Best Films of 2022

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.

Best Films of 2022

I am putting up a Best Films of 2022 list more than 3 months into 2023. This delay highlights the accessibility of relevant films to view at my disposal. Without the aid of watching movies at film festivals, I am reduced to seeing what worthy films trickle down to a local cinema (not many) or the various streaming options (not that much better). Of course, I am still only looking at legal viewing options, a stubborn resistance which clearly denies me access to many movies available via unofficial internet channels. The various streaming, VOD and regular distribution channels may be drowning in content but most of it isn’t highly relevant. That doesn’t mean everything that plays on the film festival circuit is worthy either. Film festivals are also sometimes bloated with content that is short of quality. However, even a mid-range film festival movie offers something different than the banality of endless superhero sequels and algorithm driven movies.

Here are my Top 11 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. 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).

3. 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.

4. 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!

5. 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.

6. 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.

7. 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.

8. EO (Poland/Italy, Jerzy Skolimowski)

Packed with incredible images and a hypnotic soundtrack, Skolimowski’s wonder of a film is a genuine cinematic treat!

9. 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.

10. 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.

11. 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.

Best Films from Austria, Belgium, Greece, Holland, Ireland, and Switzerland

Doing a deep dive into a specific region or nation’s cinema often reveals blindspots and gaps in one’s knowledge. This proved to be case when compiling a list of top films from Austria, Belgium, Greece, Holland, Ireland, and Switzerland for Wonders in the Dark’s “Rest of Europe” spotlight. The gaps again highlight the lack of viable legal options to see many classic films from these six nations. There are some exceptions though when it comes to older films from these regions such as Chantal Akerman’s 1975 film Jeanne Dielman and Paul Verhoeven’s 1973 Turkish Delight, both of which are easily available. The oldest film in this list is Michael Cacoyannis’s 1956 Greek film A Girl in Black and that isn’t a surprise because until the late 1990s, his films such as Stella (1955), Zorba the Greek (1964), Attila 74 (1975) were the most common Greek films available to rent on VHS tapes at my local video stores (yes those physical spaces). Next most common Greek films available were those of Theo Angelopoulos. Things changed after 2010 when newer Greek films became available due to works of New Greek cinema playing at most film festivals and finding distribution after their festival runs.

Top 15 films from “Rest of Europe” Poll: Austria, Belgium, Greece, Holland, Ireland, and Switzerland

1. Homo Sapiens (2016, Austria, Nikolaus Geyrhalter)
2. L’Enfant (2005, Belgium, Jean-Pierre Dardenne/Luc Dardenne)
3. Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (1975, Belgium, Chantal Akerman)
4. The Vanishing (1988, Holland, George Sluizer)
5. Rosetta (1999, Belgium, Jean-Pierre Dardenne/Luc Dardenne)
6. Father and Daughter (2000, Holland, Michael Dudok de Wit)
7. Turkish Delight (1973, Holland, Paul Verhoeven)
8. A Girl in Black (1956, Greece, Michael Cacoyannis)
9. The Weeping Meadow (2004, Greece, Theo Angelopoulos)
10. Lourdes (2009, Austria, Jessica Hausner)
11. The Boat is Full (1981, Switzerland, Markus Imhoof)
12. In the Name of the Father (1993, Ireland, Jim Sheridan)
13. Revanche (2008, Austria, Götz Spielmann)
14. A Town Called Panic (2009, Belgium, Stéphane Aubier/Vincent Patar)
15. Dogtooth (2009, Greece, Yorgos Lanthimos)

Honourable mention:

Man Bites Dog (1992, Belgium, Rémy Belvaux/André Bonzel/Benoît Poelvoorde)

HOMO SAPIENS

HOMO SAPIENS (2016, Nikolaus Geyrhalter, Austria/Switzerland/Germany)

In 2006, ruins were a tiny portion of Jia Zhang-ke's STILL LIFE and Pedro Costa's COLOSSAL YOUTH. But a decade later, they are the main focus of HOMO SAPIENS, an absolutely stunning documentary from Nikolaus Geyrhalter.

The film is a haunting and beautiful glimpse of our world without humans. We see real locations that are either abandoned or in a state of ruin. The film lets the everyday sounds filter in, sometimes the noisy waves or winds or in some cases birds flying in and out of the spaces. The end result is mesmerizing, engaging and contemplative. The film provides us enough moments to see our world with new eyes, complete with its waste and needless objects. It also gives a snapshot of what would happen if people had to leave a location immediately and what they would leave behind.

At times, the images evoke the Zone in STALKER and SATANTANGO. In this regard, we are given a view into the ultimate apocalyptic event without the usage of any special effects.

One of the best films of 2016!