You know, it’s funny. We talk about movies, and often the conversation immediately jumps to the big, loud blockbusters that dominate the box office and the meme-osphere. And sure, 2023 certainly delivered on that front with the cultural phenomenon that was 'Barbie' and 'Oppenheimer.' But as a film critic, I found myself genuinely thrilled by the sheer breadth and depth of what the year offered, even beyond those headline-grabbers. It felt like a truly great year for simply going to the movies, whether that was in a darkened theater, a festival hall, or even, let's be honest, from the comfort of my own couch.
So, while the water cooler talk might have been about plastic fantastic and atomic physics, my personal list of favorites is a bit more eclectic. It’s a collection of films that resonated deeply, that stayed with me long after the credits rolled, and that I believe are absolutely worth seeking out.
My absolute favorite, the one that truly captured my heart, is "All Of Us Strangers." It's a profoundly moving drama about love and loss, helmed by Andrew Haigh, a director known for his exquisite studies of human connection. Andrew Scott, whom many will recognize from 'Fleabag,' plays a lonely screenwriter named Adam. His quiet existence is disrupted by a charismatic neighbor, Harry, played by Paul Mescal. Their initial encounter, a hesitant offer of a drink, blossoms into something far more profound. It's a film that, without giving too much away, weaves a beautiful, melancholic ghost story with incredible performances from Scott, Mescal, and Claire Foy and Jamie Bell as Adam's parents. I've seen it twice, and each time, Haigh's masterful blend of aching romance and familial reckoning has left me utterly undone in the most beautiful way.
Shifting gears entirely, but still exploring themes of family and the past, is Hayao Miyazaki's "The Boy And The Heron." This latest, and possibly final, offering from the anime master feels like a fantastical companion piece to 'All Of Us Strangers,' delving into grief through the eyes of a young boy who might just be a stand-in for Miyazaki himself.
Then we have two films that tackle the immense shadow of World War II from incredibly compelling, albeit morally complex, perspectives. "The Zone Of Interest" by Jonathan Glazer is an eerily restrained and mesmerizing look at a Nazi commandant and his family living their idyllic lives right next door to Auschwitz. It’s a film that masterfully keeps the horrors off-screen, yet leaves you with no doubt about the magnitude of what’s happening just beyond their garden fence. Following closely at number four is Christopher Nolan's "Oppenheimer." It’s a thrillingly intricate drama that dives deep into the mind of the physicist who devised the atomic bomb. Like 'The Zone Of Interest,' it confronts the darkness without gratuitous depiction, focusing instead on the human and scientific complexities.
Next up, I found myself drawn to two sharply nuanced portraits of artists grappling with their craft and their own grumpy dispositions. Kelly Reichardt's "Showing Up" stars Michelle Williams as a Portland sculptor racing against time to meet an art show deadline. It’s a wonderfully observed comedy. And then there's Christian Petzold's "Afire," a German film about a misanthropic writer struggling with his second novel at a secluded house in the woods. These two protagonists are so memorably ornery, you almost wish for a crossover romantic comedy sequel!
Two films that explore the profound impact of long-overdue reunions between childhood friends take the next spots. "Past Lives" by Celine Song is a wondrously intimate and philosophical story about fate and the paths not taken, featuring a truly terrific Greta Lee and Teo Yoo. And "The Eight Mountains," set against the breathtaking backdrop of the Italian Alps, is a gorgeously photographed drama with performances from Luca Marinelli and Alessandro Borghi that are as stunning as the scenery.
My pick for the best documentary of the year is "De Humani Corporis Fabrica," or "Fabric Of The Human Body." This startling work from Lucien Castaing-Taylor and Verena Paravel offers both hard-to-watch and utterly mesmerizing close-up footage of surgeons at work. It’s a raw, unflinching look at the human body and the scalpel’s power.
And finally, rounding out my top ten, is Yorgos Lanthimos' "Poor Things." This hilarious, 'Frankenstein'-inspired dark comedy stars an absolutely marvelous Emma Stone as a woman reanimated with a child's brain. Like the documentary, it showcases the life-saving and, at times, squirm-inducing things we can do with medical intervention, but I wouldn't dare cut a single frame from this audacious film.
