An update to the previously posted Best Films of 2022 list.
Top 12 films of 2022:
1. Pacifiction (France/Spain/Gemany/Portugal, Albert Serra)
An intriguing and refreshing change of landscape, time period and topic from Albert Serra! Pacifiction
is not a period piece but a contemporary slow burning tropical
espionage film with no guns, no spilled blood but only conversations
with a hint of danger. The stunning visuals and hypnotic music elevates
the film and adds a layer of mystery reminiscent of Claire Denis’ L’Intrus.
2. Aftersun (UK/USA, Charlotte Wells)
A beautiful yet emotionally devastating film packed with many haunting images, especially the final image which opens a fascinating space between memories, reality and dreams.
3. Return to Seoul (France/South Korea/Cambodia co-production, Davy Chou)
In 2016, I admired parts of Davy Chou’s Diamond Island as its depiction of Cambodia reminded of early Tsai Ming-liang (eg Rebels of the Neon God) and Hou Hsiao-Hsien (due to usage of motorcycle shots). However, his brilliant Return to Seoul is a massive step up and features many intriguing, bewitching sequences. In addition, many emotional weighty scenes are portrayed with a delicate lightness which allows the gravity of the situation to be felt. One of the strongest aspect of the film is the multi-year gaps between events. These gaps feel authentic and realistic as often family issues are unresolved for years because people don’t talk or address things. Instead, people ignore the issues and let them linger.
4. Matter Out of Place (Austria, Nikolaus Geyrhalter)
Geyrhalter
continues his essential depiction of humans impact on our planet. This
time, he focuses on the never ending collection of garbage filling our
earth and bodies of water. The film recalls Edward Burtynsky’s
collaborations with Jennifer Baichawal seen in Manufactured Landscapes (2006), Watermark (2013) and Anthropocene (2018).
5. My Imaginary Country (Chile/France, Patricio Guzmán)
“How is it possible that I am witnessing a second revolution in Chile?”
Guzmán’s
surprising question is remarkable especially when one considers that he
has once again documented Chile in a state of unrest almost 5 decades
after his famous documentary The Battle of Chile (1975)
which depicted the violence that unfolded after Salvador Allende was
overthrown by a military coup. The ramifications from that military coup
and dictatorship clearly played a part in a decades long eroding of
Chilean society which led to the events in 2019 captured by Guzmán.
6. Gehraiyaan (India, Shakun Batra)
Gehraiyaan
is a rare precious thing: a mature adult relationship Hindi language
film. The gray palette and muted colours perfectly depict the mood of
the film which indicates the dangers lurking beneath the surface.
Brilliantly acted (Deepika Padukone is mesmerizing) with top notch
production values and an infectious soulful track sung by Lothika Jha!
7. Rule 34 (Brazil/France, Júlia Murat)
Two earlier Júlia Murat films, Found Memories and Pendular, were not adequate preparation for what unfolds in Rule 34.
Murat’s newest film pushes the concept of public vs private life to the
brink and questions whether any objectivity can exist when the main
character Simone (Sol Miranda) carries on living a dual life where her
night time activities contradicts her daytime job. There are concepts of
law, rules in society, acceptable behaviour, safety, criminality that
also need to be unpacked after viewing this film. Sol Miranda has put in
a brave and extraordinary performance and her expressions are
priceless. This is evident in the film’s ending where the camera looks
firmly at her face which goes through an entire range of emotions before
her character decides what route she wants to take.
8. Urf/A.k.a (India, Geetika Narang Abbasi)
The
film gives a fascinating insight into the Hindi language film industry
by depicting the lives of actors who are lookalikes of legendary actors
such as Dev Anand, Amitabh Bachchan, Shah Rukh Khan. The honest look
into these lookalike actor’s lives raises questions about identity and
the God like status some Bollywood movie stars enjoy. As a result,
Geetika Narang Abbasi's film provides a new entry point into perceiving
Bollywood.
9. No Bears (Iran, Jafar Panahi)
Any
new Panahi film feels like a miracle. He continues to push the
boundaries of making cinema within strict restrictions and limitations.
This time he travels to the Iranian border and shows how a film can be
potentially directed remotely, an appropriate nod to our times where
remote work has became a lot more commonplace across the globe.
10. EO (Poland/Italy, Jerzy Skolimowski)
Packed with incredible images and a hypnotic soundtrack, Skolimowski’s wonder of a film is a genuine cinematic treat!11. EAMI (Paraguay co-production, Paz Encina)
As per the film notes, “Eami means ‘forest’ in Ayoreo. It also means ‘world’”.
Paz Encina highlights the deforestation and its impact on the
indigenous Ayoreo-Totobiegosode community of the Chaco region in
Paraguay. Her shape-shifting film is a beautiful audio-visual experience
and one of the film highlights of 2022.12. Stars at Noon (France/Panama/US, Claire Denis)
Claire Denis and co-writers Andrew Litvack and Léa Mysius have taken the core of Denis Johnson’s novel The Stars at Noon
about 1984 Nicagragua and adapted it to our current times with some
tweaks which remove specific details of which country the film is set
in. Tindersticks' soundtrack, a constant in Claire Denis films, enhances
the mood and elevates proceedings.
Honourable mention:
Broker (South Korea, Hirokazu Kore-eda)
Kore-eda
continues his exploration of the dynamic two-way relationship between
adults and children and what constitutes a family. The Korean setting of
the film is missing the usual rhythm and emotional resonance found in
Kore-eda’s Japanese films. Still, there is plenty to admire in this film
especially the performance of Song Kang-ho.
