To me, 2019 was arguably one of the best years for film this decade. Coming up with the top 10 list was extremely difficult; I was a lot more in tune with the releases this year and saw more new movies than any year previously. I was constantly changing my rankings on Letterboxd either because of new films I saw or simply because some films aged worse as time went on. However, I can confidently say that the following 10 are the best of the bunch (to me, of course). Before I dive into these films, I just want to give some honorable mentions, which include: The Lighthouse, Us, Paddleton, I Lost My Body, and The Irishman. Now, let’s dive in.
10. A Hidden Life (Terrence Malick, 2019)
This film probably deserves a higher spot on this list. Having seen only Malick’s first two feature films, Badlands and Days of Heaven, I didn’t quite have an idea of his voice and I cannot comment on whether this is a “return to form” for him. However, this is probably the most overlooked film of 2019. A Hidden Life loosely tells the true story of an Austrian man during World War II who refuses to swear loyalty to Hitler. It is truly a beautiful yet haunting film that captures the power of human will in one of the most unique ways. It has some of the most beautiful shots I’ve seen this year and, more than anything, made me feel the atmosphere of the world more than any other movie of 2019.
You can read PJ Knapke’s full review of A Hidden Life here.
9. Marriage Story (Noah Baumbach, 2019)
2019 featured a lot of movies that were extremely personal to the writers behind them. Marriage Story is no exception. Written and directed by Noah Baumbach, this film, partially based on his own divorce with actress Jennifer Jason Leigh, examines a couple going through a divorce while trying to keep their family together. The film has some of my favorite editing of the year and has a brilliant script that shows the flaws and mishaps of everyday life. It just felt so real and authentic. Adam Driver gives probably my favorite of the year. The only reason this film is not higher is I didn’t quite feel the emotional punch to its fullest extent. But, I digress. This film is amazing.
You can read Maddie McDougall’s full review of Marriage Story here.
8. The Farewell (Lulu Wang, 2019)
Lulu Wang writes and directs The Farewell, which I should have watched when it was in theaters. The Farewell narrates the story of Billi as she travels to China to say goodbye to her grandmother who has, unbeknownst to her, been diagnosed with cancer. Inherently, the film has a lot of emotional potency. It’s just a shame that this film got the cold shoulder from the Oscar nominations. As a person with family tied closely to India, I completely related to the feelings which arise from the conflict between Western and Eastern ideals. I really can’t wait to see more from Awkwafina and Lulu Wang after this and I highly recommend watching this film!
You can read Cynthia Li’s full review of The Farewell here.
7. Honey Boy (Alma Har’el, 2019)
Honey Boy feels as it was created; Shia LeBeouf wrote this as part of his emotional therapy while in rehab. But this film shows the beautiful complexity behind the idea of one-sided love and pulls your soul through a cathartic experience. All the performances in the film were truly great and the writing was terrific. You feel every ounce of courage and vulnerability in the film and it’s a fantastic watch.
You can read Maddie McDougall’s full review of Honey Boy here.
6. 1917 (Sam Mendes, 2019)
1917 was originally lower on this list. While this might be recency bias, my second viewing bumped this up. On a technical level, I think this is the best film of the year. For a “one-shot movie” seems like it could be used as a gimmick (and it was in the marketing), the technique really enhanced the intensity and pacing of the film. It placed me in the eyes and perspective of Will and Blake as they went on their mission. What boosted the film on second viewing was the emotional punch 1917 gave; I felt it a lot more during the second viewing.
You can read Levi Bond’s full review of 1917 here.
5. Uncut Gems (Josh and Benny Safdie, 2019)
Uncut Gems is an anxiety attack on film. The Safdie Brothers delivered a fantastic character study about a diamond seller who suffers from a compulsive gambling addiction. However, as shown through the beginning and ending psychedelic gem sequences, the film is also about the sick, cosmic power luxury has upon people and society. This is a fast-paced movie featuring Sandler’s best performance ever. I think this is one of my favorite endings in 2019 and I couldn’t imagine the film ending any other way.
You can read Ryan Circelli’s full review of Uncut Gems here.
4. Midsommar (Ari Aster, 2019)
I love, love, love horror movies. Last year, when Ari Aster came out with Hereditary, I knew there was going to be a great new voice in this genre. With Midsommar, he proved this with a “fairy-tale breakup story” as he so elegantly describes it. After a tragic event, Dani travels with her boyfriend’s friends to a cult celebration in Sweden. At this celebration, some strange things starts to happen. The bright cinematography puts you in a trance as Aster makes us question our approach to cultures we consider “alien.” Unfortunately, Aster says he wants to move away from horror. If you’re reading this Mr. Aster, please don’t. Just don’t.
You can read Cynthia Li’s full review of Midsommar here and listen to UW Film Club’s podcast on Midsommar here.
3. Waves (Trey Edwards Schults, 2019)
Waves was my most anticipated movie of 2019. I loved Trey Edward Shults’ debut movie Krisha and liked It Comes At Night. Shults continues to dive into very personal family trauma to create a narrative about an African-American family that learns to love and forgive in the face of an unspeakable tragedy. It has the most underrated sound design of the year; the score from Trent Reznor and Atticus Ross blends into the world of the film and complements the lush cinematography from Drew Daniels. Shults is a young, up-and-coming filmmaker and if I could scream something to the world, it would be to watch his filmography.
You can read my full review of Waves here.
2. Jojo Rabbit (Taika Waititi, 2019)
Taika Waititi is a master of happy-sad cinema. I’m a sucker for happy-sad cinema. Therefore, this, of course, has to be on my top 10. I think Jojo Rabbit has some of the best performances of the year while masterfully combining satire with sadness. It had some solid laughs throughout. I loved the costume and production design in the film and am glad that the Oscars gave some love to the film. It deserves it (even if that may be a controversial statement).
You can read Ajay Rawat’s full review of Jojo Rabbit here and listen to UW Film Club’s podcast on Jojo Rabbit here.
1. Parasite (Bong Joon-Ho)
Wow. Just, wow. I’m not even joking when I say my first time watching Parasite, I left the theater with my jaw dropped open. The film defies the concept of genre, delving into comedy, thriller, horror, and even a bit of melodrama. Bong Joon-Ho is a straight-up genius as he subtly weaves motifs and symbols which criticize class inequality. The characters in the film are real and genuine in the sense that they are not “good” or “bad,” they are treated like real people with flaws that make them greedy and virtues that make their plights empathetic. I really can gush about this movie but I encourage everyone to beat that “one-inch barrier” and go see this movie.
You can read Joe Lollo’s full review of Parasite here and listen to UW Film Club’s podcast on Parasite here.