of horror, as well as the notion of female monstrosity, to affirm female-lived experiences and criticise various societal issues that impact mainly women, specifically beauty standards, motherhood, and sexual violence. BEAUTY IS PAIN In both The Substance and The Outside , female protagonists use a product marketed to them by mysterious men in an effort to achieve an ideal of beauty that they feel is currently out of reach. Despite the detrimental effects it has on them, they repeatedly return to the product and convince themselves of the benefits, their drive to feel acceptable and loved outweighing their well-being. The brutal process of transformation — which in The Substance necessitates a series of terrifying injections that become increasingly difficult to watch, and in The Outside involves worsening rashes and blistering skin — calls out the dehumanisation and pain that is inherent in many beauty treatments. Although society praises the result of cosmetic surgery and other aesthetic alterations, it rejects awareness of the process. However, Fargeat and Amirpour refuse to let us look away. You need to know the cost. In her famous book Gender Trouble , Judith Butler refers to performing gender as “the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame that congeal over time to produce the appearance of substance.” This is evident in both films, which uses body horror to highlight the impossibility of meeting constantly shifting beauty standards and the absurdity in even trying. They show how societal standards drive women towards unsustainable, increasingly extreme practices in order to produce an image of themselves that society accepts. Both films culminate in a fusing of identities for the protagonists, a transformation into something monstrous and unfamiliar, committing acts each of the women would have previously found unthinkable. However, Fargeat and Amirpour do not blame their protagonists, instead casting a side-eye at those who made them feel they needed to change in the first place. In the films, there is an obvious answer for both women: just stop using the product, but the directors empathise with their protagonists, showing how easily it can get out of hand, highlighting the lengths people will go to feel worthy of love and acceptance, and exploring the ultimate cruelty that it will never be enough. "A BOY'S BEST FRIEND IS HIS MOTHER" The history of horror cinema is permeated with mothers. One of the most famous is Norman Bates’ (Anthony Perkins) mother from Alfred Hitchcock’s Psycho , but Mrs. Bates doesn’t even exist outside of Norman’s head, where she is smothering and cruel. Norman is not to blame for his monstrous acts, it’s his mother’s influence that turned him into the man he is. So, as highlighted by Sarah Arnold in her incredible text Maternal Horror Film: Melodrama and Motherhood, the fact that one of the most iconic mothers in horror history never even materialises outside of a male construction says a lot about maternal representation. According to Creed, when women are presented as monstrous in horror films, it is almost always in relation to their reproductive functions , which is evident in some of the genre's most well-known films, including The Brood and Rosemary’s Baby . Surprisingly, there have not been many female-authored films about pregnancy and motherhood, but Feminist New Wave Cinema has reclaimed the concept of monstrosity to liberate their protagonists from the oppressive constraints of motherhood, which demand women be nurturing, self-sacrificing, and submissive. In her hilarious horror comedy Prevenge , Alice Lowe satirizes the contradictory nature of being the perfect mother-to-be through Ruth (Lowe), who is guided by the disembodied voice of her unborn baby to kill. As Ruth slashes throats, breaks skulls, and castrates misogynists, she also dutifully attends her prenatal appointments. Her midwife tells her that her body is no longer her own, and that she must do everything in service of the fetus. Ruth expresses that she’s finding her pregnancy difficult, without disclosing her murderous urges, but the midwife reiterates, “baby will tell you what to do.” So, Ruth does what she is told. Lowe takes the idea of maternal selflessness to the extreme, with Ruth committing decidedly unfeminine acts, but all in service of the unborn child, unsettling the notions of maternal identity. Amelia (Essie Davis) in Jennifer Kent’s The Babadook is in a similar position to Ruth as a recently bereaved single parent. Significantly, both characters express regret and reluctance in relation to motherhood, and both are told to prioritise their children and, essentially, get over themselves. Both try to repress their grief with disastrous results. Ruth kills whilst Amelia and her son are tormented by the terrifying Babadook , a literalisation of her anxiety. Like Ruth, Amelia is not the one who is monstrous, but the societal pressures that demand so much of her; however, they both perform ideas of monstrous femininity as a cathartic, liberating act that foregrounds the female experience and criticises idealised expectations of motherhood. REVISING THE RAPE REVENGE FILM Understandably, rape revenge films have not been viewed favourably by general audiences. They’re viewed as exploitative, inherently misogynistic, and generally disturbing. Defining films of the canon are Wes Craven’s The Last House on the Left and Meir Zarchi’s I Spit on Your Grave, which involve brutal depictions of sexual violence that focus on female suffering and degradation. However, Coralie Fargeat’s Revenge and Madeleine Sims-Fewer & Dusty Mancinelli's Violation show that revenge films can not only be liberating, but even feminist, emphasising the subjectivity of their female protagonists and exploring the societal conditions that perpetuate rape culture. Revenge presents an interesting challenge for feminist interpretation through its employment of the male gaze in the first half of the film. The protagonist, Jen (Matilda Anna Ingrid Lutz), is undoubtedly sexualised initially , flaunting her appearance for the gratification of men, but this is done to challenge the audience. Fargeat implicates the viewer in their assumptions about Jen, drawing attention to the discourse associated with victims of sexual violence, e.g., “she shouldn’t have been wearing that if she didn’t want it.” Just because Jen is flirtatious and sexualised does not mean the men around her are entitled to her body, which is underscored by her transformed demeanour after she is raped. She becomes almost animalistic, covered in dirt and grime, wielding a gun, and efficiently stalking and killing the men involved as she exacts her satisfying revenge. Fargeat also handles the rape scene uniquely to her male predecessors by limiting visual access and instead using sound and cuts to portray Jen’s ordeal. Whilst Jen’s screams can be heard, the camera focuses on her face and cuts away only to highlight the other man’s indifference to her suffering. This juxtaposes the way the camera voyeuristically captures Jen in the first half of the film, showing Fargeat’s disinterest in indulging a sadistic male gaze. Violation similarly implicates viewers in their assumptions. Through a non-linear storyline, it is revealed that Mirian (Madeleine Sims-Fewer) consensually kisses her attacker, who is also her sister’s husband, prior to the rape. This draws attention to the issue of assumed consent, as well as the sadly common assumption that a victim may have “asked for it” through behaviour. Similarly to Revenge , the rape scene in Violation focuses on the victim, emphasising Mirian’s feelings of betrayal and paralysing inaction. The use of macro photography lenses results in very tight close-ups, whilst the shaky, handheld camerawork creates a fragmented perception of the ordeal. The sound of Mirian’s whimpers are heightened above the score, which plunges the viewer into her sense of helplessness, especially when paired with the claustrophobic framing. Mirian’s revenge involves tricking her attacker before knocking him out cold and methodically dismembering his body. The process is grueling for both Mirian and the viewer, and although she doesn’t achieve the cathartic transformation of Jen in Revenge , she is shown to be traumatised and exhausted, demonstrating that the psychological impact of sexual trauma is not so easily erased. Both films show there is no single way of experiencing, or coping with, sexual violence through understated yet impactful scenes of the attacks, and they interrogate the ways in which the blame is situated with the victim rather than holding perpetrators accountable. WHAT’S NEXT? Clearly, this recent wave of female-authored horror films is significant. The surge in the proliferation of successful films that belong to Feminist New Wave Cinema shows that female horror filmmakers are increasingly gaining traction in the genre with their unique approach to the tropes and aesthetics of horror whilst also gaining more opportunities to tell their stories. This continues into 2025 with many exciting horror releases helmed by women. The body horror trend carries on with Sasha Rainbow’s feature debut Grafted , set to premiere on Shudder later this month, with director Rainbow commenting that the film will follow the female protagonist's "wild and bloody pursuit of perfection." On top of that, Jennifer Kaytin Robinson’s I Know What You Did Last Summer sequel will hit cinemas in the summer, Maggie Gyllenhaal's highly anticipated The Bride! will be released in late September, and Lynne Ramsay’s psychological thriller about the pressures of motherhood, Die, My Love , is expected to premiere at the 2025 Cannes Film Festival.

Previous Next With the upcoming release of Elvis, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Biopics. 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. MONEYBALL Moneyball is one of the greatest sports films of all time. The cast - anchored by an excellent performance from Brad Pitt - is stacked with the likes of Jonah Hill, Philip Seymour Hoffman, and Chris Pratt, while the story is just as much about things off the field as on it. It's a fantastic look behind the scenes of a team that changed major league sports forever. - Nick 4. THE SOCIAL NETWORK The Social Network is an absolute powerhouse of a film that might feature one of the best screenplays ever written. It masterfully takes the true story of Facebook, which could be perceived as boring, and makes it captivating and entertaining. With a compelling lead performance from Jesse Eisenberg and incredible direction from David Fincher, this film is genuinely one of a kind. - Adriano 3. CATCH ME IF YOU CAN Is there a more rewatchable, better acted, and more compelling Leonardo DiCaprio movie than Catch Me If You Can ? You could argue otherwise, but I don’t think he has another film that makes you genuinely smile, cry, and care as much as you do for the battle between Frank Abagnale Jr. (DiCaprio) and Carl Hanratty (Tom Hanks). Add pitch perfect roles for Amy Adams, Martin Sheen, Jennifer Garner, and the incomparable Christopher Walken, and you get one of the greatest and most likable biopics of all time. - Amarú 2. GOODFELLAS “As far back as I can remember, I always wanted to be a gangster” – That’s how GoodFellas starts before diving into the rise and fall of mobster-turned-informant Henry Hill (the late, great Ray Liotta). It’s the perfect opening line for a nearly flawless film that features arguably the best performances of Liotta’s, Robert De Niro’s, and Joe Pesci’s careers in what is almost unanimously the best film of director Martin Scorsese’s career. Forget Best Biopic, GoodFellas is one of the greatest movies ever made, which is, in fact, pretty damn gangster. - Quentin 1. THE WOLF OF WALL STREET The Wolf of Wall Street isn’t your usual biopic about a respectable person. No, this flick follows the true story of stockbroker Jordan Belfort (Leonardo DiCaprio), who represents the downward spiral and moral deterioration of American capitalism. It’s a rollercoaster ride through Belfort’s life, from being a nobody to becoming one of the wealthiest and sleaziest men alive. The film finds both star and director at their best, with DiCaprio giving a powerhouse performance in a true Martin Scorsese masterpiece that is a must watch for everyone. - Paige HONORABLE MENTIONS INTO THE WILD MALCOLM X I, TONYA ALI LORDS OF DOGTOWN Photo Credits: Photo 1 - Columbia Pictures; Photo 2 - Sony Pictures; Photo 3 - Dreamworks Pictures; Photo 4 - Warner Bros; Photo 5 - Paramount Pictures

THE WITCHER: THE COMPLETE THIRD SEASON Starring: Henry Cavill, Anya Chalotra, Freya Allan, and Joey Batey Creator: Lauren Schmidt Hissrich AMARÚ PART ONE Part One of The Witcher ’s third season has a modern feel that adds to the chemistry between Geralt (Henry Cavill), Yennefer (Anya Chalotra), and Ciri (Freya Allen); however, it also hinders the stakes overall. Maybe that’s a byproduct of an incomplete season, but the quickened pace, lighter tone, and stylish action are a double-edged sword. With so much lore, so many players, and plenty of side stories interweaved at a faster clip, I often found myself checked out when Cavill or Chalotra weren’t front and center. It’s not a bad start, but Season Three needs a more focused finish to capture my full attention. PART TWO While unnecessary, Part Two of The Witcher’ s third season at least had the wherewithal to possess all the season’s best action and drama. The well-crafted set pieces and striking dialogue kept me enthralled, even amongst the myriad of names, places, and realms that were too confusing to fully remember. Part Two made it much easier to follow Henry Cavill as he protected his ward against that one dude before getting her to that other place with his love interest. These shrug-worthy generalities exemplify this season’s flaws, but at least these three episodes got back to an interesting journey towards an exciting destination.

BAD MONKEY: SEASON ONE Starring: Vince Vaughn, Natalie Martinez, Meredith Hagner, Rob Delaney, Michelle Monaghan, Jodie Turner-Smith, Ronald Peet, John Ortiz, and L. Scott Caldwell Creator: Bill Lawrence QUENTIN One’s enjoyment of Bad Monkey will completely depend on how much one enjoys Tom Petty songs and Vince Vaughn’s schtick because that’s about all this show has to offer. Although they are technically (and too conveniently) connected, the way-too-many storylines are a convoluted mess. From episode to episode, it often feels like you are watching several different shows at once. On top of that, the vibe is extremely dated. It’s very reminiscent of the quirky, brightly colored shows of USA Network’s “Characters Welcome” era. That said, Vaughn is his typical fast-talking self, which, if nothing else, kept me coming back for each episode. ADRIANO Bad Monkey sees a return to form for Vince Vaughn's fast-talking comedy stylings, which I've been aching for. Sadly, the show around him is pretty messy. It's not bad, and it can be interesting; however, there's just a tad too much going on, and a lot of it struggled to keep my interest outside of Vaughn's storyline. Admittedly, the show looks nice, the overall ensemble bounces off Vaughn excellently, and the show's use of the Florida Keys is actually quite great. Ultimately, I wanted a fun “Vince Vaughn comedy” and I mostly got it, so I can't totally complain.

Previous Next April 23, 2025 WRITTEN BY: BODE Everyone knows that the relationship between music and visual media is a critical one, and the role of music supervisor is a major aspect in that relationship. Music supervision involves the process of selecting, licensing, and researching pre-written music for all forms of media, but especially film and television. They work closely with directors, producers, writers, and oftentimes composers to ensure that the music being chosen aligns with the project’s creative vision while simultaneously managing budgets and legal rights. It’s a role that I’ve always been fascinated by, especially as a music lover, and I think it’s one that often goes under-discussed and under-appreciated. That’s why I wanted to shed some light on this role by showcasing some of my favourites working today, detailing their brief histories and my favourite drops from them. RANDALL POSTER Notable Credits : Kids , Rushmore , School of Rock , The Hangover , Boardwalk Empire , Spring Breakers , The Wolf of Wall Street , The Grand Budapest Hotel , Joker Favourite Drop : “Starálfur,” Sigur Rós ( The Life Aquatic with Steve Zissou ) https://youtube.com/watch?v=IPMf8G8Pi5o Perhaps the most prominent name on this list, boasting thousands of credits that span film, television, and advertisements, Randall Poster has been responsible for some of the most iconic needle drops in pop culture history, counting filmmakers like Martin Scorsese, Harmony Korine, Richard Linklater, Todd Haynes, and Todd Phillips among some of his most frequent collaborators. He’s even won a Grammy for his efforts, specifically for his work on the HBO series Boardwalk Empire . Amongst those accomplishments, however, it’s his working relationship with director Wes Anderson that has stood the test of time. Poster has sourced music for nearly all his films, starting with Rushmore, and continuing into The Royal Tenenbaums , Fantastic Mr. Fox , Moonrise Kingdom , The Grand Budapest Hotel , and Asteroid City . To pick a favourite drop would be difficult, but The Life Aquatic with Steve Zissou (still Anderson’s most polarizing film) holds a special place in my heart for its underrated use of Sigur Rós’ “Starálfur,” which scores the moment the title character goes through the final stage of grief: acceptance. It’s a great example of not only the heart that lies beneath Anderson’s signature quirk, but most importantly, how Poster meets him there. ALEXANDRA PATSAVAS Notable Credits : The O.C., Grey’s Anatomy, Gossip Girl, Mad Men, Twilight, The Perks of Being a Wallflower, CODA Favourite Drop : “Hide and Seek,” Imogen Heap ( The O.C. ) https://youtu.be/LQBxK1XMpCs?si=7eSAaNv5jCxgequt There was a time when Alexandra Patsavas was considered the most famous music supervisor in the game, and that’s for good reason. Whenever she handled soundtrack work on a project, it was usually a mark of quality, as her ever-growing CV includes shows like The O.C. (which started working relationships with showrunners Josh Schwartz and Stephanie Savage), Grey’s Anatomy (which similarly started a working relationship with Shonda Rhimes), Gossip Girl , and Mad Men , not to mention films such as the Twilight franchise, The Perks of Being a Wallflower , and Academy Award-winning Best Picture CODA . It’s her work on The O.C. (one of my favourite shows, I should add), in particular, that made her name stay with me because of the many indie artists it exposed me to, including Death Cab for Cutie, The Walkmen, and Modest Mouse, but also how expertly she used even the best-known artists (Will Smith, Coldplay, Beastie Boys, and Beck, among others). Of all the drops Patsavas provided for the show, though, nothing beats her use of Imogen Heap’s “Hide and Seek,” featured twice in the second season finale but most memorably placed in its devastating cliffhanger, a moment so famous that it launched several parodies and memes (arguably started by the Saturday Night Live digital short “Dear Sister,” iconic in its own right). LUCY BRIGHT Notable Credits : Aftersun , Tár , The Iron Claw Favourite Drop : “Under Pressure,” Queen & David Bowie ( Aftersun ) https://youtube.com/watch?v=912Ntw7oYOg When compared to some of the other people on this list, Lucy Bright may strike some as a fresh face. However, she has been working as a music supervisor for more than 15 years, with some of her most notable credits including Sean Durkin’s The Iron Claw (which has one of the best uses of Rush’s “Tom Sawyer” in recent memory), Lynne Ramsay’s short film Swimmer , and most recently, Blumhouse’s Speak No Evil remake). I came to know her name through two of my favourite films of 2022: Charlotte Wells’ Aftersun and Todd Field’s Tár , both awards darlings that were music-driven in their own ways. Her work on the former film particularly sticks in my mind since the song selections perfectly match its 1999 setting. Tracks such as Bran Van 3000’s “Drinking in L.A.” (a personal favourite), Chumbawamba’s “Tubthumping,” and R.E.M.’s “Losing My Religion” float over the scenes they’re placed in, steeping the audience into the time effectively. But if we’re talking favourite drops, nothing trumps the use of the Queen & David Bowie classic “Under Pressure,” where a unique crossover between soundtrack and score (provided by experimental composer Oliver Coates) occurs. Arguably one of the most overused songs in media (and an expensive one for a film of Aftersun ’s size), it manages to change the way you think about that song in a big way. My jaw was on the floor the first time I saw it, and every time I think back to that moment, that feeling remains. SUSAN JACOBS Notable Credits : Unbreakable , Little Miss Sunshine , American Hustle , Big Little Lies , Sharp Objects , Promising Young Woman , Trap Favourite Drop : “Come Down,” Sylvan Esso/“Tumbling Lights,” The Acid. ( Sharp Objects ) https://youtube.com/watch?v=GMi11rurhcQ Much like some of the other music supervisors on this list, Susan Jacobs has built a considerable reputation in the 30+ years she has been working, forming relationships with filmmakers like M. Night Shyamalan, David O. Russell, Bennett Miller, and Craig Gillespie in the process. Of all those collaborations, my favourite lies with her work alongside the late, great filmmaker Jean-Marc Vallée, who throughout his filmography, deeply understood the role music plays in our lives, especially when interwoven with memory. Together, they curated the soundtracks for his films Wild and Demolition , as well as his two HBO miniseries, Big Little Lies (which would win Jacobs the first-ever Emmy Award for Outstanding Music Supervision) and Sharp Objects . Her work on the latter is especially impressive considering she was able to secure the rights to four Led Zeppelin tunes, a massive achievement given how expensive it is to license their music and how difficult it is to get the band’s permission. However, I think a better example of how well the two worked together came in Objects’ opening scene, a flashback that slowly becomes a nightmare, soundtracked by Sylvan Esso’s “Come Down” before drifting into the ambient chimes of The Acid’s “Tumbling Lights.” It perfectly sets the tone for the dark and twisted story that is to come. MARY RAMOS Notable Credits : Pulp Fiction , Reality Bites , Jackie Brown , Kill Bill: Vol. 1 & 2, Inglourious Basterds, Django Unchained , Wish I Was Here, Once Upon a Time… in Hollywood Favourite Drop : “Cat People (Putting Out Fire),” David Bowie ( Inglourious Basterds ) https://youtu.be/TzkW-380ESI?si=Yy2XBRBBwYzPBBIn If you ask the average film fan what their favourite needle drop in a movie is, chances are they would mention a Quentin Tarantino film. It’s really not hard to figure out why, as the celebrated auteur has demonstrated his eclectic taste in music throughout his entire filmography. He’s also famously specific about which songs go with which scene, from Stealers Wheel’s “Stuck in the Middle with You” scoring the infamous ear-cutting scene in Reservoir Dogs , to The Rolling Stones’ “Out of Time” signifying the end of Old Hollywood in Once Upon a Time… in Hollywood . Mary Ramos is the reason many of those songs are part of the final product, having been in the role of music supervisor for nearly all his films since Pulp Fiction (though, her relationship with Tarantino actually dates back to Dogs , where she assisted that film’s music supervisor as a coordinator). Of course, she has many credits outside of Tarantino, from Ben Stiller’s directorial debut Reality Bites (which had a popular soundtrack all its own), to the Adam Sandler vehicle Happy Gilmore , to 2015’s Best Picture-winning Spotlight (which continued a working relationship with director Tom McCarthy). However, her work with Tarantino has simply yielded so many iconic music moments, and if I had to pick a favourite, Inglourious Basterds ’ use of David Bowie’s “Cat People (Putting Out Fire)” is a personal standout. Originally composed for Paul Schrader’s 1982 remake of the same name, Tarantino and Ramos use it to open the film’s third act, where Mélanie Laurent’s character sets up her explosive revenge against the Nazis responsible for killing her family. By soundtracking a moment featuring a woman regaining her sense of agency in the face of adversity, it brings more power to the lyric “putting out fire with gasoline.”

Previous Next November 6, 2024 WRITTEN BY: KATIE The 68th BFI London Film Festival (LFF) is the first film festival I’ve ever attended, and I hope it won’t be the last. It was an eye-opening experience because I didn’t expect watching films all day to be so exhausting, not to mention the logistics and organisation. Nonetheless, I had an amazing time, and I feel so lucky to have experienced all the stress and excitement. Unfortunately, there were some films I couldn’t catch due to a lack of availability, scheduling conflicts, or, frustratingly, travel cancellations, including Anora, Chain Reactions, Bird, Nickel Boys, Nightbitch , and Triumph , just to name a few. However, I did get to see 27 amazing films in total, which I have ranked below… 27. SKINCARE Skincare was disappointing. I love Elizabeth Banks, and the concept sounded right up my street; however, against my expectations, Skincare doesn’t say anything meaningful about the beauty industry. It feels like it just wants to make fun of its characters, presenting a shallow exploration of its themes of fame, celebrity, and the image-obsessed city of Los Angeles. Overall, it’s thinly written with underdeveloped characters who I didn’t care about, the satire doesn’t cut deep enough, and the reveals are predictable. On the plus side, Elizabeth Banks is delightfully neurotic and the most entertaining part of the film. 26. SOFA, SO GOOD I didn't love Sofa, So Good , but I must commend its quirky, shoestring-budget, indie style and delightfully simple premise. The film has an amusingly absurdist tone and offbeat humour, and the cousins at the centre of the story are very engaging. That said, I found that the surrealist elements felt forced in places and slightly distracted from the comedy. Even at just 69 minutes, it overstays its welcome and very much feels like a short film stretched to a feature-length runtime. Overall, though, it's a promising debut feature with a unique style and great performances. 25. THE WOLVES ALWAYS COME AT NIGHT The Wolves Always Come at Night is beautiful, but not for me. I found the slow pacing challenging, and the story too wandering to hold my attention. However, the cinematography is gorgeous, especially scenes of the vast Mongolian landscape and the ferocious weather conditions. The film is at its most engaging when observing quieter, intimate moments between the family-friendly, and these are the times I enjoyed most. But I felt like I was missing the overarching point of the documentary, which is actually more of a re-construction of events that is more cinematic than factual. 24. A TRAVELLER’S NEEDS A Traveller’s Needs baffled me. At no point did I understand where it was going or how it was going to get there. That isn't to say I didn’t enjoy it. Isabelle Huppert is incredibly enigmatic and watchable as the mysterious Iris, and the casually aimless plot is light-hearted and interesting, but I constantly felt like I was missing something. I assume this is because I haven't seen — or admittedly have any knowledge of — director Hong Sang-soo’s work, specifically his past two films starring Isabelle Huppert, which may have demystified it to an extent. 23. ELTON JOHN: NEVER TOO LATE Elton John: Never Too Late is effortlessly entertaining thanks to the buckets of archival footage of Elton John’s incredible life and show-stopping performances from over the years. It features lots of intimate interviews where the star speaks frankly about the toughest times in his life, as well as candid moments where we witness him being a father and loving husband. The documentary reveals parts of John’s life I knew nothing about, but I would have liked more focus on the build-up to his final performance at Dodger Stadium, which surprisingly lacked tension considering the significance of the occasion. 22. THE NIGHTS STILL SMELL OF GUNPOWDER The Nights Still Smell of Gunpowder is an atmospheric, deeply personal documentary with an unusual way of revisiting the past, and it reminded me of the meditative style of director Patricio Guzmán's documentaries about Chile's traumatic history. The film uses the language of cinema to explore intergenerational trauma, focusing on personal testimony, and utilises ambient sound to create a unique sensory experience. The documentary doesn’t provide an informative narrative about the subject, but instead a very personal account of how Cossa attempts to reconnect with his and his family's past, highlighting the lasting impact of the civil war in Mozambique. 21. SUGAR ISLAND Sugar Island is a beautifully hypnotic film that explores a young woman's sudden entry into adulthood, alongside a myriad of weighty themes, including immigration, worker’s rights, colonialism, slavery, and lacking access to education. However, I felt the film's meaning was slightly lost on me because a lot of time is dedicated to rituals that are not explained, just shown (although I still loved the sensory experience of infectious music, sound, and vibrant colours). Many moments are injected with a sense of magical realism that is particularly compelling, and the performances are fantastic overall, especially Yelidá Díaz. 20. MY ETERNAL SUMMER Sylvia Le Fanu's debut feature, My Eternal Summer , is quietly joyful and sorrowful, and I teared up just as much as I laughed out loud. From the perspective of Fanny (Kaya Toft Loholt), the film balances a touching coming-of-age narrative with the unfathomable experience of losing a loved one, showing the melancholic beauty and ugliness that comes with facing such an experience. The family is portrayed in realistic terms, and Fanny’s grief is explored in an almost matter-of-fact way that shows the family dealing with the mother’s illness and the inevitability of her death in a “slice-of-life” approach. 19. SEPTEMBER SAYS Although September Says starts stronger than it finishes, this unsettling film explores darkly compelling themes of identity, sisterhood, and manipulation, with incredible central performances by the two sisters (Mia Tharia and Pascale Kann). They create a sense of intimacy and secrecy between them that feels almost magical, which is interesting when combined with the realist style of the film. September Says also starkly explores aspects of womanhood in a way that I haven't seen represented on screen, which is to say it’s completely natural, from sanitary pads peeking out from underwear to a hilarious yet tender scene focusing on female pleasure. 18. THE APPRENTICE The Apprentice isn't just a film about Donald Trump (Sebastian Stan). It’s an exploration of the evil facilitated by capitalism, corruption, and pursuit of wealth at all costs. It’s a simplistic view of Trump's life, but instead of playing a caricature, Stan gives a truly impressive performance. He effortlessly portrays Trump’s mannerisms and cadence as he slowly twists into the man that everyone knows today, and Jeremy Strong is disturbingly captivating as Trump’s mentor, Roy Cohn. There is, however, a distressing scene that didn’t seem in tone with the film, didn’t add anything to the story, and disturbed my immersion since it was so jarring. 17. DAHOMEY Dahomey is a moving documentary exploring the return of stolen artifacts to Benin. Director Mati Diop narrates the journey through the disembodied voice of the statue, which immediately captured my attention and created an ethereal tone. Alongside this, slow-paced scenes highlight the clinical nature of dealing with these artifacts, and energetic debates amongst young people who discuss what the return of these items means for their heritage and future show the varying attitudes surrounding the event. The mark of a good documentary is its ability to engage an audience with no prior knowledge of the subject, and Dahomey did just that. 16. BRING THEM DOWN Bring Them Down is a tense tale of revenge and cyclical trauma with a pervading sense of intensifying rage bubbling quietly but ferociously beneath the surface. The story is simple but very powerful, thanks to the incredible performances that drive it, especially Christopher Abbott and Barry Keoghan. Director Christopher Andrews doesn’t waste time pinning the blame on a particular character instead exploring the way that each of the men perpetuates violence and refuses to take accountability. Bring Them Down is engaging but bleak, and although I was engrossed in the drama, I won’t return to it anytime soon. 15. WITCHES Witches is an important, personal film that explores post-partum depression. Director Elizabeth Sankey draws a connection between this and the treatment of witches throughout history, featuring moving testimonials from women who have suffered post-partum depression alongside scenes of witches on the silver screen. This enables Sankey to draw many conceptual connections between the treatment of women in the past and issues that still impact them today. It’s the first time I’ve heard these issues discussed in such honest terms, which was revealing, and it represents a step in the right direction while also sadly highlighting the failings of society in supporting new mothers. 14. ALL OF YOU All of You is a hopelessly romantic film that I found ridiculously easy to enjoy. Leads Brett Goldstein and Imogen Poots have enough passionate chemistry to overcome the underdeveloped near-future sci-fi concept that is established early on because, ultimately, this is about their organic connection that developed independently of apps and algorithms. It also explores interesting questions about whether we can choose who we love, and if there is one single choice we can make that will save us from a lifetime of potential uncertainty. Overall, this is a beautifully bittersweet romance that left me with a lump in my throat. 13. THE WEEKEND The Weekend is a fantastic horror-thriller that explores dark themes surrounding the inescapable grips of family, tradition, and trauma. The cast is fantastic, particularly the women in the family, namely Uzoamaka Aniunoh and Gloria Anozie-Young, both of whom give powerfully emotional performances. The film also has an amusing sense of humour, and the line “as a man of substance” has lived rent-free in my mind since I saw it. Although the runtime is a tad drawn out and it loses the engaging sense of urgency towards the end, it's thoroughly entertaining, driven by captivating performances, surprising twists, and lots of bloody horror. 12. SUPERBOYS OF MALEGAON Superboys of Malegaon is an entertaining, feel-good story that blends melodrama, comedy, and adversity to create a heartwarming tribute to young friends who set out to bring their dreams to life through the screen. It’s based on the documentary Supermen of Malegaon, and knowing that the film is inspired by true events makes it all the more satisfying to root for the loveable underdogs. The film covers a lot of ground in just over two hours, but the punchy energy of the story, warm humour, and fantastic performances make for a compelling watch with a crowd-pleasing and uplifting message. 11. AÏCHA Aïcha is a thrilling story that follows the young maid Aya’s tumultuous journey from rags to riches after miraculously surviving an incident that kills everyone else involved. Fatma Sfarr gives a magnetic central performance as Aya, and the film effortlessly handles multiple compelling storylines featuring themes of police corruption, oppressive class dynamics, misogyny, and liberation in post-revolution Tunisia, staying engaging and exciting throughout. All the storylines and difficult topics can start to feel exhausting, but ultimately leads to a satisfying conclusion. There is also some beautiful camerawork and visuals complemented by an immersive score, especially in the entrancing nightclub scenes. 10. A REAL PAIN A Real Pain is charmingly funny and artfully written, with a quick-witted script that is driven by the endearing dynamic between writer-director-star Jesse Eisenberg and Kieran Culkin, who brings his lovable, signature nervous energy to the role. They are a compelling double act with perfect comedic timing, but the film is also emotional and thought-provoking, exploring mental health, the weight of history, and the difficulties found in supporting and understanding those closest to us. Overall, A Real Pain is a tender, dryly funny, indie drama with a scene-stealing performance from Culkin. 9. CROCODILE TEARS Crocodile Tears is a gripping coming-of-age thriller that focuses on the odd and unhealthy relationship between a mother (Marissa Anita) and her son (Yusuf Mahardika). A sense of threat lurks in the corner of every frame as the mother tries to tighten the suffocating grip she has over her son, and the incredible performances and striking imagery enhance the mounting atmosphere of paranoia. You can almost feel the unbearable humidity of the setting, adding to the oppressive dynamic. Marissa Anita’s performance as Johan’s mother is incredible, and she embodies chilling reptilian movements that make her all the most threatening. 8. FRÉWAKA Fréwaka is deeply atmospheric and unsettling, effectively employing folk horror tropes and nightmarish Catholic imagery to explore inherited trauma, mental illness, and grief. The bond that is slowly formed between the two leads, Clare Monnelly as Shoo and Bríd Ní Neachtain as Peig, is complicated, emotional, and endearing, and both of their performances are amazing. I found the focus on the female perspective interesting, as well as the way writer-director Aislinn Clarke tackles the tension between Ireland’s history and the modern present, both on a personal level for the characters and in a broader cultural sense. 7. THE SURFER Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans. 6. MEMOIR OF A SNAIL Memoir of a Snail is instantly one of my favourite animated films of the year, with its creative and distinctive stop-motion style, crude and often outrageous humour, and life-affirming message. Plus, despite all the sex and swearing, it’s the most wholesome, rewarding film of LFF. It’s also an intelligent film, exploring the darkest moments of the character’s lives whilst advocating for a forward-thinking approach to tragedy and celebrating progress in the face of adversity. The voice cast is also very endearing, especially Sarah Snook as the protagonist Grace and Jacki Weaver as Pinky. 5. THE CATS OF GOKOGU SHRINE The Cats of Gokogu Shrine is a ray of sunshine. It’s a testament to the importance of community, treating the world around you with respect, and the beauty found in everyday life. Since I’m unapologetically a cat person, I loved observing the many mischievous cats and kittens that populate the Shinto shrine. This is a type of film I’ve increasingly come to appreciate, which asks the viewer to slow down and appreciate the beauty of the world it is capturing, which, in this case, is the gorgeous coastal town of Ushimado and, most importantly, its feline residents. 4. BLITZ With emotional family drama, gripping action, and incredible special effects that are breathtaking in their sheer scale, Blitz captures the devastating destruction of war and the ways that it united and divided people and communities. Director Steve McQueen highlights the efforts and impact of those that history and cinema have previously ignored, specifically women and people of colour, neither of which have been represented fairly, if at all. The cast is also very strong, particularly a captivating Saoirse Ronan, as well as an incredible acting debut from the young Elliott Heffernan, who is our emotional lifeline throughout the film. 3. EMILIA PÉREZ Emilia Pérez is brash, bold, and energetic, combining melodrama, tension, crime, violence, and dazzling musical numbers. It kept me guessing at every turn and it consistently subverted my expectations, with the tone veering from tragic to uplifting to suspenseful. I just allowed it to take me on an insane ride instead of trying to figure out what it was supposed to be. Zoe Saldaña is also enthralling in one of the leading roles — I could not take my eyes off her. Overall, Emilia Pérez is full of spectacle, ambition, and uniqueness. 2. LA COCINA La Cocina will undoubtedly be one of my favourite films of the year. It hits the ground running as we follow a young chef into the hectic, demanding kitchen environment and, like her, we learn how it all works through exposure to the chaos. From the stunning black-and-white visuals to the fast-paced, pressure-cooker tension, it's deliciously compelling with palpably stressful energy, and it layers conversations and arguments in several languages with an incredible sound design that emphasises the cacophony of the kitchen. Plus, each member of its huge cast of characters is incredible without getting lost in the crowd. 1. CONCLAVE Conclave is a ridiculously entertaining and suspenseful film consisting of little more than people talking in rooms, which is why it's so impressive. Even as someone with a Catholic background, I’ve never felt invested in the election of the next pope, but Conclave is immediately gripping, plunging you into a process filled with intricate drama and a mounting sense of tension that’s felt in every line of dialogue. It’s also sharply funny in the way it juxtaposes modernity with the absurd rigidity of Catholic tradition, and it boasts a career-best performance from Ralph Fiennes.