2020 was a crazy year, to say the least. Ostensibly, one of the only good things to come being stuck inside for months at a time was the abundance of time that was given to us to watch movies. While we may have been bummed about the rescheduling of films such as Dune and The French Dispatch (2021 will be the year of Timothée Chalamet), it is secretly a blessing in disguise. Not having so many blockbusters to watch meant that this was the time for smaller indies to shine; and shine they did. It also meant that popular film festivals such as NYFF and smaller regionals transitioned online, giving audiences far and wide a glimpse at the pre-releases they may never have gotten to see early before. Films such as these populate several spaces on my personal top 10 this year, so if you didn’t get to see them in a virtual screening, be sure to keep an eye out for hopeful wide releases this year! Without further ado, sit back, relax, and feel free to judge my personal lineup of the best this year of cinema had to offer.
10. Promising Young Woman (Emerald Fennell, 2020)
Emerald Fennel’s directorial debut is one that I’d been looking forward to since the minute the first teaser popped up before a YouTube video sometime ago. It was one of the releases that I kept longing for to be released. However, when the initial release date finally arrived, it had been pushed back due to the pandemic. Then it was pushed back again. But ultimately, it was worth the wait. This film is deeply upsetting with tendency to make you feel physically sick to your stomach, but not to the point where it is too difficult to watch. It doesn’t overdo anything. It strikes the perfect balance between the deep-seated pain of such a terrible issue and the humor (as wrong as it feels to say) that some people need to overcome trauma. I think it is just the film we needed on the topic of sexual assault and Emerald Fennell has added another amazing step toward the mission of carving out a space for women in cinema.
9. Shiva Baby (Emma Seligman, 2020)
This short film turned feature length festival darling is one of the most pleasant, yet heart wrenching films I have ever seen, let alone this year. The heart that went into crafting this story of a young college student/sugar baby who is forced to confront every aspect of her life that she once kept separate at once is abundantly clear throughout. The protagonist’s situation is not one that many can claim to understand intimately, yet director Emma Seligman makes her feel like she is all of us and vice versa. It is with its charming wit and humor that this film will draw you in, and the empathy you feel for the main character’s precarious situation that will keep you there. The emotions of a young woman are never black and white, but rather painted in shades of gray. It is this understanding that makes this quasi-coming-of-age story feel so unique and special.
8. Black Bear (Lawrence Michael Levine, 2020)
I’m really not sure how to begin talking about this film. Do I begin by talking about the incendiary performances, each of which is worthy of its own special renown, or by meditating on the mind-bending plot that even to this day, two months after viewing, I’m still working to unravel. The performances are what truly make this film extraordinary. I have never seen a better performance from Aubrey Plaza, who has dramatic chops like you wouldn’t believe. While I don’t expect to see this film being nominated for any Oscars given its already somewhat cult status, this doesn’t detract from the fact that Plaza’s performance was the best I’ve seen all year. There. I said it. I’m admitting it to myself. The work that she puts into crafting this portrait of a tortured artist bending her own reality is stellar. This is a film that will leave you scratching your head and reaching out to strangers on social media platforms to try to get their help in analyzing what the hell you just watched.
7. And Then We Danced (Levan Akin, 2019)
I will start by saying this is the best film from Georgia (the country) that I’ve ever seen, although it is also the only Georgian film I’ve ever seen. It also received a fifteen minute standing ovation at Cannes, though extensive applause is quite commonplace at Cannes. I say these things not to diminish its glory, but rather to bolster it. It was also technically released internationally in 2019, but it had its American release in February 2020 and that’s good enough for me to put it in the top 10 spot that it rightly deserves. This film is heartbreaking, tender, and triumphant all at the same time. The story of two dancers who fall in love when basically every external force is attempting to push them apart may seem cliché, but, in this instance, it is crafted with such care that it is hard not to fall in love with it.
You can read Tansy Huang’s review of And Then We Danced here.
6. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan, 2020)
I know as soon as some of you read this title, you were probably thinking to yourselves, “Really? This?” And to that I say, “Really. This.” Sure, this film may not be technically perfect or even have the best story. But it’s fun! And it’s bright! And it’s so FEMALE!! (I feel the need to address the fact that hundreds of films made by men about men that are completely subpar are released every year and considered completely passable, so I ask why so many people take issue with this film in particular.) Is it not enough to have fun watching Margot Robbie and her friends run around and be joyous for two hours? I’m convinced that one yearly rewatch of this film will be all I need to replenish my serotonin stores for winter. There is not a single moment of this film that I am not entertained. This is the manifestation of powerful women claiming their rightful cinematic space and I am all here for it. What Cathy Yan has made is beautiful, and I will stand by that. Some may ask if this is really the hill I choose to die on and yes, yes it is. These ladies deserve it.
You can read Jesus Alfaro’s review of Birds of Prey here.
5. Sound of Metal (Darius Marder, 2019)
Every single moment of Sound of Metal is, in a word, beautiful. It is beautifully shot, it is beautifully acted, and it is beautifully conceived. This heartrending story of a metal drummer trying to find his way back to his concept of normal after abruptly losing his hearing will have you laughing, crying, and, at times, reconsidering what you believe to be the most important parts of your identity as the protagonist, Ruben, does the same. While the answers may seem cut and dry to Ruben, they are actually much further complicated by the supporting cast who portray their characters with such heart. I would be remiss if I didn’t mention the quality of the lead performances. One-dimensional is just about the furthest descriptor that can be used to describe these actors. Each brings a sophistication and depth to their character that makes this film so easily mirror real life. It is, by far, the most severe contemplation on the belief that metal music is just noise.
4. Minari (Lee Isaac Chung, 2020)
I will start off by saying that the story of an immigrant family struggling to make their way in America on a small farm is not one that I personally have much experience with. However, the way that Lee Isaac Chung tells this semi-autobiographical tale is full of so much heart that it’s almost impossible not to see parts of yourself in this family’s story, no matter where you come from. What this movie thrives at is touching upon those most universal truths and experiences that make us who we are. By the end, the audience has been well and truly welcomed as a member of the family, experiencing the highs and lows of their lives right alongside them. This film has it all; amazing performances, impeccable direction, and fantastic writing. If you didn’t get the chance to catch this film during its limited virtual release or at any festivals, make sure you look out in February when it is due for its theatrical release. I would also like to point out that much of this film is in Korean. However, in the immortal words of Bong Joon Ho, “Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.”
3. Babyteeth (Shannon Murphy, 2019)
It would have been very easy for this film to have turned into something entirely different or something riddled with clichés. The coming-of-age story of a teenage girl battling cancer has been done before and is a genre in which it is difficult to distinguish oneself. However, Shannon Murphy executes this endeavor with a grace and skill that is awe-inspiring. The heart that comes through in every frame of this film is physically palpable. I’m convinced that it can render the most stoic of souls a whimpering puddle by the final shot. Part of what I love about this film is that it’s not about a girl with cancer. Well, it is, but the latter part of that descriptor is not what the entire plot is predicated upon. It is simply one of a hundred traits and quirks that makes Milla so dynamic and wonderful. Eliza Scanlen, following hot on the heels of her breakout in Greta Gerwig’s Little Women delivers a performance with the maturity of someone double her age. Milla’s relationship with her co-star and her parents is quirky and complicated and vulnerable. This film shows the liveliness of children and teens fighting such a devastating disease and working to define themselves apart from it, which is why I believe it is so very important.
2. Corpus Christi (Jan Komasa, 2019)
Before I delve into why I love this film so much, I would again like to refer you to the previously mentioned Bong Joon Ho quote from #4 on this list. It may be daunting to sit through an entire feature length section of time listening to people speak in a different language, it is so worth it. One of the best examples to come from 2020 to prove this point is Jan Komasa’s Corpus Christi. This film follows Daniel, a reformed juvenile convict who finds God behind bars and wants to be a priest when he is released. However, no seminary would ever take him due to his past. But, through perseverance, and a few white lies, he eventually finds away to do the thing he longs to do; help people. This film gets down to the basics of what I believe religion should be about; forgiveness, compassion, and acceptance. The lead actor, Bartosz Pacewicz, is a powerhouse that you just can’t take your eyes off of. I think out of all the films on this list, this is by far the most underrated and one of the ones that I recommend most highly.
1. Portrait of a Lady on Fire (Celine Sciamma, 2019)
While Corpus Christi may be one of the most underrated films of 2020, Portrait of a Lady on Fire is one of the most critically acclaimed. And it deserves every ounce of the praise it gets. This film is so good that it was technically released in 2019, but had its Seattle release on Valentine’s Day 2020 so I bent my own rules just so I could include it here at number one. This is a film worth bending the rules for. I am already such a sucker for period pieces, so adding such a tender story about two women who fall in love against all odds meant I was basically guaranteed to love this film. And I would be remiss not to deliver my highest praise to Celine Sciamma. This is just another incredibly moving film to add to her already impressive repertoire of incredibly moving films. Ranking such amazing films together is always a difficult task, but in the case of this film, it was a clear winner out of an impressive bunch.
You can read Armon Mahdavi’s review of Portrait of a Lady on Fire here.