2021 was a year that began in strict lockdown and ended in cautious reopening. Films that were meant to be released in 2020 and subsequently delayed reluctantly opened this year to much less pomp and circumstance once it became clear that we were in the pandemic for the long haul. For me, this year saw my return to school, and also my return to theaters. I was delighted to be able to see films with my friends on the big screen again, many of which I had been looking forward to for over a year. After the disappointment that was 2020, it’s undeniable that 2021 was an improvement both in film and overall.
Before I get into my top ten, I must give out a few honorable mentions. Firstly, Denis Villeneuve’s Dune was an absolute treat to watch. As someone who has read all six books in Frank Herbert’s series, Dune was every bit the epic, grandiose sci-fi film that I had been hoping for, and I cannot wait for Dune: Part 2. Secondly, I have to mention Joanna Hogg’s The Souvenir: Part II. A stunning continuation of The Souvenir, Hogg once again creates a moving and contemplative story about grief, relationships, and art. Lastly, I have to give a shoutout to Mike Mill’s C’mon C’mon. I found this film to be a wonderful, humorous, and warm story about families and love. It was beautiful to watch and I laughed and cried all the way.
10. The Green Knight dir. David Lowery
The Green Knight was a film that I had heard so much about from my friends, and when I finally watched it, it most certainly lived up to the hype. I was truly stunned by the jaw dropping production design in this film. The colors, lighting, and set looked not only beautiful, but perfectly immersive for an Arthurian fantasy story. In addition to that, the medieval costuming and makeup was also a treat to see, particularly on the titular Green Knight. I adored the story and symbolism, as well as Gawain’s journey through the film, and am just as flabbergasted that this film didn’t get any Oscar nods. You don’t have to be familiar with any Arthurian legends to appreciate the skill and craftsmanship in this film.
9. Mass dir. Fran Kranz
I was able to see Mass at Sundance 2021, and safe to say that I ended the movie in tears. The film revolves around the meeting of two sets of parents, one set the parents of a school shooter and the other set the parents of a student whom the former had killed. In a tense and dramatic confrontation, Kranz leaves no stone unturned in an ugly depiction of grief and anger. The film makes excellent use of its singular location by creating a tight, uncomfortable environment in which these parents struggle to find closure and healing in the aftermath of a terrible tragedy. It’s an incredibly difficult watch, especially given the American political climate surrounding gun control.
8. Drive My Car dir. Ryusuke Hamaguchi
By far the longest film on this list, Drive My Car follows a play director after the death of his wife as he is set to direct a multi-language performance of Chekov’s Uncle Vanya. Part of his gig involves a company assigned chauffeur that must drive him around. The main character finds himself making unexpected connections with his driver and the actors in his play as he struggles to deal with a lack of closure surrounding his wife’s death. My favorite part of this film is definitely the unexpected human relationships that are found between the various characters, and how they function to heal past griefs and traumas. The value of that humanity is astounding and incredibly well communicated by the director.
7. Spencer dir. Pablo Larraín
I am a self proclaimed superfan of the British Royal Family, so I knew going into Spencer that I would be enthralled. From her fairytale wedding to Charles, The Prince of Wales, to her tragic death, Princess Diana has turned into a cultural entity of its own, separate from the Princess. Larrain gives us a fictional interpretation of Diana during the weekend she decides to leave Charles. In this interpretation, there is an apt parallel drawn between Diana and Anne Boleyn, second wife to Henry VIII, and recurring questions surrounding Diana’s health and sanity are repeatedly broached- but only as a consequence of and in the context of the harsh and strict royal image she must maintain. As audience members who already know what happens to Diana, we can only root for her as she fights a suffocating struggle for herself and her children.
6. Parallel Mothers dir. Pedro Almodóvar
I absolutely adored Parallel Mothers. The film’s premise is simple: Two women, one an older and established, the other young and inexperienced, are pregnant and give birth at the same time, thus going through motherhood together. Meanwhile, the older woman, played by Penélope Cruz, works on a community archaeology project intended to help dig up the victims, many of whom are family members, of the Spanish Civil War generations prior. Thus, while the characters are trying to preserve the memories and legacies of these victims, they are having and raising children, their own legacies. These two aspects of the film are tied together really well in an emotional, humorous, and moving story, which puts this as number 6 on my list.
5. The French Dispatch dir. Wes Anderson
I only first started watching Wes Anderson films this past summer, and I have absolutely fallen in love with them. I adore the pastel color palettes, ensemble casts, witty comedy, and dolly shots that are trademarks of his films, and The French Dispatch is no exception. This film perhaps features Wes Anderson at his most Wes Anderson-est, and I was nothing short of absolutely delighted. At the end of the day, it’s cute, fun, and pretty. What more could I ask?
(You can read Luke Wilhelm’s review of The French Dispatch here.)
4. Titane dir. Julia Ducournau
Titane is a complete monster of a film that’s equal parts jarring and clever. While incredibly difficult to stomach, Ducournau creates an unapologetic exploration of a fluid gender dynamic- feminine and masculine, violence and meekness, good and bad. It’s truly one of the most original and creative films I’ve ever seen with what is certainly one of the boldest styles I’ve ever seen as well. At first I was shocked, but then I was impressed. I’m excited to see what Ducournau will come up with next.
3. The Worst Person in the World dir. Joachim Trier
As someone who is on the brink of transitioning from college to “real life,” The Worst Person in the World certainly struck a chord with me. In twelve chapters, we follow a woman who is still trying to find herself amidst the messiness that is life. Mistakes are made, regrets are had, and fears are expressed. It is terrifying to go through life and wonder if you are making the right choices, to constantly wonder if you are taking up space in a way that is worthwhile. Everything is simultaneously moving too quickly and not fast enough. You might love where you are in the moment but you feel at the same time that there must surely be something better. This film really has it all, and is a must watch.
2. The Power of the Dog dir. Jane Campion
This might have been the first Campion film I’ve ever seen, but it still absolutely knocked it out of the park. With an amazing story and even more amazing performances by a great cast, Campion weaves a tension through her main character’s toxic masculinity against a backdrop of the homoerotic American West. I can’t say much about this film without spoiling what happens, but the inner turmoil of the film culminates in an intense climax that won’t leave you disappointed.
(You can read Jonathan Shu’s review of The Power of the Dog here.)
1. Flee dir. Jonas Poher Rasmussen
I had an intense, gut-wrenching reaction to Flee when I saw it. A masterfully told story of an Afghan refugee fleeing war, it’s absolutely heartbreaking to watch. In particular, the animated style of this film has its own storytelling function. As the film is narrated by its main character, truth and lies begin to blur, as do the character’s sense of self as opposed to the facade he must maintain as a refugee. The animation style expertly reflects these parts of the story, and it is crushing to watch the main character lose himself bit by bit for the sake of survival. I was and am deeply impressed by the artistry and weight of this film, which puts it at the top.
(You can read Piper Coyner’s review of Flee here.)