Directors' Favorite Picks of 2023

A Matriarchal 2023 List: These are not in any rated order. And understand these are just from the movies I’ve seen so far in 2023 and there are so very many I look forward to seeing. These put into words and images those things I felt, but couldn’t articulate or deepened my understanding and made me laugh and cry and every single one astonished me with beauty and craft and wisdom. Even the most difficult ones to watch inspired me immeasurably toward a better world. That is matriarchy at work.

“Barbie” — Director Greta Gerwig. The ultimate Mother of all films this year made me beyond happy watching it in the theater, front row, opening weekend with my granddaughter and as much as we laughed, we both cried too, 3 times each.

“Past Lives” — Director Celine Song. I watched this movie alone and cried buckets. I had no idea what to expect from this movie, and I was never ahead of the gentle evolving relationships between the characters. Absolutely beautiful film.

“You Hurt My Feelings” — Director Nicole Holofcener. I love Nicole Holofcener’s films. “These characters are not me at all.” That’s what I always think when I enter her cinematic world. And then I discover they are in fact — all of them — me. This one, watched Christmas Day with daughter Tiffany, made us both laugh so much and touched us both personally.

“The Pigeon Tunnel” — Director Errol Morris. The mother is absent. The father is unpredictable. It drives one of the greatest writers John le Carre to discover himself. And through this brilliant documentary we see that process of reckoning.

“I Am A Noise” — Directors Mira Navasky, Maeve O’Boyle, Karen O’ Connor. Madonna Joan Baez. Seen truly for the first time, her girlhood, her struggles, as well as what seemingly came easy but wasn’t – that wildly gifted talent, and her life now as she has made it. A veil lifted to herself and given to the world. Bare and beautiful.

“The Crown” and “Reservation Dogs” — We may never see the likes of these two brilliant TV series again. I pray we will, but I cannot imagine anything better. While they are so extremely opposite they are every bit as meaningful and enjoyable to me. “The Crown” created by Peter Morgan has taken the most opulent stage and elegant cast of characters and brought us from the largesse of literal palaces to the deeply personal relationships within. “Reservation Dogs” created by Sterlin Harjo has taken the most ramshackle stage with a band of ragamuffin youngsters and created royalty of spirit and soul which opens up to an expanse as big as planet earth. I am deeply grateful to have known these worlds and these characters and I’m really gonna miss them.

“Origin” — Director Ava Duvernay. One of my favorite filmmakers from her magnificent documentary The Good Life, I was watching her latest socially and personally kaleidoscopic work when I had to pause for a distraction. When I came back to resume, an invitation arrived to see it on the screen next week. I rsvp’d and I wait to resume until then. But her film already has my heart. In pieces and whole.

“Rock Hudson: All That Heaven Allowed” — Director Stephen Kijak. A fan of Stephen Kijak’s films and of Rock Hudson all my life, I was utterly thrilled he was the filmmaker telling the “Roy Harold Scherer Jr.” story. There are very few on camera interviews, and there is such a luxury of footage and photographs to support the audio commentaries. It’s a beautiful tribute to not only Hudson’s legacy as an actor and star, but, heartbreakingly, as the first celebrity to let the public know he was dying from AIDS.

“Drive Away Dolls” — Director Ethan Coen. I have waited a long time to see this incredibly funny script by Ethan Coen and Tricia Cooke realized and wow was it ever worth that wait! Outrageous, ridiculously hilarious and so unexpectedly touching. Happiest tears were cried!

Sandra Hüller – She is a mother in both “The Anatomy Of A Fall” by director Justine Triet and in “The Zone of Interest” by director Jonathan Glazer. Both films are troubling and gorgeously made, and call on us to be more, to look beyond our illusions of what we see in front of us. And the conduit is this utterly remarkable actress. In each role she is steadfast in her commitment to her character’s inner and outer life. We have not seen the likes of her in ages. How lucky we are to witness her arrival.

“Perfect Days” — Director Wim Wenders. When a filmmaker has meant as much to you as Wim has to me for over half of my life, can I possibly be surprised and love his work more? Well yes said Perfect Days. Yes. This is the quietly twinkling gem of his legacy. Everything I love of Wim’s films is here: the road, the city, the way we listen to music, and space. But what also happens in this movie is the serenity of being present. I often lament how we all have these wonderful sensations which are not full memories, they are moments of perfection which we can’t share or explain to anyone. Where is the language for that? Do these moments of purity just die tragically with us unshared?

Wim gives those sensations a cinematic language for his main character Hirayama, deepened further by Donata Wenders beautiful dreamscapes. I gave into the pace and wept. And this film also delivered to me the joy in knowing that these pure moments are what makes you who you are and me who I am and it is ok if it is just a secret between ourselves and grace. Masterpiece.

“D.O.A.” — Director Kurt St. Thomas. Hard to imagine any film noir fitting into a matriarchal list. But in this reworking of the noir classic, the tender relationship between Frank Bigelow (John Doe) and Grace (Lucinda Jenney) is such a beautifully transforming connection that it pushes the genre into a whole other possibility.

These are a few films that I absolutely loved, and I believe deserve more attention.

”Vera”: In this compelling docudrama/character study of Vera Gemma, daughter of the Italian film star Giuliano Gemma, Vera plays a semi-fictionalized version of herself living in the shadow of her famous father. The Austrian Oscar entry from the wonderful filmmaking team of Tizza Covi and Rainer Frimmel is beautifully shot on 16mm. This film needs a U.S. release ASAP.

”Joy Ride”: In a year that saw a return to the studio R-rated comedy, this one takes the cake. Hilarious, dirty, and fearless with talented Asian-American women in front of and behind the camera. Cannot wait to see what Adele Lim does next.

”Mami Wati”: CJ “Fiery” Obasi’s visually striking West African mermaid folktale. Winner of the Sundance World Cinema Dramatic Special Jury Award for cinematography and the Nigerian Oscar entry. Released in the U.S. by Dekanalog.

“Rimini”: Ulrich Seidl’s wonderful follow-up/companion piece to “Sparta.” This funny yet depressing character study stars Michael Thomas as Richie Bravo, a once-famous Austrian pop singer. Shot on 35mm by Wolfgang Thaler. Released in the states by Big World Pictures.

And a special shout-out to a physical media release that was years in the making and a feat for film preservation and appreciation. Severin Film’s 15-disc box set “The Sensual World of Black Emanuelle.” Filmmaker/programmer/historian Kier-La Janisse deserves all the praise in the world for producing the definitive collection of the Laura Gemser Emanuelle films. Twenty-four films in total, newly scanned and restored, a 356-page book with essays and photos and 40 hours of special features — a cinephile’s dream come true.

I thought the “Anatomy of a Fall” was brilliant, and so expertly crafted. Not to mention Sandra Hüller’s performance blew me away. She‘s my new favorite actress. The young boy played by Milo (Machado Graner) was also astoundingly good.

“Anatomy of a Fall” — truly my favorite film of the year. Masterful filmmaking with a performance from Sandra Hüller that rivals any magnificent expression I’ve seen on stage.

While there are a number of films and shows from 2023 that I still haven’t seen, this is a list (in no particular order) of what I did see that stayed with me the most.

“Passages”

Season 3 of “How To with John Wilson”

“Dream Scenario”

“Telemarketers”

“Poor Things”

“Beef”

The restored re-release of “Stop Making Sense”

“Anatomy of a Fall”

“Swarm”

“Paul T. Goldman”

“The Zone of Interest”

"Poor Things”

“Oppenheimer”

“Barbie”

“El Conde”

“Last Voyage of the Demeter”

“Dream Scenario”

“Godzilla Minus One”

“M3gan”

“Sisu”

“Mission Impossible: Dead Reckoning Part 1”

“Indiana Jones and the Dial of Destiny”

“Killers of the Flower Moon”

“The Holdovers”

TV: “30 Coins,” “Fall of the House of Usher,” “The Crowded Room,” “Blackbird,” “Only Murders in the Building”

I haven’t seen: “American Fiction,” “The Zone of Interest,” “Leave the World Behind,” “Blackberry,” or “Maestro.”

“All Of Us Strangers” — Reminded me of the infinite possibilities of narrative in cinema. I wept like a baby and every time I think about it, I reckon with some new meaning of the ending.

“The Persian Version” — Also hit me with surprise emotions attack! What a barrel of an ending! And what a tour de force of true women to inspire this film.

I have two young kids so haven’t gotten as far as I’ve wanted to in my film watching but am very excited to dig into “Earth Mama” and “A Thousand and One.”

Finally, I just saw Marcel Carne’s “Children of Paradise” for the first time. The thickness of each character’s personality and development felt beyond what I knew possible in film. I was so grateful to feel the intellectual questioning (mime versus actor, affair versus long-term monogamy, performance versus life) in each character’s journey.

Top 5 with a note:

“Poor Things”

“Anatomy of a Fall”

“Dream Scenario”

“Passages”

“Maestro”

I want to specifically applaud “Poor Things” and “Dream Scenario” for daring to make something totally bonkers while still retaining such control. I also want to call out the editing in “Dream Scenario.” The way the film tells the story on the very first cut of each scene, packing such a punch each time, was thrilling. You can always tell if a filmmaker’s intention was there from the beginning or not, and it’s clear with this kind of vision, it originated, fully realized, right on the page.

This is not in any particular order and certainly not an exhaustive list, but here are some films I watched this year that moved me deeply and inspired new ways of seeing, experiencing and thinking about cinematic forms.

1. “La Chimera,” Alice Rohrwacher

2. “Milisuthando,” Milisuthando Bongela

3.” Smoke Sauna Sisterhood,” Anna Hints

4. “You Were My First Boyfriend,” Cecilia Aldarondo

5. “How to Carry Water,” Sasha Wortzel

6.” Four Daughters,” Kaouther Ben Hania

7. “Irani Bag,” Maryam Tafakory — from 2021, but new to me this year.

8. “All Dirt Roads Taste of Salt,” Raven Jackson

9. “To Kill A Tiger,” Nisha Pahuja

10. “32 Sounds,” Sam Green

11. “King Coal,” Elaine McMillion Sheldon

I was told this isn’t a ranking; I should think of it more as a celebration. So here is my ode to ’23 animation, celebrating all the things:

“The Boy and the Heron” — Celebrating a miracle and a miracle-maker.

“Spider-Man: Across the Spider-Verse” — Celebrating a team of artists who have redefined every aspect of feature animation.

“Suzume” — Celebrating Makoto Shinkai and his impossibly beautiful cinematic poetry.

“Elemental” — Celebrating Pixar genius and a powerful immigration love story told in the most ingenious of ways.

“Teenage Mutant Ninja Turtles: Mutant Mayhem” — Celebrating the reimagined classics that somehow couldn’t feel more necessary today.

“Leo” — Celebrating Adam Sandler, because we’re lucky to be alive at the same time as this man, right?

“The First Slam Dunk” — Celebrating the greatest sports movie of the year.

The stop-motion alien in Wes Anderson’s “Asteroid City” — Celebrating the biggest WTF awe-inspiring character introduction of all time.

“Wish” — Celebrating the hundreds of homies I made while kickstarting this movie for over three years at Disney Animation.

I’m happy to be able to celebrate a truly exciting and strong year for cinema. Below are my favorite films of the year, listed in alphabetical order.

“The Beasts,” Rodrigo Sorogoyen — A taut, rural noir. Brilliant performances and a few unforgettable moments were truly frightening. It has stayed with me.

“Beau is Afraid,” Ari Aster — Ari made a horrifying, challenging masterpiece. Yes, Western civilization is doomed, and Ari isn’t afraid to go there. It’s repellent in the best way. It’s vital filmmaking.

“Earth Mama,” Savanah Leaf — An important, emotionally harrowing, and well-crafted debut. I knew I was in the hands of a great filmmaker from the first frame.

“Godland,” Hlynur Pálmason — A film tailor-made for my personal taste. Maria von Hausswolff’s photography is absolutely stunning. Ingvar Sigurðsson is astonishing as always. Often brutal, at times gentle. Always hypnotic.

“Killers of the Flower Moon,” Martin Scorsese — A Scorsese epic at the height of his powers. The scale, richness, and depth of the world were truly inspiring and exceeded high expectations. The cast and casting were immaculate. Lily Gladstone and Ty Mitchell were particular standouts. The story is unflinching and shocking.

“May December,” Todd Haynes — Hitchcock said the three things you need to make a great film are “script, script, script.” In addition to the great script and Haynes’ assured direction are completely captivating performances by Julianne Moore and Natalie Portman. Charles Melton’s fragility and naturalism was spellbinding. I loved the film.

“Poor Things,” Yorgos Lanthimos — Thank the Maker for Yorgos Lanthimos. Another completely original and completely Yorgos treat. My muse Dafoe and Emma Stone are particularly excellent and their complex relationship is very moving. It also seems to be the only film on my list that’s not wholeheartedly depressing and dire.

“R.M.N.,” Cristian Mungiu — Mungiu is always potent. An excellent, dour, and disturbing slow burn. The beginning of act three erupts with a brilliantly written and executed long static shot that I will not soon forget.

“The Zone of Interest,” Jonathan Glazer — It’s hard to know what to say that hasn’t been said. It’s unique, impeccable, and utterly consuming filmmaking. A perfect and staggering articulation of the banality of evil.

I’d also like to mention a few others that I also thoroughly enjoyed, again, in alphabetical order: “Anatomy of a Fall,” “Asteroid City,” “The Holdovers,” “Infinity Pool,” “The Iron Claw,” “Saltburn,” “Talk to Me,” and “When Evil Lurks.”

I sadly didn’t get to see as many films as I should have this year and so my list is not comprehensive, i.e. I hear that “Godzilla Minus One” is great and I bet I’m going to love it but as of writing this list I haven’t had the opportunity to watch it yet. So, of the movies I’ve seen this year, here are the ones I enjoyed the most, in no particular order:

“The Equalizer 3” — I’m not a huge fan of superhero movies because I can’t really root for any lead character that can have a building fall on top of them and then simply shake it off and continue to fight the bad guys. I need heroes who are human enough to get hurt and killed the way that all humans can. Which is why Denzel’s character is the ultimate superhero to me. He seems indestructible and can fuck up any number of bad guys and yet he’s still just a normal human being. This movie gave me everything a good fun movie should — a roaring good time, good triumphing over evil, and really really bad guys getting their comeuppance. And it all takes place in Italy? What’s more entertaining than that?

“Sisu” — Another human superhero story but this time an old guy completely and utterly fucks up a bunch of Nazis in the middle of the desert. The movie is so over the top that it’s hilarious and, best of all, it knows it.

“Talk to Me” — So smartly written, so smartly directed and so beautifully acted, this movie keeps you guessing and on the edge of your seat the entire time. It’s scary, it’s heartbreaking and it’s a ton of fun all the way to the very end. I was really in awe of this movie.

“Polite Society” — I have a special love of movies that just decide they’re going to go for it, no matter how insane what’s happening gets. Director/writer Nida Manzoor goes for it and then some in this hilarious action-packed comedy that is both truly inventive and completely unique. I can’t wait to see what she does next.

“Blackberry” — I watched this because I miss my Blackberry and wanted to know the backstory on why it went away and left me with my time-sucking iPhone. What I ended up with was a great underdog tale filled with fun characters, energetic performances and compelling storytelling. It’s really a testament to what high stakes/low budget filmmaking can accomplish.

“M3gan” — This movie entertained the hell out of me. From the very first moment you know you’re in for a good time with filmmakers who are fully in control of the tone of the film and aware of how funny the whole thing is, even when they’re scaring the shit out of you. Megan’s facial expressions alone throughout the film are worth the price of admission. This movie deserved all its success and then some.

“Palm Trees and Power Lines” — The sheer confidence. Never does this movie doubt itself — even in moments of brain-melting tension and discomfort. It just walks the tightrope all the way to the bloody end. Jamie Dack is one of my favorite new filmmakers.

“All That Breathes” — I was blown away and I’m not alone. The movie speaks in its own visual language, lives in a world of its own design… and delivers the viewer to a place that no other movie will take you. I really mean it. (Technically came out in 2022 but wasn’t available to stream until ’23).

“Crows Are White” — Here’s a lesser-seen doc that played the festival circuit… about a guy who goes to live in a monastery in Japan but keeps getting kicked out for pissing off the monks. The movie is hilarious until you find yourself moved, and almost unsure how you got there. It’s being released in 2024.

“How To With John Wilson” — John Wilson is here to remind us that the smallest detail holds a galaxy of meaning… and that life is full of surprises, if you allow yourself to travel without an agenda.

“Jury Duty” — The hardest I’ve laughed at anything in a very long time. Rashida Olayiwola as Officer Wilder was my favorite performance of the year.

“Beau Is Afraid” — I don’t care that it’s too long. I don’t care that it systematically alienates pretty much ninety-percent of audiences around the world. I don’t care. I’m just glad that Ari Aster is out here reminding us that movies don’t exist to win the algorithm or validate your pre-existing beliefs.

“Showing Up”

“Poor Things”

“Anatomy of a Fall”

“May December”

“Earth Mama”

“Reality”

“Four Daughters”

“In The Rearview”

“Smoke Sauna Sisterhood”

1. “Anatomy of a Fall” — Loved the moral ambiguity and complexities of this film. Very well executed. Amazing lead actress and overall performances.

2. “Spider-Man: Across the Spider-Verse” — Amazingly crafted, nuanced, and culturally specific film. Secretly hoping I get the call to direct the live-action version. I’m a half Puerto Rican, half Black Mets fan from NY. Feels right.

3. “Oppenheimer” — Best of Nolan. Meaningful story. Filmmaking prowess on full display.

4. “Past Lives” — Tender. Classic. Beautiful. Timelessness to it.

5. “Napoleon” — I’m a Ridley Scott fan. Epic battle scenes. Classic and powerful filmmaking. Always a top filmmaker for me.

6. “Air” — Anything with Ben and Matt is a must for me since “Good Will Hunting.” They had me at hello.

7. “Beckham” — Solid in every way. Something about DB that you just have to love. The edit to David as a kid kicking the corner shot was brilliant.

8. “A Thousand And One” — A.V. Rockwell is the truth.

9. “The Zone of Interest” — Powerful and poignant POV. Glazer is in top form.

10. “Killers of the Flower Moon” — Scorsese is one of the greatest to ever do it. Love De Niro and DiCaprio. I think anything he does is must-watch cinema.

1. “Eureka” (Lisandro Alonso) — A mystery of existence, time, and cinema. Truly, a film like no other.

2. “Cerrar los Ojos” (Victor Erice) — After 30 years, receiving a new feature from Erice feels like an event, a miracle.

3. “Godland” (Hlynur Pálmason) — Awe-inspiring and tremendous. Pálmason is a new master.

4. “Fallen Leaves” (Aki Kaurismaki) — Every Kaurismaki film is a gift for the soul.

5. “The Human Surge 3” (Eduardo Williams) — A new way of looking at the world.

6. “Harvest Moon” (Amarsaikhan Baljinnyam) — One of three hidden gems from Mongolia in the past year, along with “If Only I Could Hibernate” and “City of Wind.” But this particular film, a deceptively simple would-be father/son story, was the most moving experience of the year for me, a fountain of pure, raw emotion.

7. “The Killer” (David Fincher) — A master at work, having real fun with his craft.

8. “The Burdened” (Amr Gamal) — A surprise from Yemen, a country that has suffered so much, and yet has so much to tell.

9. “Do Not Expect Too Much From the End of the World” (Radu Jude) — Ilinca Manolache’s is the funniest, most amazing performance of the year.

10. “Beau is Afraid” (Ari Aster) — A film with such balls cannot be ignored.

As a bonus, three animated films:

“The Boy and the Heron” (Hayao Miyazaki) — Aside from Erice, Miyazaki returning is another miracle of cinema that 2023 gave us.

“Aurora’s Sunrise” (Inna Sahakian) — From Armenia, the most incredible story, told in the most incredible way. Seek it out.

“Four Souls of Coyote” (Áron Gauder) — A Native American song, told through Hungarian voices and the most beautiful animation. Another huge surprise.

I still haven’t seen “Poor Things” or “All of Us Strangers,” both of which I hear are great. That said:

“All the Beauty and the Bloodshed” — I think this came out in 2022, but I saw it this year and loved it. It turned me on to her photography, which is phenomenal.

“Anatomy of a Fall” — That couple fighting in the kitchen was so well written, directed, and acted I thought I was going to have a panic attack. And Milo Machado Graner’s performance is beautiful.

“Beau is Afraid” — This felt like the nightmare a nervous guy has before he visits his overbearing mother. One of the boldest American films I’ve seen in years. Kylie Rodgers drinking that paint! Jesus…

“The Boy and the Heron” — A legend! I like how he animates gusts of wind.

“El Conde” — Ed Lachman’s cinematography is gorgeous. And the visual effects are very well done.

“Evil Dead Rise” — I’m a sucker for “The Evil Dead” movies. I’ll never look at a cheese grater the same again.

“Fallen Leaves” — Simple and beautiful storytelling. Their first date is one of my favorite scenes of the year.

“Killers of the Flower Moon” — One of my heroes adapting one of my favorite contemporary authors, I went in with big expectations and was completely knocked out. Scorsese somehow continues to discover new moves in his storytelling. I’ve never seen a love story like this in his movies. And the banality of evil that De Niro portrays I haven’t seen either; it’s usually Biblical evil! It’s very inspiring. And it was nice seeing the light and the land of my home state faithfully captured on film.

“May December” — Unbelievable performances from everyone. Natalie Portman’s recreation of the letter! Stoned Charles Melton on the roof! And Julianne Moore continues to prove she might be the best living actor in the world. I’ve always been a huge Todd Haynes fan, and this is one of his best.

“Showing Up” — Kelly Reichart is a national treasure. Her films have the simplicity/complexity of a great short story. I love the sound in her movies. A campfire in one of her movies sounds different from campfires in most movies (although I don’t think there’s a campfire in this one).

“Talk to Me” — What a great idea for a horror movie! I said, “Oh no” out loud multiple times while watching it alone in my house.

“The Zone of Interest” — I can honestly say I’ve loved every movie Jonathan Glazer has made — all four of them! He’s so confident in his instincts. Like that opening title! The static camera. The sound design. The music! All the withholding. It adds up to an experience I’ve never had watching a movie. And all I do is lay around like a slob watching movies, so that’s really saying something.

“About Dry Grasses”

“Anatomy of a Fall”

“Godland”

“Fingernails”

“Passages”

“Past Lives”

“Rotting in the Sun”

“The Beasts”

“The Killer”

“The Zone of Interest"

Movie of the Year: “Oppenheimer” — By any metric.

My Favorite Performances:

Elle Graham & Abby Ryder Fortson — “Are You There God? It’s Me, Margaret”

Matt Johnson — “Blackberry”

Scarlett Johansson — “Asteroid City”

Jennifer Lawrence — “No Hard Feelings”

Matt Damon — “Oppenheimer”

Jimmy Tatro — “Theater Camp”

Ruby Cruz — “Bottoms”

Nicolas Cage — “Dream Scenario”

Directing that Most Inspired Me:

Daniel Goldhaber — “How to Blow Up a Pipeline”

Matt Johnson — “Blackberry”

Wes Anderson — “Asteroid City”

Greta Gerwig — “Barbie”

Christopher Nolan — “Oppenheimer”

Molly Gordon & Nick Leiberman — “Theater Camp”

Chloe Domont — “Fair Play”

Justine Triet — “Anatomy of a Fall”

Kristoffer Borgli — “Dream Scenario”

Bradley Cooper — “Maestro”

Special Crafts Mentions: Gavin Brivik’s score for “How to Blow Up a Pipeline,” Adam Stockhaussen’s production design for “Asteroid City,” Tracy Oliver and Dewayne Perkins’ screenplay for “The Blackening,” Wade Eastwood’s stunt coordinating for “Mission: Impossible: Dead Reckoning Part I,” Jacqueline Durran’s costume design for “Barbie,” Jennifer Lame’s editing for “Oppenheimer,” Kazu Hiro’s makeup for “Maestro,” and Robbie Ryan’s cinematography for “Poor Things.”

The Future Is Bright:

Fifteen years ago I made my first microbudget feature and was completely dialed into the world of DIY film that rarely made a splash outside of festivals. Now, I have to make a concerted effort to find those films but it’s often worth it for the fresh inspiration they bring. Highlights from this year’s crop include “Jethica” (Pete Ohs), “The Year Between” (Alex Heller), “The Civil Dead” (Clay Tatum) and “Hannah Ha Ha” (Joshua Pikovsky & Jordan Tetewsky), which has a title that takes me right back to those days.

Favorite first-time watches of 2023, in no particular order:

“The Zone of Interest”

“Anatomy of a Fall” — Sandra Hüller has joined a class of performers whose presence tells you you’re in for something special.

“Oppenheimer”

“No One Will Save You”

“May December”

“Hell’s Angels” (1930)

“It’s a Wonderful Life (1946) — Can you believe I’d never seen this before? It’s good!

Most want to see again and figure out: “Beau Is Afraid”

Most emotionally exhausting: “Beyond Utopia”

Most loved performance by an actress in a movie not on this list: Carey Mulligan, “Maestro”

Most loved performance by an actor in a movie not on this list: Andrew Scott, “All of Us Strangers”

Most loved scene in a movie not on the list: "Past Lives"

There are many movies that I’ve loved this year but I’m going to list the ones I like that aren’t getting enough attention (in my humble opinion):

“Teachers Lounge”

“Memory”

“The Phone Call”

“The Disappearance of Shere Hite”

“Beyond Utopia”

“The Eternal Memory”

“Every Body”

“Rye Lane”

“Great Photo Lovely Life”

“Close”

1. “Dream Scenario” — The third act unfortunately deleted 90% of its goodwill, but what remained was still best of the year. Could have been a timeless classic. God damn.

2. “Poor Things” — An out-and-out masterpiece reduced to a cruel cruel joke on Jerrod Carmichael. Evil.

3. “The Iron Claw” — For Zef’s body alone. The Flair impression deflated Efron’s gains and no amount of gear could pump him back up. And the dream sequence… Durkin! Bring back Mond/Campos! “I just realized I’m not a brother anymore…”

4. “The Curse” — A brilliant rebuttal to those still claiming performances matter.

5. “The Holdovers” — Giamatti proves yet again why he is the king of Chekhov’s Liquor. Swish swish g’bye. Best handshake since Dutch and Dillon. 30 minutes too long.

6. “Oppenheimer” — After “Tenet” I journaled, “Nolan might understand sunscreen.” Now I know for sure.

7. “Dungeons & Dragons: Honor Among Thieves” — I cried.

8. “The Sweet East” — This is a career IndieWire-list-mention.

9. “Hearthstone” 28.2 — These tavern spells are genius. Ben Brode? Who?

10. “Marvel Snap” 22.x — Jk, Ben Brode is a genius.

“You Resemble Me”

“War Pony”

“Anatomy of a Fall”

“The Zone of Interest”

“Passages”

“All of Us Strangers”

“Beau Is Afraid”

“Past Lives”

“Rotting in the Sun”

“Poor Things”

Top 10 (in no particular order):

“The Zone of Interest”

“El Conde”

“All of Us Strangers”

“Perfect Days”

“The Taste of Things”

“Dream Scenario”

“Blaga’s Lessons”

“Io Capitano”

“Bottoms”

“Showing Up”

Special mention: The restoration of William Friedkin’s “Sorcerer”

I’ve found refuge in 245 movies so far this year. There are too many great ones to play favorites, and three or four in theaters right now that I suspect I’ll treasure forever. But here are a few more winners from earlier in the year that I don’t want to forget about.

“Saint Omer” — Alice Diop

“One Fine Morning” — Mia Hansen-Løve

“Our Father, The Devil” — Ellie Foumbi

“Godland” — Hlynur Pálmason

“How To Blow Up a Pipeline” — Daniel Goldhaber

“Sanctuary” — Zachary Wigon

“De Humani Corporis Fabrica” — Lucien Castaing-Taylor, Verena Paravel

“El Conde” — Pablo Larrain

“Birth/Rebirth” — Laura Moss

“Showing Up” — Kelly Reichardt

“Bottoms” — Emma Seligman

“Titanic” 25th anniversary re-release — James Cameron

I can’t wait to discover what I’ve missed.