Another year of fantastic filmmaking has come to a close. Film fans far and wide will be sharing their favorites of twenty-twenty-one, and I am certainly no exception to the rule. I am so grateful for having gotten to see so many films this year, from virtual Sundance to better-than-usual streaming releases. Despite the fact that I watched more than 50 new releases this year, there are still many that I have not gotten the chance to see. I am sure that if I had seen them before writing this list, C’Mon, C’Mon, Licorice Pizza, and Red Rocket would have strong chances at making an appearance on this list. They surely would have to put up a fight with this phenomenal Top 10, however. So sit back, have a skim, and feel free to pass judgement on my personal assessment on some of the best that 2021 had to offer.
Honorable Mentions (aka 10-20):
Judas and the Black Messiah dir. Shaka King, On the Count of Three dir. Jerrod Carmichael, Censor dir. Prano Bailey-Bond, Belfast dir. Kenneth Branagh, The Suicide Squad dir. James Gunn, The World to Come dir. Mona Fastvold, The Harder They Fall dir. Jeymes Samuel, Mass dir. Fran Kranz, The Eyes of Tammy Faye dir. Michael Showalter, Annette dir. Leos Carax
10. Zola dir. Janicza Bravo
Now available to rent, own, and stream on Showtime and Fubo.
Zola is crazy in all the best ways. A film based off of a thread of tweets from 2015 is already a captivating concept, and it only gets better as you get further into the story. Like many entries on this list, I had been anticipating the release of this film for a while. For context, I remember reading the tweet thread in an Uber coming home from a trip pre-COVID because I had heard that the film had performed so well as Sundance. It is already so easy to find yourself completely entranced by the story of two girls who barely know each other traveling across state lines together to dance at different strip clubs, only for it to be revealed that one has been tricked by the other under false pretenses with far more sinister motives. However, the unbelievable true story is only half of the equation here.
I don’t think that this story could have worked translated to film if it didn’t have someone like Janicza Bravo at the helm. It is obvious that Bravo came into the project with a clear intention and vision and every shot, transition, and piece of dialogue is concise and intentional. She strikes an excellent chord between comedy and sensitivity toward the real-life author of the infamous tweet thread, A’Ziah King, for the absolutely insane sequence of events that she had to endure all because she chose to trust someone who seemed to want to help her. Overall, the film has a somewhat hypnotic quality and all the moving parts work together so incredibly well.
Plus! It has Cousin Greg.
9. Titane dir. Julia Ducournau
Now available to rent and own.
I genuinely do not know where to begin when talking about Titane. I guess I could start by talking about how greatly I admire it’s director, Julia Ducournau, who became the second woman in history (following Jane Campion, who also makes an appearance somewhere on this list) to win the coveted Palme d’Or at Cannes Film Festival last year. This is a prestigious honor whose previous recipients include names like Robert Altman, Francis Ford Coppola (twice), Martin Scorsese, Quinten Tarantino, Steven Soderbergh, David Lynch, Joel Coen, Terrence Malik, and the iconic Bong Joon-Ho. Needless to say, it was a big moment, particularly due to the content of the duology of Ducournau’s filmography to date. Ducournau first made waves with Raw, her debut film about a young vegetarian who goes to veterinarian school and, as a part of a hazing ritual, has to eat raw rabbit liver, leading to the awakening of a latent desire to consume human flesh. Then, we got Titane; a touching story about a young woman who is obsessed with cars a bit too much and ends up impersonating a missing boy while hiding being pregnant with a half-human, half-metal child. If nothing else, Ducournau has stepped into the international filmmaking scene with a bang, wielding the awesome force of her peculiar brand of narrative. I love it.
Where Raw is a gory thriller about a girl with cannibalistic tendencies, Titane is a heartwarming story about found family and shifting identity. If someone had told past me that this was the way I would be describing Titane before viewing it, having only brief marketing descriptions to go off of, I would probably have laughed in their face thinking they were joking. But Titane is wonderfully disarming. You truly never know what to expect with this film, but every twist and turn is beautiful in its own way – even if that way makes you a bit nauseous. Titane is surely not for the faint of heart, but if you can stomach it, you are in for a treat. Seeing something as unique as Ducournau’s vision is a gift and it is innovators like her that keep the medium moving forward into exciting new territory, both visually and narratively.
8. Spencer dir. Pablo Larraín
Now available to rent and own.
Biopics have been done to death. In my – admittedly harsh – opinion, it is one of the most tired genres alongside blockbuster action films. The biopic formula has become so stiff and regimented that having even the most inspirational subject matter is not nearly enough to constitute a decent film. It is only when a director with a distinct vision who is willing to break the rules chooses to take on a biopic that we get anything worth watching. Examples like these come about every few years or so, with some of my favorites being Rocketman, Judas and the Black Messiah, I, Tonya, and now Spencer. What makes these films stand out among hundreds of others is distinct tones, styles, framing devices, and, of course, exceptional performances. Spencer has all of these components and more.
The opening title card of this film states that it is a fable based upon a real life tragedy. Not only is this a statement that will haunt you for the rest of the film’s runtime, but it is also the most perfect way to summarize this film and what makes it so perfect. The eerie fact that the weekend depicted in this film did not actually occur, but feels as if it could have been genuine because of the circumstances of the late Princess Diana’s is not only profoundly upsetting, but also the perfect way to approach this subject matter. In my opinion, using a fictionalized scenario based upon true facts makes a much more poignant statement than simply reenacting someone’s life. It removes the film of reality and allows the themes that may be missed in real life be digested much more easily by an audience – somewhat akin to a fairytale. And what this fairytale has to say about Princess Diana is wrenching to say the least. I would also be remiss not to tip my hat to Kristen Stewart. It is time we all acknowledge her for what she is; one of the best actresses of our generation of filmmaking.
7. The French Dispatch dir. Wes Anderson
Now available to rent and own.
Last year, I said that this year would be the year of Timothée Chalamet, and I think I can safely say that I was right. This came hot on the tail of Dune and showcased a completely different set of acting chops that we haven’t seen much of from him (except for maybe in the iconic SNL sketch, Tiny Horse). But as much as I love Timothee Chalamet, he is far from the only person worthy of praise in this film. It’s hard to envision a cast that is any more stacked than this. Broken into four vignettes, we get bites of stories with: Owen Wilson, Bill Murray, Elisabeth Moss, Benicio Del Toro, Tilda Swinton, Adam Brody, Lea Seydoux, Timothee Chalamet, Frances McDormand, Jeffrey Wright, and I know that this is not even a complete list. Even the actors that you would not typically associate with comedy do a wonderful job of lending their unique skillset to this delightfully irreverent collection of tales.
Wes Anderson’s particular brand of wacky visual storytelling is at it’s wackiest in this film, and while I tend to prefer Anderson’s more naturalistic and “toned-down” films like The Darjeeling Limited, I found myself pleasantly surprised by how much I enjoyed this film. For me, breaking the film into vignettes with their own contained stories, themes, and visual styles worked well and helped to order the chaos that I think can sometimes dredge down highly stylized works. But what I always enjoy the most about Anderson’s works is how unapologetically quirky they are. Anderson is one of those directors who has created a visual language that is so distinct that anyone who attempts to emulate it will automatically be grouped into being Wes-Andreson-esque, and that is truly something to admire. His latest work is no different, and the wry comedy coupled with pastel palettes paints a loveably unique portrait that you can get lost in for hours.
You can read Luke Wilhelm’s review of The French Dispatch here.
6. Nomadland dir. Chloé Zhao
Now available to rent, own, and stream on Hulu.
For the second year in a row, I am bending the rules of the Top 10 a) because I can, and b) because Nomadland deserves it. Many of my Film Club peers had this on their Top 10s for 2020. However, I was unable to see it before I wrote my list for last year, and, technically, it was released on Hulu in 2021 so I say it counts.
The praises of Nomadland have been sung far and wide for the past year, and for good reason. This movie is everything and more. Frances McDormand is a force, housing a depth of stern tenderness that not many others can properly evoke. Chloé Zhao is a visionary and certainly one of the most exciting directors to emerge onto the scene in decades. I, along with many others, shed tears when she won her rightfully deserved Oscar, becoming the second woman ever and the first woman of color to win Best Director. It was truly a momentous occasion. I think we could all see it coming, but it didn’t diminish the feeling of triumph that I think many of us experienced. There may not be much else that I can add to the conversation around this film that hasn’t already been said other than to express my love for it. It’s an incredible moment to realize that you are watching history be made.
5. Beans dir. Tracey Deer
Now available to own and rent.
The beauty of online film festivals has once again revealed itself with Tracey Deer’s Beans. After watching this at SIFF, I began frantically scouring the internet for any news of a wide release date. I knew that it had gotten picked up for distribution, but could not find any concrete information on when I’d be able to get my hands on this film again. Thankfully, it is now stored away safely in my Apple TV library, and I feel much more secure knowing that it is there.
I watched this film somewhat by accident. I originally intended on rewatching Censor, a film I had seen at Sundance directed by the amazing Prano Bailey-Bond, as I had fallen head over heels for it. However, I acted too late, and tickets for all the Censor screenings had been taken. I then had to search for a backup and came across this hidden gem. To say I was bowled over by this film is and understatement. It is a coming-of-age film in all the ways coming-of-age films should be, but so seldom actually are. The story centers around a young girl, Beans, who is a young First Nations girl living on a Mohawk reservation in Quebec. At this crucial juncture between childhood and adolescence in young Beans’ life, her community is torn asunder by a standoff between members of her community and developers who are trying to build on sacred land. It is based on Tracey Deer’s real-life experience during the 1990 Oka Crisis at Kanesatake, and Deer’s emotions toward this part of her life come through so clearly in every shot. This is what the coming-of-age genre should be about; exploring the real life conflicts that impact the development of real life children who can find solace in seeing a character like themselves portrayed on screen. Unfortunately, the coming-of-age market has been oversaturated, and for every 100 Paper Towns, there is only one or two Beans. However, when they come around, they are truly something special. This film will sit with you forever.
4. Dune dir. Denis Villeneuve
Now available to own and rent.
To those who know me best, this is probably the most unsurprising entry on this list. More so than anything, they’re probably surprised it’s not higher on the list. To that I say, it’s got some stiff competition – but it holds up well. By far, this was the film I was anticipating the most for this year. I spent a fair portion of 2019 reading all 800+ pages of the novel in preparation only for it to be delayed. However, I’m glad that it was delayed so we could be treated to every detail on the big screen. There is truly so many moving parts in this film that all deserve their own in-depth analysis.
From the costumes to the cinematography to the sound design, everything about this film worked like gangbusters for me. I can understand the critique that too much of the film was focused upon worldbuilding and exposition, but to do Frank Herbert justice, that is what must be done. The film follows very closely to the motions and pacing of the novel in that it does exactly what the first half of the novel does – spend a lot of time on worldbuilding and exposition. To me, this is just fine because I get so involved in the world and there is so much to take in, so I don’t mind spending extra time digesting it, because the payoff in the second half is so worth it. After all, isn’t being enveloped into a story and a different world one of the most best things about cinema?
Personally, I don’t think we could ever do enough to thank Denis for everything he has given us.
You can read Joe Lollo’s review of Dune here.
3. The Last Duel dir. Ridley Scott
Now available to rent, own, and stream on HBO Max.
The Last Duel earns the bronze medal in my annual roundup this year and kicks off a very easily identifiable pattern in the films that cinched a place on my mental podium this year. Yes, I am a huge sucker for a period piece. To not acknowledge that feels as if I’d be cheating a bit, because it definitely influenced my decisions at least somewhat. However, I will be the first to say that I am surprised this film made it so far on my list. It wasn’t very far up on my priority watchlist as the year went on, and the initial release date came and went without batting an eye. Ridley Scott is a very polarizing director in my personal opinion. I am not a huge fan of the extended Alien franchise, but The Martian is one of my favorite films of all time. It was only once my friends started raving about it that I decided I needed to try to fit in a viewing. I tried going the next day, but I ended up with a classic “is it COVID or is just a cold” bouts and decided against attending. I thought my window of opportunity had passed. However, the good old Varsity Theater had my back, just as it always does. I also chuckle to think that there is another Ridley Scott film that shall remain unnamed that came out within a few months of this film that I thought I was going to be worshipping at the altar of for the rest of the year. However, Ridley Scott made one awe-inspiring film this year, and the other is House of Gucci.
My disappointment over House of Gucci aside, I was pleasantly surprised with The Last Duel to say the least. When I think of actors I would have cast in a period piece, Ben Affleck and Matt Damon are not the first to come to mind. However, both play their part well and weave impeccably into the grandiose medieval tapestry of this film. I would be remiss to not discuss the phenomenal performances of Adam Driver (an old favorite of mine) and Jodie Comer (a new favorite of mine), but especially Jodie Comer. She truly carries this film from start to finish and she is the heart of what this film is about. I am so excited to see what she does next.
2. The Green Knight dir. David Lowery
Now Available to own and rent.
The Green Knight is one of those releases that fell victim to the trap of being perpetually delayed because of COVID. I had been eagerly awaiting this release for at least a year and some change by the time I finally stepped foot into the theater (albeit, a few minutes late) to feast my eyes upon this visual spectacle. There had been rumors that this would be released as on a VOD streaming service, and, at the time, I would have given my left foot for that chance. However, I am pleased to say that the wait was well worth it and watching this on any at home screen for the first time would have been an insult to the grandeur of David Lowery’s vision (not to say that you shouldn’t still watch it at home – this movie goes hard and any opportunity to watch it should be taken with haste).
I went into this film having practically no notion of what it was actually about. The most that I knew was that it was based upon an Arthurian legend and directed by the same person who did A Ghost Story (another A24 darling). But really, as a person double majoring in Cinema and Creative Writing, what more could I really have asked for. To say I don’t know where to start with this film is an understatement. It is definitely not easy to digest, but it is so compelling that you can’t help but sit with it for days afterward. The vision of a version of medieval Europe with foxes that can speak and sentient tree warriors is entrancing and each vignette with a new character takes you on a nicely self-contained adventure of epic proportions. I highly recommend this for fans of; any and all things gothic, the middle ages, Dev Patel, great acting, and good movies. No need to take any psychedelics before viewing – you’re going to feel as if you already have.
1. The Power of the Dog dir. Jane Campion
Now Available to Stream on Netflix
While I was in my hometown for Thanksgiving, hanging out with a friend’s family, I heard my friend’s mother mention The Power of the Dog in passing. It has just finished smashing its way through the festival circuit and marketing for its Netflix release was ramping up. I overheard her saying that she doesn’t see Benedict Cumberbatch as a fit for the role because he didn’t embody the masculine machismo of a typical cowboy. A week later, after watching the film, I texted my friend and said, “Tell your mom she is so close to the point.”
This film has entranced me in every possible way. It has taken up so much space in my mind since its release on Netflix just over a month ago. This is one of those films that I feel like I could write a 400 page manifesto on. It is tender, evocative, suspenseful, unsettling, and maddening all at the same time. This is due in no short part to the brilliance of Jane Campion who infuses this, a film centered around toxic masculinity on the American frontier, with a distinctly feminine energy that flows through every scene, shot, and frame. Not only does Campion expertly subvert the Western genre – she completely rewrites it. Each character goes through their own distinct and multi-dimensional arc and nothing is black and white; rather it is the pink of a rocky mountain sunset, it is the white of fresh fallen snow, it is the green of the rolling seas of mid-season frontier grass. Every aspect of this film, in my personal opinion, is perfection and it was quite easy to name The Power of the Dog as my number one film of 2021.
You can read Jonathan Shu’s review of The Power of the Dog here.