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._column_ekayi_1+._column_ekayi_1{position:unset}._footer_ekayi_1 ._inner_ekayi_1 ._sidebar_ekayi_1 ._column_ekayi_1+._column_ekayi_1::before{display:none}._footer_ekayi_1 ._inner_ekayi_1 ._sidebar_ekayi_1 [data-component=social-media] [data-alias=social-media__prefix-text]{text-align:center}._footer_ekayi_1 ._inner_ekayi_1 ._sidebar_ekayi_1 [data-component=social-media] [data-alias=social-media__list]{flex-direction:row;align-items:center;justify-content:center;gap:1.5rem}._footer_ekayi_1 ._inner_ekayi_1 ._sidebar_ekayi_1 [data-component=social-media] li{margin-block-start:0}._footer_ekayi_1 ._inner_ekayi_1 ._sidebar_ekayi_1 [data-component=social-media] [data-alias=button__text]{display:none}}._footer_pw48w_1 ._tip_pw48w_1 [data-component=button]{text-transform:uppercase}._footerAlt_2ztkf_1{container-type:inline-size;container-name:footer-alt;background-color:#000;width:100%;color:#fff}._footerAlt_2ztkf_1 ._inner_2ztkf_1{padding:var(--s8);max-width:var(--nova--site--width);margin-left:auto;margin-right:auto;width:calc(100% - 2rem)}@container footer-alt (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1{text-align:center;padding:var(--s8) var(--s2)}}@media only screen and (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1{text-align:center;padding:var(--s8) var(--s2)}}._footerAlt_2ztkf_1 ._inner_2ztkf_1 [data-component=icon]{height:var(--s5)}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1{display:flex;flex-wrap:wrap;gap:10%}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1>*{flex-grow:1;flex-basis:calc((768px - 100%) * 999)}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1>:nth-last-child(n+2),._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1>:nth-last-child(n+2)~*{flex-basis:100%}@container footer-alt (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1{flex-direction:column}}@media only screen and (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1{flex-direction:column}}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1{flex-basis:60%}@container footer-alt (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1{order:1}}@media only screen and (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1{order:1}}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu]{margin-top:var(--s-5);margin-bottom:var(--s4)}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu] [data-alias=menu__list]{gap:0}@container footer-alt (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu] [data-alias=menu__list]{margin:auto;justify-content:center}}@media only screen and (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu] [data-alias=menu__list]{margin:auto;justify-content:center}}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu] [data-component=menu-item]{display:flex}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu] [data-component=menu-item] [data-component=text]{padding-right:var(--s-5)}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._main_2ztkf_1 [data-component=menu] [data-component=menu-item]:not(:last-child)::after{content:"|";margin-right:var(--s-5)}._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._sidebar_2ztkf_1{flex-basis:3%}@container footer-alt (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._sidebar_2ztkf_1{margin:var(--s3) 0}}@media only screen and (max-width:570px){._footerAlt_2ztkf_1 ._inner_2ztkf_1 ._innerContainer_2ztkf_1 ._sidebar_2ztkf_1{margin:var(--s3) 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._inner_1dn6d_1{margin-left:auto;margin-right:auto;margin-bottom:var(--s0);max-width:var(--nova--site--width);width:calc(100% - 2rem)}._footerPmc_1dn6d_1 ._inner_1dn6d_1 [data-component=icon]{width:75px}._footerPmc_1dn6d_1 ._inner_1dn6d_1 ._main_1dn6d_1{display:flex;flex-wrap:wrap;gap:var(--s5)}._footerPmc_1dn6d_1 ._inner_1dn6d_1 ._main_1dn6d_1>:last-child{flex-basis:700px;flex-grow:1}._footerPmc_1dn6d_1 ._inner_1dn6d_1 ._main_1dn6d_1>:first-child{flex-basis:0;flex-grow:999;min-inline-size:20%}._footerPmcBrandCards_1ea8p_1{container-name:footer-pmc-brand-cards;container-type:inline-size;display:flex;flex-direction:column;position:relative}._footerPmcBrandCards_1ea8p_1>*{margin-block:0}._footerPmcBrandCards_1ea8p_1>*+*{margin-block-start:var(--s-1)}._footerPmcBrandCards_1ea8p_1>[data-component=text]{text-transform:uppercase}._footerPmcBrandCards_1ea8p_1 ._inner_1ea8p_1{display:grid;grid-gap:1rem}@supports (width:min(238px,100%)){._footerPmcBrandCards_1ea8p_1 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[data-alias=footer-pmc-brands-cards__title]{font-family:var(--indiewire--font-family--realist)}._footerPmcBrandCards_hkbhi_1 ._inner_hkbhi_1{height:100%}._footerSheMedia_jyf9i_1{container-type:inline-size;container-name:footer-she-media;background-color:var(--nova--color--light-gray);width:100%}._footerSheMedia_jyf9i_1 ._inner_jyf9i_1{padding:var(--s-1) 0;max-width:var(--nova--site--width);margin-left:auto;margin-right:auto;width:calc(100% - 2rem)}._footerSheMedia_jyf9i_1 ._inner_jyf9i_1 [data-component=menu] [data-alias=menu__list],._footerSheMedia_jyf9i_1 ._inner_jyf9i_1 [data-component=menu] [data-alias=menu__nav]{gap:var(--s7);justify-content:center}._footerWrapper_1o0kf_1[data-has-pmc-footer=false]{margin-block-start:0rem}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .aligncenter,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignleft,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignright,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignwide,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=aligncenter],._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignleft],._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignright],._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignwide]{display:table;padding:0;position:relative}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .aligncenter figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignleft figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignright figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignwide figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=aligncenter] figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignleft] figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignright] figcaption,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignwide] figcaption{caption-side:bottom;display:block;margin-left:auto;margin-right:auto;margin-top:calc(var(--s-1)/ 2);width:100%}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .aligncenter,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=aligncenter]{float:none;margin:.5rem auto 1rem;text-align:center}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignright,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignright]{float:right;margin:.5rem 0 1rem 1rem}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .alignleft,._gutenbergContent_1ow88_1 ._inner_1ow88_1 [data-align=alignleft]{float:left;margin:.5rem 1rem 1rem 0}._gutenbergContent_1ow88_1 ._inner_1ow88_1 p:not(:last-child){margin-block-end:var(--s3)}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-columns{display:flex}@media only screen and (max-width:768px){._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-columns{display:block}}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-column{flex:1;margin:0 var(--s0)}@media only screen and (max-width:768px){._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-column{margin:var(--s0) 0}}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-group>.wp-block-group__inner-container>*+*{margin-block-start:var(--s1)}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-caption img{display:inline;width:100%}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-caption-text,._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-element-caption{margin-block-start:0.25rem}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-pullquote,._gutenbergContent_1ow88_1 ._inner_1ow88_1 blockquote{background-color:inherit;border:none;color:inherit;padding:var(--s1);align-items:center;display:flex;flex-direction:column;text-align:center}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-pullquote>blockquote,._gutenbergContent_1ow88_1 ._inner_1ow88_1 blockquote>blockquote{margin:0}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-pullquote>blockquote p,._gutenbergContent_1ow88_1 ._inner_1ow88_1 blockquote>blockquote p{margin:0}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-pullquote>blockquote cite,._gutenbergContent_1ow88_1 ._inner_1ow88_1 blockquote>blockquote cite{border-top:1px solid var(--nova--color--black);display:inline-block;margin-top:var(--s0);padding-bottom:12px;padding-top:12px}._gutenbergContent_1ow88_1 ._inner_1ow88_1 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._inner_1ow88_1 .radio input{margin-right:var(--s-6)}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .wp-block-jetpack-contact-form{padding:0!important}._gutenbergContent_1ow88_1 ._inner_1ow88_1 .grunion-field-wrap{margin-bottom:var(--s0)}._gutenbergContent_1ow88_1 .c-gallery-vertical .c-gallery-vertical-featured-image{padding-top:1.75rem;margin-top:1.75rem}._gutenbergContent_1ow88_1 .c-gallery-vertical .c-gallery-vertical-featured-image__social-icon a{align-items:center;background:#fff;border-radius:50%;color:gray;display:flex;height:2.5rem;justify-content:center;width:2.5rem}._gutenbergContent_1ow88_1 .c-gallery-vertical .c-gallery-vertical-featured-image__social-icon svg{width:20px}._gutenbergContent_1ow88_1 .c-gallery-vertical .c-gallery-vertical-featured-image__share-icon{align-items:center;background:red;border-radius:50%;color:#fff;display:flex;height:2.5rem;justify-content:center;width:2.5rem}._gutenbergContent_1ow88_1 .c-gallery-vertical 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.c-gallery-vertical-album__number{left:.063rem;top:2.875rem}._gutenbergContent_1ow88_1{position:relative;width:100%}._gutenbergContent_1ow88_1[data-template=article] ._inner_1ow88_1,._gutenbergContent_1ow88_1[data-template=featured-article] ._inner_1ow88_1{margin-left:auto;margin-right:auto;position:relative;z-index:var(--gutenberg-content--content)}._gutenbergContent_1ow88_1[data-template=article] ._inner_1ow88_1>*,._gutenbergContent_1ow88_1[data-template=featured-article] ._inner_1ow88_1>*{margin-block:0}._gutenbergContent_1ow88_1[data-template=article] ._inner_1ow88_1>*+*,._gutenbergContent_1ow88_1[data-template=featured-article] ._inner_1ow88_1>*+*{margin-block-start:var(--s3)}._gutenbergContent_1ow88_1[data-template=article] ._inner_1ow88_1>div:first-child+p,._gutenbergContent_1ow88_1[data-template=featured-article] ._inner_1ow88_1>div:first-child+p{margin-block-start:0}._gutenbergContent_1ow88_1[data-template=article] ._inner_1ow88_1 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[data-component=social-media],._gutenbergContent_1ow88_1[data-template=featured-article] ._socialMedia_1ow88_1 [data-component=social-media]{align-items:center;display:flex;position:sticky;top:12.5rem;width:90px}._gutenbergContent_1ow88_1[data-template=article][data-social=true] ._inner_1ow88_1{max-width:610px}@container social-media (max-width:776px){._gutenbergContent_1ow88_1[data-template=article] ._socialMedia_1ow88_1 [data-component=social-media]{display:none}}@media only screen and (max-width:776px){._gutenbergContent_1ow88_1[data-template=article] ._socialMedia_1ow88_1 [data-component=social-media]{display:none}}._gutenbergContent_1ow88_1[data-template=article] else ._socialMedia_1ow88_1{display:none}._gutenbergContent_1ow88_1[data-template=featured-article][data-social=true] ._inner_1ow88_1{max-width:600px}@container social-media (max-width:766px){._gutenbergContent_1ow88_1[data-template=featured-article] ._socialMedia_1ow88_1 [data-component=social-media]{display:none}}@media 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[data-component=cards-special-coverage]{margin-block-start:var(--s2)}._gutenbergContent_1ow88_1[data-template=homepage] [data-component=newsletter],._gutenbergContent_1ow88_1[data-template=homepage] [data-component=promotion]{margin-block-start:var(--s5)}}._gutenbergContent_1ow88_1[data-inner-width=content] ._inner_1ow88_1>*{margin-left:auto;margin-right:auto;max-width:100%}._gutenbergContent_1ow88_1[data-inner-width=content] ._inner_1ow88_1>.alignfull{max-width:var(--nova--full--width)}._gutenbergContent_1ow88_1[data-inner-width=content] ._inner_1ow88_1>.alignwide{max-width:var(--nova--breakpoint--width)}._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>:not(.wp-block-separator){max-width:var(--nova--site--width);width:calc(100% - 2rem)}._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>.alignfull,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>.alignwide,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>.wp-block-columns,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>.wp-block-cover,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>[data-full-width=true]{max-width:unset;width:100%}._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>blockquote,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>h1,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>h2,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>h3,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>h4,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>h5,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>h6,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>ol,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>p,._gutenbergContent_1ow88_1[data-inner-width=site] ._inner_1ow88_1>ul{max-width:var(--nova--content--width)}._gutenbergContent_1ow88_1 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._inner_7czbr_1>[data-component=newsletter]{margin-block-start:var(--s5)}._gutenbergContent_7czbr_1[data-template=homepage] ._inner_7czbr_1>[data-component=cards-module-a]{margin-block-start:var(--s4)}._gutenbergContent_7czbr_1[data-template=homepage] ._inner_7czbr_1 [data-component=promotion]{margin-block-start:var(--s2)}@container gutenberg-content (max-width:40rem){._gutenbergContent_7czbr_1[data-template=homepage] ._inner_7czbr_1 [data-component=cards-module-a]{margin-block-start:var(--s0)}._gutenbergContent_7czbr_1[data-template=homepage] ._inner_7czbr_1 [data-component=cards-special-coverage]{margin-block-start:var(--s2)}._gutenbergContent_7czbr_1[data-template=homepage] ._inner_7czbr_1 [data-component=newsletter],._gutenbergContent_7czbr_1[data-template=homepage] ._inner_7czbr_1 [data-component=promotion]{margin-block-start:var(--s5)}}._gutenbergContent_7czbr_1[data-template=article] ._inner_7czbr_1 [data-component=cards-related-content] a,._gutenbergContent_7czbr_1[data-template=featured-article] ._inner_7czbr_1 [data-component=cards-related-content] a,._gutenbergContent_7czbr_1[data-template=hub] ._inner_7czbr_1 [data-component=cards-related-content] a{color:#000}._gutenbergContent_7czbr_1[data-template=hub] [data-component=menu] a{color:currentColor}._gutenbergContent_7czbr_1[data-template=hub] [data-component=menu] a:hover{color:currentColor}._gutenbergContent_7czbr_1 #pmc-gallery-vertical{display:block}._gutenbergContent_7czbr_1 .c-gallery-vertical-slide__photo-credit-wrapper*{font-family:var(--indiewire--font-family--realist)}._gutenbergContent_7czbr_1 .wp-block-pullquote,._gutenbergContent_7czbr_1 blockquote{background-color:inherit;border:none;color:inherit;padding:var(--s1)}._gutenbergContent_7czbr_1 .wp-block-pullquote>blockquote cite,._gutenbergContent_7czbr_1 blockquote>blockquote cite{border-top:1px solid 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[data-alias=header__hide-mega-menu]{display:none}._headerWrapper_1dldt_1 [data-component=mega-menu-wrapper]{--mega-menu-top-offset:var(--login-bar-height);height:100%;left:0;min-height:100vh;overflow-x:hidden;overflow-y:scroll;position:fixed;width:100%;z-index:var(--mega-menu--default--z-index);top:var(--mega-menu-top-offset);opacity:0;pointer-events:none;transform:translateY(calc(-100% - var(--mega-menu-top-offset)));visibility:hidden;transition:opacity .3s cubic-bezier(.455, .03, .515, .955),transform .3s cubic-bezier(.215, .61, .355, 1),visibility .3s cubic-bezier(.215, .61, .355, 1)}._headerWrapper_1dldt_1._hasMegaMenuOpen_1dldt_1 [data-component=mega-menu-wrapper],body[data-mega-menu-open=true] ._headerWrapper_1dldt_1 [data-component=mega-menu-wrapper]{opacity:1;pointer-events:initial;transform:translateY(0);visibility:visible}._headerWrapper_1dldt_1._hasMegaMenuOpen_1dldt_1 [data-alias=header__hide-mega-menu],body[data-mega-menu-open=true] ._headerWrapper_1dldt_1 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._image_n62wr_1{aspect-ratio:0.8;overflow:hidden;display:flex;justify-content:center;align-items:center}._imageWrapper_n62wr_1[data-ratio=fourByFive] ._image_n62wr_1>img,._imageWrapper_n62wr_1[data-ratio=fourByFive] ._image_n62wr_1>video{inline-size:100%;block-size:100%;object-fit:cover}._imageWrapper_n62wr_1[data-ratio=fiveByFour] ._image_n62wr_1{aspect-ratio:1.25;overflow:hidden;display:flex;justify-content:center;align-items:center}._imageWrapper_n62wr_1[data-ratio=fiveByFour] ._image_n62wr_1>img,._imageWrapper_n62wr_1[data-ratio=fiveByFour] ._image_n62wr_1>video{inline-size:100%;block-size:100%;object-fit:cover}._imageWrapper_n62wr_1[data-ratio=sixteenByNine] ._image_n62wr_1{aspect-ratio:1.7777777778;overflow:hidden;display:flex;justify-content:center;align-items:center}._imageWrapper_n62wr_1[data-ratio=sixteenByNine] ._image_n62wr_1>img,._imageWrapper_n62wr_1[data-ratio=sixteenByNine] ._image_n62wr_1>video{inline-size:100%;block-size:100%;object-fit:cover}._imageWrapper_n62wr_1[data-ratio=nineBySixteen] ._image_n62wr_1{aspect-ratio:0.5625;overflow:hidden;display:flex;justify-content:center;align-items:center}._imageWrapper_n62wr_1[data-ratio=nineBySixteen] ._image_n62wr_1>img,._imageWrapper_n62wr_1[data-ratio=nineBySixteen] ._image_n62wr_1>video{inline-size:100%;block-size:100%;object-fit:cover}._imageWrapper_n62wr_1[hidden] ._image_n62wr_1{display:none}._imageWrapper_n62wr_1 ._image_n62wr_1{position:relative;text-align:center;width:100%}._imageWrapper_n62wr_1 ._image_n62wr_1 img{width:100%}@media only screen and (max-width:582px){._imageWrapper_n62wr_1 ._imageMeta_n62wr_1{max-width:var(--nova--site--width);width:calc(100% - 2rem)}}._imageWrapper_n62wr_1 ._imageMeta_n62wr_1 *{display:inline}._imageWrapper_n62wr_1 ._imageMeta_n62wr_1 ._imageCaption_n62wr_1+._imageCredit_n62wr_1{margin-left:.25rem}._imageWrapper_n62wr_1 ._badge_n62wr_1{align-items:center;background-color:#000;bottom:var(--s-4);color:#fff;display:flex;font-size:var(--s-2);gap:var(--s-6);left:var(--s-4);padding:var(3px 5px);position:absolute;text-transform:uppercase;z-index:var(--content-image-badges--z-index)}._imageWrapper_n62wr_1 ._badge_n62wr_1 svg{width:11px;height:11px;fill:white}._imageWrapper_n62wr_1 ._videoPreview_n62wr_1{bottom:var(--s-4);cursor:pointer;left:var(--s-4);padding:3px 5px;position:absolute;width:clamp(40px,18%,72px);height:clamp(45px,28%,72px)}._imageWrapper_n62wr_1:hover ._videoPreview_n62wr_1 .play-icon__videoPlayBorder{stroke-dashoffset:0;stroke:#FFFFFF;transition:stroke-dashoffset .5s cubic-bezier(.445, .05, .55, .95),stroke .2s cubic-bezier(.445, .05, .55, .95)}._imageWrapper_n62wr_1[data-round=true] img{border-radius:100%}._imageWrapper_n62wr_1 ._playIcon_n62wr_1{width:100%;height:100%}._imageWrapper_n62wr_1 ._playIcon_n62wr_1 svg{width:100%;height:100%;overflow:initial}._imageWrapper_n62wr_1 ._playIcon_n62wr_1 svg .play-icon__videoPlayFill{fill:rgb(16,17,25);stroke:var(--nova--color--primary);fill:rgb(16,17,25)}._imageWrapper_n62wr_1 ._playIcon_n62wr_1 svg .play-icon__videoPlayBorder{transform:rotate(-90deg);transform-origin:center;stroke:rgba(255,255,255,0);transition:stroke-dashoffset .5s cubic-bezier(.445, .05, .55, .95),stroke .5s cubic-bezier(.445, .05, .55, .95)}._imageWrapper_n62wr_1 ._playIcon_n62wr_1 svg .play-icon__videoPlayIcon{fill:#FFFFFF}._imageWrapper_n62wr_1 ._playIcon_n62wr_1 svg:hover .play-icon__videoPlayBorder{stroke-dashoffset:0;stroke:#FFFFFF;transition:stroke-dashoffset .5s cubic-bezier(.445, .05, .55, .95),stroke .2s cubic-bezier(.445, .05, .55, .95)}._imageWrapper_1m0la_1 ._playIcon_1m0la_1 svg .play-icon__videoPlayFill{stroke:var(--indiewire--color--blue)}._link_4y2pz_1{--link--color:--link--link--color;--link--color--on-hover:var(--nova--color--primary);cursor:pointer;color:var(--link--color)}._link_4y2pz_1:hover{color:var(--link--color--on-hover)}._megaMenuFooter_1k23c_1{container-type:inline-size;container-name:mega-menu-footer;background-color:#fff;border-top:1px solid #dcdcdc;max-width:100%}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1,._megaMenuFooter_1k23c_1 ._top_1k23c_1{align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:flex-start;justify-content:space-between;padding:1rem 0;margin-left:auto;margin-right:auto;max-width:var(--nova--megamenu--width);width:calc(100% - 2rem)}._megaMenuFooter_1k23c_1 ._top_1k23c_1{display:flex;flex-wrap:wrap;gap:var(--s1);align-items:center;border-bottom:1px solid #000}._megaMenuFooter_1k23c_1 ._top_1k23c_1>:first-child{flex-basis:300px;flex-grow:1}._megaMenuFooter_1k23c_1 ._top_1k23c_1>:last-child{flex-basis:0;flex-grow:999;min-inline-size:50%}@container mega-menu-footer (max-width:550px){._megaMenuFooter_1k23c_1 ._top_1k23c_1 [data-component=social-media]{flex-direction:column}}@media only screen and (max-width:550px){._megaMenuFooter_1k23c_1 ._top_1k23c_1 [data-component=social-media]{flex-direction:column}}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1{display:flex;flex-wrap:wrap;gap:var(--s1);align-items:center;justify-content:space-between}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1>*{flex-grow:1;flex-basis:calc((60rem - 100%) * 999)}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1>:nth-last-child(n+4),._megaMenuFooter_1k23c_1 ._bottom_1k23c_1>:nth-last-child(n+4)~*{flex-basis:100%}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 [data-component=menu] li a{font-family:var(--nova--font-family--arial);font-size:12px;text-transform:uppercase}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 ._copyright_1k23c_1{align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:flex-start;align-items:center;justify-content:flex-end}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 [data-alias=mega-menu-footer__copyright-text]{font-family:var(--nova--font-family--arial);font-size:10px;letter-spacing:.1px;line-height:18px}@container mega-menu-footer (max-width:550px){._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 [data-component=menu] [data-alias=menu__list]{margin:auto}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 [data-component=menu] [data-alias=menu__list] [data-component=menu-item] li a{font-size:10px}}@media only screen and (max-width:550px){._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 [data-component=menu] [data-alias=menu__list]{margin:auto}._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 [data-component=menu] [data-alias=menu__list] [data-component=menu-item] li a{font-size:10px}}@container mega-menu-footer (max-width:60rem){._megaMenuFooter_1k23c_1 ._bottom_1k23c_1 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a{color:currentColor;display:block;line-height:0;margin:0}._megaMenuHeader_10tep_1 ._inner_10tep_1 ._logo_10tep_1 [data-component=icon]{justify-content:center;height:35px}@container mega-menu-header (max-width:768px){._megaMenuHeader_10tep_1 ._inner_10tep_1 ._logo_10tep_1 [data-component=icon]{width:100%}}@media only screen and (max-width:768px){._megaMenuHeader_10tep_1 ._inner_10tep_1 ._logo_10tep_1 [data-component=icon]{width:100%}}._megaMenuHeader_10tep_1 ._inner_10tep_1 ._searchForm_10tep_1{align-items:center;display:flex;flex-wrap:wrap;gap:var(--s1);justify-content:flex-start}._megaMenuHeader_10tep_1 ._inner_10tep_1 ._searchForm_10tep_1 [data-component=search-form]{flex:1}._megaMenuHeader_10tep_1 ._inner_10tep_1 ._closeButton_10tep_1 [data-alias=button__inner]{margin-left:-.5rem;margin-right:-.5rem;padding:.5rem}._megaMenuWrapper_1ew51_1{container-type:inline-size;container-name:mega-menu-wrapper;background-color:#fff}._megaMenuWrapper_1ew51_1 ._menus_1ew51_1{margin-left:auto;margin-right:auto;max-width:var(--nova--megamenu--width)}@container mega-menu-wrapper (min-width:768px){._megaMenuWrapper_1ew51_1 ._menus_1ew51_1{width:calc(100% - 2rem)}}._megaMenuWrapper_1ew51_1 ._menus_1ew51_1 ._inner_1ew51_1{display:grid;grid-gap:var(--s6) var(--s7)}@supports (width:min(230px,100%)){._megaMenuWrapper_1ew51_1 ._menus_1ew51_1 ._inner_1ew51_1{grid-template-columns:repeat(auto-fit,minmax(min(230px,100%),1fr))}}@container mega-menu-wrapper (max-width:768px){._megaMenuWrapper_1ew51_1 ._menus_1ew51_1 ._inner_1ew51_1{grid-template-columns:1fr;gap:0;padding:0}}@container mega-menu-wrapper (max-width:768px){._megaMenuWrapper_1ew51_1 ._menus_1ew51_1 ._inner_1ew51_1 [data-alias=menu__nav]>:first-child{padding-left:1rem;padding-right:1rem}}._menu_1n6g9_1 [data-alias=menu__accordion__hide-button],._menu_1n6g9_1 [data-alias=menu__accordion__show-button]{visibility:hidden;height:0}._menu_1n6g9_1 [data-alias=menu__accordion__hide-button] [data-component=icon],._menu_1n6g9_1 [data-alias=menu__accordion__show-button] [data-component=icon]{height:12px}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1{display:flex;flex-direction:column}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1>*{margin-block:0}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1>*+*{margin-block-start:var(--s-4)}@media only screen and (min-width:769px){[data-component=template-section-front] ._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1{flex-direction:row;flex-wrap:wrap}[data-component=template-section-front] ._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__list]{display:flex}}@container footer (max-width:768px){._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__heading] a{padding:1rem 0;width:100%}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1 ._headingWrapper_1n6g9_1{width:100%;align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:space-between}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ul[data-alias=menu__list]{display:none}._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__accordion__show-button]{visibility:visible;height:auto;padding:1rem}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-has-menu-items=false] [data-alias=menu__accordion__show-button]{visibility:hidden}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__hide-button]{visibility:visible;height:auto;padding:1rem}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] ul[data-alias=menu__list]{display:block}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__show-button]{display:none}}@container mega-menu-wrapper (max-width:768px){._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__heading] a{padding:1rem 0;width:100%}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1 ._headingWrapper_1n6g9_1{width:100%;align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:space-between}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ul[data-alias=menu__list]{display:none}._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__accordion__show-button]{visibility:visible;height:auto;padding:1rem}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-has-menu-items=false] [data-alias=menu__accordion__show-button]{visibility:hidden}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__hide-button]{visibility:visible;height:auto;padding:1rem}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] ul[data-alias=menu__list]{display:block}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__show-button]{display:none}}@media only screen and (max-width:768px){._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__heading] a{padding:1rem 0;width:100%}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ._inner_1n6g9_1 ._headingWrapper_1n6g9_1{width:100%;align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:space-between}._menu_1n6g9_1[data-accordionify=true][data-inline=false] ul[data-alias=menu__list]{display:none}._menu_1n6g9_1[data-accordionify=true][data-inline=false] [data-alias=menu__accordion__show-button]{visibility:visible;height:auto;padding:1rem}._menu_1n6g9_1[data-accordionify=true][data-inline=false][data-has-menu-items=false] 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._inner_1n6g9_1>*+*{margin-block-start:var(--s-4)}._menu_1n6g9_1[data-theme=mega-menu] ._headingWrapper_1n6g9_1{border-bottom:1px solid #000;padding-bottom:.5rem}@container footer (max-width:768px){._menu_1n6g9_1[data-theme=mega-menu]{padding:0}._menu_1n6g9_1[data-theme=mega-menu] ._inner_1n6g9_1{display:flex;flex-direction:column}._menu_1n6g9_1[data-theme=mega-menu] ._inner_1n6g9_1>*{margin-block:0}._menu_1n6g9_1[data-theme=mega-menu] ._inner_1n6g9_1>*+*{margin-block-start:0}._menu_1n6g9_1[data-theme=mega-menu] ._headingWrapper_1n6g9_1{border-bottom:1px solid #dcdcdc;padding:0}._menu_1n6g9_1[data-theme=mega-menu] ._headingWrapper_1n6g9_1 [data-alias=menu__heading]{padding-left:1rem 0 1rem 1rem}._menu_1n6g9_1[data-theme=mega-menu] [data-alias=menu__list] li{background-color:#f5f5f5;border-bottom:1px solid #dcdcdc;width:100%}._menu_1n6g9_1[data-theme=mega-menu] [data-alias=menu__list] li 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(max-width:768px){._menu_1n6g9_1[data-theme=footer]{box-sizing:content-box;max-inline-size:var(--nova--site--width);margin-inline:auto;text-align:inherit;padding-inline-start:0;padding-inline-end:0;width:100%}._menu_1n6g9_1[data-theme=footer] ._inner_1n6g9_1{border:1px solid #fff}._menu_1n6g9_1[data-theme=footer] ._inner_1n6g9_1{display:flex;flex-direction:column}._menu_1n6g9_1[data-theme=footer] ._inner_1n6g9_1>*{margin-block:0}._menu_1n6g9_1[data-theme=footer] ._inner_1n6g9_1>*+*{margin-block-start:0}._menu_1n6g9_1[data-theme=footer] ._headingWrapper_1n6g9_1{padding:0}._menu_1n6g9_1[data-theme=footer] ._headingWrapper_1n6g9_1 [data-alias=menu__heading]{padding-left:1rem}._menu_1n6g9_1[data-theme=footer] [data-alias=menu__list] li a{padding:1rem!important}}._menu_1n6g9_1{container-name:menu}._menu_1n6g9_1 ._toggleButton_1n6g9_1{display:none}._menu_1n6g9_1 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._inner_x8nii_1{flex-direction:row;flex-wrap:wrap}[data-component=template-section-front] ._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__list]{display:flex}}@container footer (max-width:768px){._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__heading] a{padding:1rem 0;width:100%}._menu_x8nii_1[data-accordionify=true][data-inline=false] ._inner_x8nii_1 ._headingWrapper_x8nii_1{width:100%;align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:space-between}._menu_x8nii_1[data-accordionify=true][data-inline=false] ul[data-alias=menu__list]{display:none}._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__accordion__show-button]{visibility:visible;height:auto;padding:1rem}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-has-menu-items=false] [data-alias=menu__accordion__show-button]{visibility:hidden}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__hide-button]{visibility:visible;height:auto;padding:1rem}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] ul[data-alias=menu__list]{display:block}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__show-button]{display:none}}@container mega-menu-wrapper (max-width:768px){._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__heading] a{padding:1rem 0;width:100%}._menu_x8nii_1[data-accordionify=true][data-inline=false] ._inner_x8nii_1 ._headingWrapper_x8nii_1{width:100%;align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:space-between}._menu_x8nii_1[data-accordionify=true][data-inline=false] ul[data-alias=menu__list]{display:none}._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__accordion__show-button]{visibility:visible;height:auto;padding:1rem}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-has-menu-items=false] [data-alias=menu__accordion__show-button]{visibility:hidden}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__hide-button]{visibility:visible;height:auto;padding:1rem}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] ul[data-alias=menu__list]{display:block}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__show-button]{display:none}}@media only screen and (max-width:768px){._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__heading] a{padding:1rem 0;width:100%}._menu_x8nii_1[data-accordionify=true][data-inline=false] ._inner_x8nii_1 ._headingWrapper_x8nii_1{width:100%;align-items:center;display:flex;flex-wrap:wrap;gap:var(--s0);justify-content:space-between}._menu_x8nii_1[data-accordionify=true][data-inline=false] ul[data-alias=menu__list]{display:none}._menu_x8nii_1[data-accordionify=true][data-inline=false] [data-alias=menu__accordion__show-button]{visibility:visible;height:auto;padding:1rem}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-has-menu-items=false] [data-alias=menu__accordion__show-button]{visibility:hidden}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__hide-button]{visibility:visible;height:auto;padding:1rem}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] ul[data-alias=menu__list]{display:block}._menu_x8nii_1[data-accordionify=true][data-inline=false][data-collapsible=expanded] [data-alias=menu__accordion__show-button]{display:none}}@container footer (max-width:768px){._menu_x8nii_1[data-theme=mega-menu][data-collapsible=expanded]{border:none;background-color:var(--indiewire--color--blue);color:#fff}}@container mega-menu-wrapper (max-width:768px){._menu_x8nii_1[data-theme=mega-menu][data-collapsible=expanded]{border:none;background-color:var(--indiewire--color--blue);color:#fff}}@media only screen and (max-width:768px){._menu_x8nii_1[data-theme=mega-menu][data-collapsible=expanded]{border:none;background-color:var(--indiewire--color--blue);color:#fff}}._menuItem_k8deq_1 ._menuItemTextWrapper_k8deq_1{align-items:center;display:flex}._menuItem_k8deq_1 ._menuItem_k8deq_1{position:relative}._menuItem_k8deq_1 ._subMenuContainer_k8deq_1{background-color:#fff;border:1px solid #d0d0d0;box-shadow:5px 5px 10px rgba(0,0,0,.3411764706);display:none;max-height:250px;max-width:300px;overflow-y:auto;padding:20px 18px;position:absolute;z-index:var(--menu--default--z-index)}._menuItem_k8deq_1 ._subMenuContainer_k8deq_1 [data-component=text] a{padding:.5rem 0}._menuItem_k8deq_1[data-expanded=true] ._subMenuContainer_k8deq_1{display:block}._menuItem_k8deq_1 [data-component=icon]{height:var(--s-3)}._newsletter_w7wc2_1{container-type:inline-size;container-name:newsletter;width:100%}._newsletter_w7wc2_1 ._screenReaderText_w7wc2_1{border:0;clip:rect(1px,1px,1px,1px);clip-path:inset(50%);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px;word-wrap:normal}._newsletter_w7wc2_1 [data-alias=newsletter__disclaimer]{font-family:var(--nova--font-family--arial);font-size:10px;line-height:14px;margin-top:.5rem}._newsletter_w7wc2_1 [data-alias=newsletter__disclaimer] a{color:inherit;font-weight:700}._newsletter_w7wc2_1 [data-alias=newsletter__disclaimer] a:hover{text-decoration:none}._newsletter_w7wc2_1 ._inner_w7wc2_1{display:flex;flex-wrap:wrap;gap:var(--s2);align-items:center}._newsletter_w7wc2_1 ._inner_w7wc2_1>*{flex-grow:1;flex-basis:calc((35rem - 100%) * 999)}._newsletter_w7wc2_1 ._inner_w7wc2_1>:nth-last-child(n+4),._newsletter_w7wc2_1 ._inner_w7wc2_1>:nth-last-child(n+4)~*{flex-basis:100%}@container newsletter (max-width:35rem){._newsletter_w7wc2_1 ._inner_w7wc2_1 ._left_w7wc2_1{display:flex;flex-direction:column}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._left_w7wc2_1>*{margin-block:0}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._left_w7wc2_1>*+*{margin-block-start:var(--s0)}}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._left_w7wc2_1 [data-component=icon]{height:26px;justify-content:center}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._right_w7wc2_1{flex-grow:inherit;width:100%}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._right_w7wc2_1 ._form_w7wc2_1{display:flex;justify-content:flex-end;gap:var(--s0)}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._right_w7wc2_1 ._form_w7wc2_1 input{width:295px;margin-left:auto;margin-right:auto;display:inline-flex;border:none;border-bottom:2px solid var(--nova--color--gray-30);display:inline-block;flex-grow:1;line-height:140%}._newsletter_w7wc2_1 ._inner_w7wc2_1 [data-alias=button__inner]{padding:var(--s-5) var(--s4)!important}@container newsletter (max-width:35rem){._newsletter_w7wc2_1 ._inner_w7wc2_1 [data-component=button],._newsletter_w7wc2_1 ._inner_w7wc2_1 [data-component=text]{box-sizing:content-box;max-inline-size:var(--nova--site--width);margin-inline:auto;text-align:inherit;padding-inline-start:0;padding-inline-end:0;align-items:center;justify-content:center;text-align:center}}@container newsletter (max-width:25rem){._newsletter_w7wc2_1 ._inner_w7wc2_1 ._form_w7wc2_1,._newsletter_w7wc2_1 ._inner_w7wc2_1 ._right_w7wc2_1{display:flex;flex-direction:column}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._form_w7wc2_1>*,._newsletter_w7wc2_1 ._inner_w7wc2_1 ._right_w7wc2_1>*{margin-block:0}._newsletter_w7wc2_1 ._inner_w7wc2_1 ._form_w7wc2_1>*+*,._newsletter_w7wc2_1 ._inner_w7wc2_1 ._right_w7wc2_1>*+*{margin-block-start:var(--s0)}}._newsletter_w7wc2_1 [data-alias=button__inner]{align-items:center;display:flex;gap:12px}._newsletter_w7wc2_1[data-theme=footer]{background-color:#000;color:#fff}._newsletter_w7wc2_1[data-theme=footer] input{color:#fff}._newsletter_w7wc2_1[data-theme=footer] svg{fill:white}._newsletter_foipp_1:not(._newsletter_foipp_1[data-theme=footer]):not(._newsletter_foipp_1[data-theme=mega-menu]):not(._newsletter_foipp_1[data-theme=article]) ._inner_foipp_1{background-image:url("https://www.indiewire.com/wp-content/plugins/pmc-plugins/pmc-nova/wp-assets/components/newsletter-03_1c3bcb3d.png");background-size:cover;background-repeat:no-repeat;background-position:center center;padding:var(--s3)}@container newsletter (max-width:40rem){._newsletter_foipp_1:not(._newsletter_foipp_1[data-theme=footer]):not(._newsletter_foipp_1[data-theme=mega-menu]):not(._newsletter_foipp_1[data-theme=article]) ._inner_foipp_1{gap:0;padding:var(--s5) 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[data-component=button] [data-icon-name=linkedin] svg{padding:20%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] [data-icon-name=flipboard] svg{padding:20%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] [data-icon-name=tumblr] svg{padding:18%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] [data-icon-name=whatsapp] svg{padding:20%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] [data-icon-name=whatsapp] svg{padding:18%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] [data-icon-name=print] svg{padding:12%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] [data-icon-name=plus] svg{padding:20%}._socialMedia_hgv74_1[data-theme=sharing] [data-alias=social-media__list] [data-component=button] 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[data-component=icon]{color:var(--brand-color,var(--indiewire--color--black))}._sponsorBadge_s4xqd_1{align-items:center;display:flex;gap:var(--s0)}._sponsorBadge_s4xqd_1 [data-component=text]:first-child{color:currentColor;font-family:var(--nova--font-family--helvetica);text-transform:uppercase;font-size:12px;font-weight:400}._sponsorBadge_s4xqd_1 [data-component=text]:last-child:not(:first-child){color:currentColor;font-size:2.5rem;line-height:1;text-align:center}._sponsorBadge_s4xqd_1 [data-component=text]:last-child:not(:first-child) a{color:currentColor}._sponsorBadge_s4xqd_1 img{max-height:40px}._sponsorBadge_s4xqd_1[data-stack=true]{flex-direction:column;gap:0}._templateArticle_l7nm6_1{display:flex;flex-direction:column;margin-left:auto;margin-right:auto;max-width:var(--nova--site--width);width:calc(100% - 2rem)}._templateArticle_l7nm6_1 ._sidebar_l7nm6_1{display:flex;flex-wrap:wrap;gap:var(--s6)}._templateArticle_l7nm6_1 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._pmcAdSkinsGuide_7znwp_1{width:calc(var(--nova--site--width) + var(--s2));margin:0 auto}._templateWrapper_7znwp_1 [data-component=header-wrapper],._templateWrapper_7znwp_1 [data-component=trending-shows]{margin-block-start:0}._templateWrapper_7znwp_1[data-flush-with-header=true] ._inner_7znwp_1,body.pmc-gallery__horizontal ._templateWrapper_7znwp_1 ._inner_7znwp_1{margin-block-start:0}._templateWrapper_7znwp_1 [data-component=footer-wrapper]{margin-block-start:3rem}._templateWrapper_7znwp_1[data-flush-with-footer=true] [data-component=footer-wrapper]{margin-block-start:0}@media only screen and (max-width:999px){._templateWrapper_7znwp_1{display:flex;flex-direction:column}._templateWrapper_7znwp_1>*{margin-block:0}._templateWrapper_7znwp_1>*+*{margin-block-start:1rem}}._text_y7yck_1 a{color:currentColor;text-decoration:none}._text_y7yck_1 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[data-alias=text-child-wrapper]{display:none}._text_y7yck_1[data-alias=template-product__detail].show [data-alias=text-child-wrapper]{display:block}._text_y7yck_1 [data-alias=text-toggle__button]+[data-alias=text-toggle__button]{border:none;border-bottom:1px solid #cecece;padding-bottom:22px;padding-left:0;width:100%}._text_1xmba_1[data-theme^=heading-sticky-header]{font:normal normal normal 18px/20px var(--indiewire--font-family--tiempos-headline-medium)}._text_1xmba_1[data-theme^=heading-sticky-header] span{font:normal normal bold 18px/20px var(--indiewire--font-family--realist)}._trendingShows_129go_1{container-type:inline-size;container-name:trending-shows;background-color:#fff;max-width:100%;padding-bottom:var(--s0);padding-top:var(--s0)}._trendingShows_129go_1 ._innerWrapper_129go_1{position:relative;margin-left:auto;margin-right:auto;max-width:var(--nova--site--width);width:calc(100% - 2rem)}._trendingShows_129go_1 ._inner_129go_1{-ms-overflow-style:none;-webkit-overflow-scrolling:touch;align-items:center;display:flex;gap:var(--s0);justify-content:flex-start;overflow-x:auto;overflow-y:hidden;width:calc(100% - 2rem);scroll-snap-type:x mandatory;scrollbar-width:none}._trendingShows_129go_1 ._inner_129go_1::-webkit-scrollbar{-webkit-appearance:none;display:none}._trendingShows_129go_1 ._headingWrapper_129go_1{align-items:center;display:flex;white-space:nowrap}._trendingShows_129go_1 ._headingWrapper_129go_1 [data-component=icon]{height:45px;width:50px}@container trending-shows (max-width:768px){._trendingShows_129go_1 ._headingWrapper_129go_1 [data-component=icon]{display:none}}@media only screen and (max-width:768px){._trendingShows_129go_1 ._headingWrapper_129go_1 [data-component=icon]{display:none}}._trendingShows_129go_1 [data-component=menu]{border-left:1px solid;padding-left:1rem}._trendingShows_129go_1 [data-alias=menu__list],._trendingShows_129go_1 [data-inline=true] 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</ul></nav></div></div><h1 class='_text_y7yck_1 _text_1xmba_1' data-component='text' data-alias='article-header__headline' data-alignment='' data-theme='headline-md' data-transform='' data-truncate='' id='' >The 25 Best Movies of 2024</h1><div class='_text_y7yck_1 _text_1xmba_1' data-component='text' data-alias='article-header__dek' data-alignment='' data-theme='dek-lg' data-transform='' data-truncate='' id='' >2024 was a great year for the movies, even if it seemed to be a grim year for just about everything else.</div><div class="_fakeSidebar_wkbnc_1 "><div><div data-alias="article-header__meta"><div class="_byline_efxxd_1 _byline_10ep9_1" data-component="byline" data-expanded="false" data-has-authorswingout="false"><div class="_text_efxxd_1 " data-alias="byline__text-wrapper"><div class='_text_y7yck_1 _text_1xmba_1' data-component='text' data-alias='' data-alignment='' data-theme='byline-lg' data-transform='' data-truncate='' id='' >By <a href="https://www.indiewire.com/author/david-ehrlich/"><span>David Ehrlich</span></a>, <a href="https://www.indiewire.com/author/ryan-lattanzio/"><span>Ryan Lattanzio</span></a>, <a href="https://www.indiewire.com/author/kate-erbland/"><span>Kate Erbland</span></a></div></div></div><time class='_text_y7yck_1 _text_1xmba_1' data-component='text' data-alias='article-header__timestamp' data-alignment='' data-theme='timestamp-lg' data-transform='' data-truncate='' id='' datetime='2024-12-03 09:30:17.000000-0500' >December 3, 2024 9:30 am</time></div></div></div></div><div class="_sidebar_l7nm6_1"><div class="_main_l7nm6_1"><div class="" data-component="featured-media"><figure class="_imageWrapper_n62wr_1 _imageWrapper_1m0la_1" data-component="image" data-alias="" data-ratio="sixteenByNine" data-round="false"><div class="_image_n62wr_1 " data-alias="image__inner-img"><img src="https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1" alt="The 25 Best Movies of 2024" height="730" width="1296" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1 1296w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=300%2C169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=1024%2C577 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=178%2C100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=600%2C338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=125%2C70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=1000%2C563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=244%2C137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=1160%2C653 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=169%2C95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=71%2C40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=1200%2C676 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=298%2C168 298w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=598%2C337 598w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=1198%2C675 1198w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=266%2C150 266w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=533%2C300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=1065%2C600 1065w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=150%2C84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=110%2C62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=285%2C161 285w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=320%2C180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/TNB_05859_R-H-2024-1.jpeg?w=1296&h=730&crop=1&resize=640%2C360 640w, 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Page</span></a></div></li> <li data-icon-type="secondary"><div class="_button_1tc6x_1 _button_jtgqm_1 " data-component="button" data-alias="social-media__platform__whatsapp" data-alignment="" data-full-width="false" data-has-icon="true" data-theme=""><a href='whatsapp://send?text=The%2025%20Best%20Movies%20of%202024%20-%20https://www.indiewire.com/gallery/best-movies-2024/' title='' target='_blank' rel='' aria-label='Share on WhatsApp' class="_inner_1tc6x_1 _inner_jtgqm_1" data-alias="button__inner"><div class="_icon_1n8vg_1 _icon_180zp_1" data-component="icon" data-icon-name="whatsapp"><svg xmlns="http://www.w3.org/2000/svg" viewBox="0 0 14.384 14.384"><path d="M7.192 0a7.18 7.18 0 0 0-6.167 10.878l-.961 3.506 3.581-.94A7.19 7.19 0 1 0 7.192 0ZM4.73 3.837h.341c.128 0 .268.012.4.308.159.351.5 1.232.549 1.322a.321.321 0 0 1 .014.311 1.306 1.306 0 0 1-.176.3c-.089.1-.187.231-.268.309s-.182.187-.078.365a5.328 5.328 0 0 0 .99 1.233 4.836 4.836 0 0 0 1.433.884c.179.089.282.075.385-.044s.446-.518.565-.7.236-.148.4-.089 1.04.49 1.219.579.3.134.341.206a1.47 1.47 0 0 1-.1.847 1.792 1.792 0 0 1-1.2.845c-.329.031-.636.148-2.139-.444a7.3 7.3 0 0 1-3.045-2.69 3.453 3.453 0 0 1-.726-1.84 2.006 2.006 0 0 1 .622-1.487.655.655 0 0 1 .473-.215Z"/></svg> </div><span data-alias="button__text">Share on WhatsApp</span></a></div></li> </ul></div></div><div class="_inner_1ow88_1 _inner_7czbr_1" data-alias="gutenberg-content__content"><div style="float: left;margin-right: 14px"><a href="https://www.indiewire.com/wp-content/uploads/2024/12/Best-of-2024-Logo.jpg/"" ><img loading="lazy" decoding="async" class="size-full wp-image-1234681110 alignleft" src="https://www.indiewire.com/wp-content/uploads/2024/12/Best-of-2024-Logo.jpg" alt="" width="150" height="150" /></a></div> <p>There was an understandable fear that 2024 would be a grim year for the movies, but it turned out that 2024 was really just a grim year for everything else. Phew!</p> <p>Of course, some concerns about the state of the film industry did come to fruition. The strikes threatened to significantly reduce the number of movies that Hollywood was able to release in theaters, and there were indeed several weeks in which consumers were left with little to choose from at their local multiplex. That crisis was inexplicably exacerbated by audiences and studios alike; it was bad enough that nobody showed up for the greatest blockbuster since “Top Gun: Maverick” (“<a href="https://www.indiewire.com/criticism/movies/furiosa-a-mad-max-sagahttps://www.indiewire.com/criticism/movies/furiosa-a-mad-max-saga-review-1235004341/https://www.indiewire.com/criticism/movies/furiosa-a-mad-max-saga-review-1235004341/-review-1235004341/" >Furiosa</a>“), and even worse that Warner Bros. didn’t give people the <em>chance </em>to show up for the greatest Clint Eastwood drama since “The Mule” (“<a href="https://www.indiewire.com/criticism/movies/juror-2-review-clint-eastwood-1235060535/" >Juror #2</a>“).</p> <p>At the same time, however, we’ve known since Sundance that rumors of 2024’s awfulness — which once threatened to seem like a foregone conclusion — had been greatly exaggerated. Vital stuff like “A Different Man” and “I Saw the TV Glow,” alongside unexpected debuts like India Donaldson’s “Good One,” made it clear from the jump that the movies were still ready to hold space for anyone willing to hold space for them, while spring releases like “Challengers” and “Dune: Part 2” helped keep cinema in the zeitgeist while people waited for it to return at full force. Later festival breakouts — including Brady Corbet’s “The Brutalist” and Mohammad Rasoulof’s harrowingly urgent “The Seed of the Sacred Fig” — responded to the injustices of our world with a forcefulness no other medium could hope to match, only for RaMell Ross’ staggering “Nickel Boys” to come along and reframe how we see our world altogether.</p> <p>It’s honestly hard to complain about any calendar year that saw Michael Shannon star in a post-apocalyptic musical, Mike Leigh make being miserable seem exciting again, and Mikey Madison elevate a brawl with some hired goons into a thoroughly modern spectacle of class warfare.</p> <p>It was, as ever, a great year for the movies for those who knew where to look. Here are the 25 best films that we were fortunate enough to find.</p> <p><em>Christian Blauvelt, Sophie Monks Kaufman, Adam Solomons, and Christian Zilko also contributed to this article.</em></p> <p><strong><a href="https://www.indiewire.com/t/best-of-2024/" ><em>Check out all of IndieWire’s Best of 2024 coverage right here.</em></a></strong></p> <div id="pmc-gallery-vertical"> <div class="c-gallery-vertical-loader u-gallery-app-shell-loader"> <div class="u-gallery-app-shell__figure u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div><div class="u-gallery-app-shell__text u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div><div class="u-gallery-app-shell__text-small u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div><div class="u-gallery-app-shell__content u-gallery-app-shell__content-1 u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div><div class="u-gallery-app-shell__content u-gallery-app-shell__content-2 u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div><div class="u-gallery-app-shell__content u-gallery-app-shell__content-3 u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div><div class="u-gallery-app-shell__content u-gallery-app-shell__content-4 u-gallery-app-shell u-gallery-react-placeholder-shimmer"></div> <ul class="pmc-fallback-list-items lrv-a-unstyle-list lrv-u-margin-t-2"> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>25. “The Brutalist,” dir. Brady Corbet</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?w=300" class="attachment-medium size-medium" alt="'The Brutalist'" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg 3285w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1536,864 1536w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=2048,1152 2048w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1200,675 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=267,150 267w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1067,600 1067w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=800,450 800w, https://www.indiewire.com/wp-content/uploads/2024/12/The-Brutalist.jpg?resize=1280,720 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: A24 </figcaption> </figure> <p>It might seem too easy to observe that Brady Corbet’s “The Brutalist” — a 215-minute slab of a film that spans 30 years in the life of Hungarian-Jewish architect and Holocaust survivor László Tóth (Adrien Brody), who flees to America in the hopes of building a better future — has been constructed to embody the aesthetics of its title character. Shot in VistaVision and projected on 300lbs.’ worth of 70mm film stock, Corbet’s epic draws a perfectly self-evident connection between the weight of its raw material and that of the concrete monolith Tóth creates over the course of the story, and the same could be said of its minimalistic framing, its bone-deep aversion to nostalgia, and, most of all, the movie’s efforts to reveal the soul of its subject through the geometry of its design.</p> <p>But anyone familiar with Corbet’s previous features (“The Childhood of a Leader” and “Vox Lux”) will recognize that the seismic and shuddering obviousness of his style provides its own point. A deadly serious and fetishistically Euro-centric young auteur who’s fascinated by the cyclical relationship between trauma and culture, Corbet delights in the violent cause-and-effect of the 20th century, which shook the Earth off its axis in a way that invited people to reimagine it in their own image.</p> <p>Private lives were transmuted into public exteriors until it became impossible to ignore how we shape the world by moving through it, with personal experience revealed to be as inextricable from collective history as artists are from their work, as concrete is from a building, or — to put an even finer point on Corbet’s latest greatest (and least hostile) accomplishment to date — as immigrants are from America. László Tóth <em>is</em> “The Brutalist,” and “The Brutalist” is László Tóth. Both of them are brilliant, broken, and immense. <em>—DE</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/the-brutalist-review-adrien-brody-1235042679/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>24. “The Breaking Ice,” dir. Anthony Chen</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp 1296w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1024,577 1024w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1200,676 1200w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=298,168 298w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=598,337 598w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1198,675 1198w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=266,150 266w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1065,600 1065w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=285,161 285w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=800,451 800w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Breaking-Ice.webp?resize=1280,721 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Strand Releasing </figcaption> </figure> <p>A sweet and shimmeringly beautiful film about how life can flow and then freeze and then thaw into something entirely new if you let it, Anthony Chen’s “The Breaking Ice” finds hope in the most frigid of places. In this case, that place is the small Chinese border city of Yanji during the depths of its endless winter, when people’s breath is as thick as the gray fumes that spew out of the factory smokestacks, and the snowy peak of Changbai Mountain looks closer to heaven than it does to Pyongyang. More than half a million people live there (many of them ethnic Koreans), but few of them seem to think of it as home. It’s as if they got stuck there on their way to somewhere else, and — in the wake of a pandemic that restricted travel and imperiled the economy — are still waiting to be defrosted. Still waiting for the warmth they need to become liquid again. </p> <p>The frigid soul of a “sad hot people” movie par excellence, Nana (an extraordinary Zhou Dongyu) has learned to fake the warmth she’s forgotten how to find in herself. By day she works as an effusively smiling tour guide who talks busloads of tourists through the same old spiel about local Yanji history, as if stuck in a time loop that only she can see. By night, Nana is a prickly ice queen who takes a cold degree of pleasure in rebuffing the handsome and rangy Han Xiao (“The Wandering Earth” star Qu Chuxiao), whose Korean-Chinese family runs the restaurant where Nana ends her tours. And then — as so often happens in life — a suicidal guy in a sweater vest shows up out of nowhere and changes the temperature for everyone. So begins one of the most vital love triangles in a year that had several to choose from. It’s a film about how youth is left to fester when it’s denied a future, and it vibrates with the leftover energy of people whose shared life force simply won’t let them <a href="https://en.wikipedia.org/wiki/Tang_ping">lie flat and give up</a>. <em>—DE</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/the-breaking-ice-review-1234865670/" >Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>23. “Good One,” dir. India Donaldson</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?w=300" class="attachment-medium size-medium" alt="GOOD ONE, Lily Collias, 2024. © Metrograph Pictures / Courtesy Everett Collection" srcset="https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg 3000w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1536,864 1536w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=2048,1152 2048w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1200,675 1200w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=267,150 267w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1066,600 1066w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=800,450 800w, https://www.indiewire.com/wp-content/uploads/2024/08/MCDGOON_EC028.jpg?resize=1280,720 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Courtesy Everett Collection </figcaption> </figure> <p>A slight but sensitive and fantastically assured first feature that unfolds with the pointillistic detail of a great short story, India Donaldson’s “Good One” is a coming-of-age story that jettisons all of the genre’s most familiar trappings in favor of a long walk in the woods. </p> <p>There were supposed to be four people on the upstate New York camping trip, but one of the teens dropped out because he didn’t want to spend one of their last pre-college weekends sleeping in a polyester tent with his dad. That leaves anxious divorcee Chris (character actor James Le Gros, feasting on a nuanced leading role), his avuncular best friend Matt (Danny McCarthy, <em>playing</em> a character actor who would kill for a part this good), and Chris’ queer 17-year-old daughter Sam (extraordinary newcomer Lily Collias), who dutifully comes along because she’s always seen it as her job to keep what little peace is left in her family. To not be a burden. To make her parents feel like they still know her, even if they’ve been too busy dealing with their own shit to recognize the young woman she’s in the process of becoming. By the time Sam and her two large adult chaperones make it back to their car in the final moments of this tender and knowing debut, that process will be painfully, rivetingly complete. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/good-one-review-india-donaldson-1234946846/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>22. “Juror #2,” dir. Clint Eastwood</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="166" src="https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=300" class="attachment-medium size-medium" alt="'Juror #2'" srcset="https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png 1560w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=300,166 300w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1024,567 1024w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1536,851 1536w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=181,100 181w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=600,332 600w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1000,554 1000w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=244,135 244w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1160,642 1160w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=172,95 172w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=72,40 72w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1200,665 1200w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=271,150 271w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=542,300 542w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1083,600 1083w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=150,83 150w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=110,61 110w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=285,158 285w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=320,177 320w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=640,354 640w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=800,443 800w, https://www.indiewire.com/wp-content/uploads/2024/10/Screen-Shot-2024-10-28-at-1.25.29-AM.png?resize=1280,709 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Courtesy of Warner Bros. </figcaption> </figure> <p>Buried by Warner Bros, but deeply and obviously worthy of its potential place in Clint Eastwood’s legacy, “Juror #2” is a throwback character study that typifies the kind of mid-budget hits that have kept the lights on at Warner Bros. for the last 50 years. </p> <p>Opening with broad strokes of patriotism that paint the American legal system in an infallible light, this tightly constructed legal thriller descends into a study of the ways that an imperfect system can be made even less perfect by the mortals tasked with running it. Yet it’s more interested in giving everyone the benefit of the doubt than casting blame on any individual person or group. Even in the film’s darkest moments, Eastwood and screenwriter Jonathan Abrams beg us to consider the possibility that our enemies are doing their best to get through the day without veering too far from their own definition of a good person, only to remind us how short of those ideals we’re each capable of falling. “Juror #2” argues that nobody should be defined by their mistakes, but we can’t move on from them without admitting to ourselves that we’ll never be fully liberated from our pasts. And if this really is the last movie of Eastwood’s career, boy does it ever end on the perfect note to cap off his body of work. <em>—CZ</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/juror-2-review-clint-eastwood-1235060535/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>21. “Hard Truths,” dir. Mike Leigh</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="167" src="https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg 3149w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=300,167 300w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1024,569 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1536,854 1536w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=2048,1139 2048w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=180,100 180w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=600,334 600w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1000,556 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=244,136 244w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1160,645 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=171,95 171w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=72,40 72w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1200,667 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=270,150 270w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=540,300 540w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1079,600 1079w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=150,83 150w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=110,61 110w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=285,158 285w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=320,178 320w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=640,356 640w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=800,445 800w, https://www.indiewire.com/wp-content/uploads/2024/12/hardTruths-HomepageBG-3840X1754.jpg?resize=1280,712 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Bleecker Street </figcaption> </figure> <p>In 2008, Mike Leigh made a movie called “Happy-Go-Lucky,” in which Sally Hawkins played a school teacher named Poppy who was so irrepressibly buoyant and upbeat that her joy seemed like a taunting provocation to the discontent of the world around her. Sixteen years later, the filmmaker returns to similar territory with “Hard Truths,” a searing but indivisibly empathetic drama about a British Jamaican woman so wretched that it might as well be called “Misery-Go-Fuck-Yourself.” </p> <p>As played by an absolutely titanic Marianne Jean-Baptiste, Pansy might be the single most vituperatively unpleasant character the movies have ever produced. It would be impossible to overstate the raw spectacle of watching Pansy make her way through the world; a spectacle that Leigh exaggerates further by confining the character to a modest little film that’s only a touch bigger than the working class London home she “shares” with her husband Curtley (David Webber) and their stunted 22-year-old son Moses (Tuwaine Barrett). <a href="https://www.vanityfair.com/hollywood/story/its-a-terrifying-and-freeing-way-to-work-marianne-jean-baptiste-on-making-mike-leighs-hard-truths">Jean-Baptiste has stressed</a> the importance of telling stories in which Black families aren’t framed in response to external forces, but the call is no less difficult to answer when it’s coming from inside the house. And while Pansy is obviously troubled (by afflictions both explained and not), her loved ones don’t have the heart to treat her like a problem, as doing so would threaten to betray their unspoken pledge to suffer each other in the face of an insufferable world. </p> <p>Per its title, “Hard Truths” doesn’t go in for easy fixes, and the film seems to end in much the same place as it starts. But it doesn’t. Not quite. The earth might quake wherever Pansy goes, but the film’s real power is in watching her family hold on to the shared history that she threatens to uproot. “I love you,” Chantelle tells her. “I don’t understand you, but I love you.” It’s a message that Leigh has been trying to convey to his characters for more than 40 years, and one that has seldom been so natural to accept for ourselves. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/hard-truths-review-mike-leigh-marianne-jean-baptiste-1235044173/" ><em>Read IndieWire’s full review.</em></a></p> <p> </p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>20. “Daughters,” dirs. Angela Patton and Natalie Rae</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?w=300" class="attachment-medium size-medium" alt="'Daughters'" srcset="https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png 3840w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1536,864 1536w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=2048,1152 2048w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1200,675 1200w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=267,150 267w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1067,600 1067w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=800,450 800w, https://www.indiewire.com/wp-content/uploads/2024/08/Daughters_00_58_46_19.png?resize=1280,720 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Courtesy of Netflix </figcaption> </figure> <p>An enormously moving documentary made all the more effective by co-directors Angela Patton and Natalie Rae’s steadfast refusal to settle for easy sentiment in the face of difficult outcomes, “Daughters” has as much ugly-cry potential as any film in recent memory. But the most lasting power of this film about a unique father-daughter dance for D.C.-area Black girls whose fathers are in jail comes in a final act that wipes those tears away to examine the hurt they leave behind. </p> <p>Like Garrett Bradley’s similarly lilting and delicate “Time” before it, “Daughters” conveys the destructive inhumanity of America’s prison system by pointing our attention toward its collateral victims: in this case, the children denied a meaningful relationship with their dads. “Daughters” doesn’t absolve the inmates of their role in that process, but it also doesn’t tell us what they’ve done to deserve their sentences. What would the specifics of Keith Smith’s crimes matter to his impossibly cute five-year-old daughter Aubrey, who practices math by counting the weeks until she can see her father again? </p> <p>That rhetorical question begs several more: What incentive or hope do prisoners have for rehabilitation if even the most determined among them is severed from their families? How can they stay in their loved ones’ lives if they can’t afford regular phone calls home? How can they help raise their children if they aren’t even allowed to touch them? The architects of our carceral state would have you believe that such cruel restrictions are fitting consequences for criminal actions. But “Daughters” — much like the Date with Dad program itself, which Patton founded as an offshoot of another empowerment program she runs for young Black girls — flips that logic against a system that sees broken families as more of a feature than a bug. This film is founded upon a self-evident idea that it reaffirms with heart-wrenching honesty at every turn: Allowing families to remain intact even when they’re separated behind bars isn’t some kind of charity, but rather a necessary step toward ending the same cycle of crime and punishment that our prisons do everything in their power to keep in place. <em>—DE</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/daughters-review-documentary-1234948446/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>19. “Close Your Eyes,” dir. Victor Erice</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="186" src="https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=300" class="attachment-medium size-medium" alt="'Close Your Eyes'" srcset="https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg 8640w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=300,186 300w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1024,634 1024w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1536,951 1536w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=2048,1268 2048w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=162,100 162w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=600,371 600w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1000,619 1000w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=244,151 244w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=700,437 700w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=250,156 250w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1160,718 1160w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=153,95 153w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=65,40 65w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1200,743 1200w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=271,168 271w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=544,337 544w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1090,675 1090w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=242,150 242w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=485,300 485w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=969,600 969w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=150,93 150w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=110,68 110w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=285,176 285w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=320,198 320w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=640,396 640w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=800,495 800w, https://www.indiewire.com/wp-content/uploads/2024/06/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?resize=1280,792 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Film Movement </figcaption> </figure> <p>Spanish filmmaker Victor Erice has only made three films since debuting with his extraordinary “The Spirit of the Beehive” in 1973, and while all of them have argued for — and served to remind audiences of — cinema’s unique power as a medium, none have done so more powerfully or more plaintively than “Close Your Eyes.” Erice’s latest stunner tells the story of a retired director who becomes re-obsessed with the unfinished movie that ruined his career, and determines to solve the mystery of why his lead actor disappeared in the middle of the shoot. From that simple premise Erice unravels the most nakedly personal film he’s ever made. At times, it feels like the <em>only </em>film he’s ever made. Or maybe all of them at once. </p> <p>Sedate but ultimately shattering by dint of its simplicity (and its absolute slam-dunk of a final scene), “Close Your Eyes” is neither an autobiographical cine-memoir à la “The Fabelmans” nor a teary-eyed tribute to the magic of the movies in the vein of “Cinema Paradiso.” Yet, as if by accident and divine purpose all at once, it also manages to become both of those things by the end. Set at the dawn of the streaming age and shot with the funereal sterility that came with it, “Close Your Eyes” openly laments the loss of a more tactile film experience (the kind that included actual film), but only so that it can honor the way certain images take root inside us when seen under the right circumstances.</p> <p>As he nears the end of a career that has always been fascinated by the liminal space between artifice and reality, however, Erice is somehow able to fulfill cinema’s miraculous promise as a vehicle of eternal return; as a magic trick capable of keeping the past alive long after it’s already died within us. The movies <em>are</em> real, “Close Your Eyes” insists with the intensity of an old master seizing what might be his last chance to say it. How much of ourselves will we lose if we forget how to project them properly? <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/close-your-eyes-review-victor-erice-1234914723/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>18. “Queer,” dir. Luca Guadagnino</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=267,150 267w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=1067,600 1067w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/12/Queer.jpeg?resize=800,450 800w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: A24 </figcaption> </figure> <p>As an adaptation of “Junkie” author William S. Burroughs’ second novel, “Queer” is about chemical addictions, yes. But it’s even more about being so addicted to a person that, no matter how much you turn yourself inside out trying to get them to love you — charming them with your literary voice, lathering yourself into a stupor on drugs, or even going to the far reaches of a jungle — they will never love you the way you want them to, and even telepathy couldn’t help explain to you why.</p> <p>Luca Guadagnino’s profound and kaleidoscopic new film begins in a post-World War II Mexico City of the mind and ends in the Ecuadorian rainforest on an ayahuasca trip that’s part Apichatpong Weerasethakul, part “2001: A Space Odyssey,” but fully the “Call Me By Your Name” director’s own strange, sui generis creation. All sweaty, raw, self-lacerating, and debauched, William Lee (Daniel Craig) is an ex-pat who wanders from bar to bar in the Mexican capital in the 1940s, here recreated at Rome’s Cinecittà Studios with the rigorous detail, scope and strangeness of the warehouse mindscape in Charlie Kaufman’s “Synecdoche, New York.'”</p> <p>“How can a man who sees and feels be other than sad?” Burroughs asked himself in his last diary entry before his death of a heart attack at age 83. That he made it that long is a wonder, but those words prove telling for this extraordinary film: Even more than “Call Me By Your Name,” “Queer” pulses with the melancholy that comes with seeing and feeling too much, of a mind-altering love that reconfigures your entire sense of selfhood. <em>—RL</em></p> <p><a href="https://www.indiewire.com/criticism/movies/queer-review-luca-guadagnino-daniel-craig-1235043068/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>17. “Dahomey,” dir. Mati Diop</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg 1296w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1024,577 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1200,676 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=298,168 298w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=598,337 598w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1198,675 1198w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=266,150 266w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1065,600 1065w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=285,161 285w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=800,451 800w, https://www.indiewire.com/wp-content/uploads/2024/12/202414781_1-1.jpeg?resize=1280,721 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: MUBI </figcaption> </figure> <p>When Europe’s great powers raced to colonize a continent in the so-called “Scramble for Africa” just before the First World War, the tiny coastal Kingdom of Dahomey in the south of modern-day Benin was high on France’s shopping list. Only 85 French soldiers were killed when it was taken in 1894, while as many as 4,000 Dahomeans lost their lives. Nearly 300 years of culture and history were extinguished, and thousands of the nation’s most valuable treasures shipped to Paris.</p> <p>Running just 67 minutes long, this dense and remarkable documentary isn’t about the theft itself, but rather the 2021 return of 26 Dahomean treasures to Benin from the Musée du Quai Branly in Paris — a journey that director Mati Diop brings to life with new urgency by restoring these statues their stolen voices. They speak in monologues written by the Haitian author Makenzy Orcel, the artifacts reflecting on their trip home with a mix of pride, horror, and confusion between long scenes in which modern university students debate the meaning of their country’s pilfered heirlooms. The artifacts may be a living expression of Benin’s past, but this memorably bold meditation on history is all the more powerful for how it puts them into conversation with the present. <em>—AS</em></p> <p><a href="https://www.indiewire.com/criticism/movies/dahomey-review-mati-diop-1234954949/#:~:text=Parts%20of%20it%20are%20so,go%20at%20a%20snail's%20pace."><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>16. “Nosferatu,” dir. Robert Eggers</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?w=300" class="attachment-medium size-medium" alt="Nosferatu" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg 2618w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1536,864 1536w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=2048,1152 2048w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1200,675 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=267,150 267w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1066,600 1066w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=800,450 800w, https://www.indiewire.com/wp-content/uploads/2024/12/Nosferatu.jpg?resize=1280,720 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Focus Features </figcaption> </figure> <p>Modern in its perspective yet fetishistically accurate to its time, Robert Eggers’ horny-as-hell but highly repressed “Nosferatu” is nothing if not the version of this story you would expect him to make. Like “The Witch” before it, the film renders sin with a puritanical sense of mortal danger. Like “The Northman,” this ultra-sincere “Nosferatu” is a stylized fable that shirks off the simplicity of its plot with a visceral physicality. Like “The Lighthouse,” it features a deliriously happy Willem Dafoe as a pipe-smoking kook who says things like “The night demon has supped your good wife’s blood” with the enthusiasm of a character all too happy to have that chance. And like all of Eggers’ films, of which “Nosferatu” is the richest and most fully realized, it draws a spellbinding power from the friction it finds between historical social mores and the eternal human thirsts they exist to keep in check. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/nosferatu-review-robert-eggers-lily-rose-depp-1235071494/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>15. “Between the Temples,” dir. Nathan Silver</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg 1280w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=1024,577 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=1160,653 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=1200,676 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=298,168 298w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=598,337 598w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=1198,675 1198w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=266,150 266w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=1065,600 1065w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=285,161 285w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=640,361 640w, https://www.indiewire.com/wp-content/uploads/2024/12/Between_the_Temples-Still1-Large.jpeg?resize=800,451 800w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Sony Pictures Classics </figcaption> </figure> <p>There is a lot of joy in the Jewish tradition (most of which stems from the shared recognition that it’s somehow managed to survive), but happiness… well, there’s a feeling that <em>happiness</em> might be for other people. God didn’t choose us for <em>that</em>. If we had happiness, it wouldn’t be happiness. At the same time, however, we can’t help but want all the bliss in the world for our loved ones, even if I fear we might lose our ability to recognize them if they actually managed to find it. </p> <p>No film this side of “A Serious Man” has confronted that specific fear as directly as Nathan Silver’s “Between the Temples,” a spiky, hilarious, and thoroughly unorthodox screwball comedy about a grief-stricken cantor (a note-perfect Jason Schwartzman) who loses his voice, only to find that he’s surrounded by a chorus of well-intentioned people who are happy to speak for him — most crucially, his grade school music teacher, Carla (Carol Kane). Its punny title pointing towards the kind of latitude that Ben and Carla are begging for in order to find their bliss, “Between the Temples” ultimately isn’t sure if happiness is viable in the long-term. But in focusing less on the happiness we imagine for other people than on the happiness we get to share with them instead, its characters find enough joy in each other to make being alive feel like its own eternal reward. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/between-the-temples-review-jason-schwartzman-1234945489/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>14. “Challengers,” dir. Luca Guadagnino</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="155" src="https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?w=300" class="attachment-medium size-medium" alt="CHALLENGERS, from left: Mike Faist, Zendaya, Josh O'Connor, 2024. © MGM /Courtesy Everett Collection" srcset="https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg 3000w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=300,155 300w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1024,529 1024w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1536,794 1536w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=2048,1059 2048w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=193,100 193w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=600,310 600w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1000,517 1000w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=244,126 244w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1160,600 1160w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=184,95 184w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=77,40 77w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1200,620 1200w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=290,150 290w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=580,300 580w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1161,600 1161w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=150,78 150w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=110,57 110w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=285,147 285w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=320,165 320w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=640,331 640w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=800,414 800w, https://www.indiewire.com/wp-content/uploads/2024/07/Challengers.jpg?resize=1280,662 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Amazon MGM Studios </figcaption> </figure> <p>A transcendently sweaty tennis love triangle so turned on by the heat of competition that its sex scenes feel like foreplay and its rallies feel like porn, Luca Guadagnino’s “Challengers” is so much more than just the horniest story ever set in New Rochelle, which is where this movie’s three main characters — two archrivals and the beautiful former player between them — all happen to cross paths during the final match of a dingy U.S. Open qualifier that’s sponsored by a local tire store. They’ve been fucking each other on and off the court for more than a decade by the time “Challengers” unleashes its first serve, and yet, despite winning on every level of their chosen sport, these long-limbed athletes have lost their lust for life at some point along the way. At this point, their lust for each other might be the only force on Earth powerful enough to get their heads back in the game. </p> <p>That might sound like the set-up for a relatively straightforward — if refreshingly bi-curious — romantic comedy, but “Challengers” is a far cry from “Wimbledon,” and Guadagnino couldn’t give less of a shit about who comes out on top at the end. On the contrary, the “Call Me by Your Name” director was likely turned on by the sensual backspin of Justin Kuritzkes’ script, which subverts the typical stakes of each match in order to focus on the animating thrill of wanting something with every flooded sweat gland on your body. Watching Zendaya’s Tashi Donaldson get exactly that was one of the most thrilling things we saw this year. <em>—DE</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/challengers-movie-review-zendaya-1234973713/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>13. “Flow,” dir. Gints Zilbalodis</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="174" src="https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?w=300" class="attachment-medium size-medium" alt="'Flow'" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=300,174 300w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=1024,595 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=172,100 172w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=600,349 600w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=1000,581 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=244,142 244w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=1160,674 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=164,95 164w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=69,40 69w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=289,168 289w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=580,337 580w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=1162,675 1162w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=258,150 258w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=516,300 516w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=1033,600 1033w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=150,87 150w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=110,64 110w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=285,166 285w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=320,186 320w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=640,372 640w, https://www.indiewire.com/wp-content/uploads/2024/12/Flow-Gints-Zilbalodis-1.jpeg?resize=800,465 800w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Janus Films </figcaption> </figure> <p>There’s a moment near the end of Gints Zilbalodis’ “Flow” that powerfully tugs at the heartstrings. It’s when the film‘s central character, a black cat who you’ve come to have a profound emotional connection with, rediscovers a lost ball that he and his animal friends had been playing with earlier in the movie. He thought he’d never see it again. And suddenly he does. Sometimes, lost things can be found again.</p> <p>If you thought that emotion elicited without cloying manipulation was something lost in animation, it is found again in “Flow” as well. A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory — evocative, beguiling, and majestic in its fable-like story about a motley crew of animals trying to survive in a flooded world. They speak volumes without ever having to say a single word. <em>—CB</em></p> <p><a href="https://www.indiewire.com/criticism/movies/flow-review-animated-film-gints-zilbalodis-1235008455/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>12. “A Different Man,” dir. Aaron Schimberg</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="172" src="https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg 1400w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=300,172 300w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1024,587 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=174,100 174w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=600,344 600w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1000,574 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=244,140 244w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1160,665 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=166,95 166w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=70,40 70w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1200,688 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=293,168 293w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=588,337 588w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1177,675 1177w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=262,150 262w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=523,300 523w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1046,600 1046w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=150,86 150w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=110,63 110w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=285,163 285w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=320,184 320w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=640,367 640w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=800,459 800w, https://www.indiewire.com/wp-content/uploads/2024/12/A-different-man.jpg?resize=1280,734 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: A24 </figcaption> </figure> <p>A caustically funny cosmic joke of a film about an insecure actor who finds a miracle cure for his facial disfigurement, only to be upstaged by a stranger who oozes self-confidence despite (still) having the exact same condition the main character had once allowed to hold him back, Aaron Schimberg’s ruthless and Escher-like “A Different Man” might have felt cruel if not for how cleverly it complicates its punchline. </p> <p>Are we supposed to be laughing at someone — someone who’s been treated like a monster for his entire adult life — just because they couldn’t resist the opportunity to shed their skin? Anyone familiar with Schimberg’s “Chained for Life,” which similarly defenestrated the notion of disabilities as “God’s mistakes,” already knows the answer to that question. Besides, who among us would pass up the chance to look like Sebastian Stan? </p> <p>In that light, it’s more tempting to interpret “A Different Man” as a dark and damning satire of our social conditioning, which has convinced us to see asymmetry as ugliness, and internalize ugliness as inhuman. But while that might be a more accurate distillation of what Schimberg is doing here, leaving it there would fail to convey the full ambition of a deliriously surreal psycho-thriller that complicates its own identity at every turn. By refracting Brian De Palma’s self-reflexiveness and the Coen brothers’ mordant fatalism through the prism of his most personal obsessions, Schimberg creates a house of mirrors so brilliant and complex that it becomes impossible to match any of his characters to their own reflections, and absolutely useless to reduce the movie around them to the stuff of moral instruction. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/a-different-man-review-sebastian-stan-1234946519/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>11. “The Seed of the Sacred Fig,” dir. Mohammad Rasoulof</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="180" src="https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=300,180 300w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=1024,614 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=167,100 167w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=600,360 600w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=1000,600 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=244,146 244w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=1160,696 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=158,95 158w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=67,40 67w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=280,168 280w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=562,337 562w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=1125,675 1125w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=250,150 250w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=500,300 500w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=150,90 150w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=110,66 110w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=285,171 285w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=320,192 320w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=640,384 640w, https://www.indiewire.com/wp-content/uploads/2024/12/1167.jpeg?resize=800,480 800w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: NEON </figcaption> </figure> <p>“The Seed of the Sacred Fig” is an anguished cry from the heart of Mohammad Rasoulof, the Iranian filmmaker who recently fled his home country for Europe after receiving an eight-year prison sentence from the Islamic Republic. Shot in secret, and using the brutal 2022 killing of Mahsa Amini as his launching point, Rasoulof tells the story of a government lackey (the remarkable Misagh Zare, currently banned from leaving Iran) whose relationship to his wife and their three daughters — less servile than their parents — grows strained after he’s appointed to the same Revolutionary Court that passed judgment on the director himself.</p> <p>The trouble at home threatens to unravel the family when the father misplaces his service gun, a severe crime that comes with a potential jail sentence of its own. From there, a finely wrought piece of domestic portraiture descends into the stuff of a paranoid thriller, as the father becomes hellbent on forcing a confession from someone lest he put himself in the line of fire. It’s a simple premise that ultimately erupts into a potent allegory about the corruptive price of power and the suppression of women under a religious patriarchy that crushes the very people it claims to protect. <em>—RL</em></p> <p><a href="https://www.indiewire.com/criticism/movies/the-seed-of-the-sacred-fig-review-mohammad-rasoulof-1235008351/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>10. “Do Not Expect Too Much from the End of the World,” dir. Radu Jude</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="171" src="https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp 1600w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=300,171 300w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1024,584 1024w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1536,876 1536w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=175,100 175w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=600,342 600w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1000,570 1000w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=244,139 244w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1160,661 1160w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=167,95 167w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=70,40 70w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1200,684 1200w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=295,168 295w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=591,337 591w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1184,675 1184w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=263,150 263w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=526,300 526w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1053,600 1053w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=150,86 150w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=110,63 110w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=285,162 285w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=320,182 320w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=640,365 640w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=800,456 800w, https://www.indiewire.com/wp-content/uploads/2024/07/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?resize=1280,730 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: MUBI </figcaption> </figure> <p>It takes real flair to concoct visual-gag-after-visual-gag within episodic riffs on the raw deals suffered by the gig-economy-classes in modern day Bucharest. Like a sharper Romanian riposte to Ruben Östlund, Radu Jude blends absurdist humor with keen social integrity, as the trials of a dangerously overworked production assistant named Ange (Ilinca Manolache, sensational) builds to a 40-minute final shot in which tragicomedy is heaped upon tragicomedy to unbearably brilliant effect.</p> <p>Observing a nation’s shortcomings is not typically this fun. Yet — unlike latter-day miserabilist works by the likes of Ken Loach — Jude’s “Do Not Expect Too Much from the End of the World” and its barbs stick entirely because Jude trusts his audience to appreciate tonal scope. There are no arch-villains, but plenty of morons with too much power, and Jude’s script is ripe with delicious character notes. This is a work by someone totally secure in their thinking, and able to afford punchlines to all kinds of ghoulish pen-pushers without fear of confusing the film’s ideological clarity. <em>—SMK</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/do-not-expect-too-much-from-the-end-of-the-world-review-radu-jude-1234891904/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>9. “Evil Does Not Exist,” dir. Ryûsuke Hamaguchi</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="171" src="https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?w=300" class="attachment-medium size-medium" alt="EVIL DOES NOT EXIST, (aka AKU WA SONZAI SHINAI) from left: Ryo Nishikawa, Hitoshi Omika, 2023. © Sideshow / Courtesy Everett Collection" srcset="https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg 2777w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=300,171 300w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1024,582 1024w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1536,873 1536w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=2048,1164 2048w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=176,100 176w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=600,341 600w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1000,569 1000w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=244,139 244w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1160,660 1160w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=167,95 167w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=70,40 70w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1200,682 1200w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=295,168 295w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=593,337 593w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1187,675 1187w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=264,150 264w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=528,300 528w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1055,600 1055w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=150,85 150w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=110,63 110w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=285,162 285w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=320,182 320w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=640,364 640w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=800,455 800w, https://www.indiewire.com/wp-content/uploads/2024/07/Evil-Does-Not-Exist.jpg?resize=1280,728 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Janus/Sideshow </figcaption> </figure> <p>“Evil Does Not Exist,” the title of the latest film from “Drive My Car” director Ryûsuke Hamaguchi, would be a bold statement to make in the year 2024. But as it turns out in this eerie and elusive ecological tone poem about man, nature, and man’s nature, the statement is not necessarily something the Japanese filmmaker believes. At first, this gently lilting film even seems like a call for compassion; set in a bucolic village on the outskirts of Tokyo it centers on how the village’s inhabitants tangle with a corporation trying to set up a glamping site in their forest, only for the two opposing sides to eventually find common ground. But that entente proves a foil for a much darker twist Hamaguchi pulls in the film’s last act.</p> <p>“Evil Does Not Exist” is a slow-moving film with little in the way of epiphanies or answers. Hamaguchi’s reverence for nature is reflected in his unhurried views of the village’s flora and fauna, and in the plaintive tones of Eiko Ishibashi’s jazz-inflected score — which, like the film itself, is prone to shockingly unexpected paroxysms of violence. In this case, they convey the underlying dissonance of our world with a clarity that leaves the film’s peaceful surface of fir trees and council meetings feeling like a sinister cover-up. <em>—RL</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/evil-does-not-exist-review-ryusuke-hamaguchi-1234902318/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>8. “Furiosa: A Mad Max Saga,” dir. George Miller</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="124" src="https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?w=300" class="attachment-medium size-medium" alt="FURIOSA: A MAD MAX SAGA, (aka FURIOSA), Anya Taylor-Joy, 2024. © Warner Bros. /Courtesy Everett Collection" srcset="https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg 3000w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=300,124 300w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=1024,422 1024w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=1536,633 1536w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=2048,844 2048w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=243,100 243w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=600,247 600w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=1000,412 1000w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=244,101 244w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=1160,478 1160w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=230,95 230w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=97,40 97w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=1200,495 1200w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=150,62 150w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=110,45 110w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=285,118 285w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=320,132 320w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=640,264 640w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=800,330 800w, https://www.indiewire.com/wp-content/uploads/2024/07/Furiosa.jpg?resize=1280,528 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Warner Bros. </figcaption> </figure> <p>You can’t unkill the world. Charlize Theron’s Imperator Furiosa learned that lesson the hard way when she commandeered a rig full of Immortan Joe’s precious war brides and sped across the desert towards the matriarchal eden from which she was stolen as a child. She and her motley crew of reluctant allies drove as far as the highways of Valhalla would take them, only to discover that the Green Place of Many Mothers wasn’t beyond the uninhabitable swampland they had passed to get there — it was the uninhabitable swampland they had to passed to get there. There is no going back, but sometimes you can only find the path forward by looking in the rear-view mirror.</p> <p>And so it stands to reason that inveterate madman George Miller has followed the most spectacular action movie of the 21st century not with a sequel that continues where “Mad Max: Fury Road” left off, but rather with a prequel that paves the way to where it began. Instead of trying to outdo the orgiastic mayhem that brought his Ozploitation franchise screaming into the 21st century all shiny and chrome, Miller has chosen to do something even crazier and more rewarding: He’s created a symphonic, five-part, decades-spanning revenge saga so immense and self-possessed that it refuses to be seen as the mere extension of another movie.</p> <p>Avoiding the same traps that have made too many recent franchise offshoots feel like just less of the same (in part because it was fully written before a frame of “Fury Road” had ever been shot), “Furiosa” doesn’t try to reverse-engineer one of the most propulsive cinematic experiences ever conceived so much as it scours the Wasteland for the emotion that will be required to fuel it. Whereas “Fury Road” was driven by the search for hope, “Furiosa” is an even more glorious film about why people need it in the first place. <em>—DE</em></p> <p><em><a href="https://www.indiewire.com/wp-admin/_wp_link_placeholder">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>7. “The Substance,” dir. Coralie Fargeat</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="200" src="https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?w=300" class="attachment-medium size-medium" alt="'The Substance,' MUBI" srcset="https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg 3101w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=300,200 300w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1024,681 1024w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1536,1022 1536w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=2048,1362 2048w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=150,100 150w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=600,399 600w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=281,187 281w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1000,665 1000w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=244,162 244w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1160,772 1160w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=900,600 900w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=143,95 143w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=60,40 60w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1200,798 1200w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=253,168 253w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=507,337 507w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1015,675 1015w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=225,150 225w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=451,300 451w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=902,600 902w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=110,73 110w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=285,190 285w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=320,213 320w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=640,426 640w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=800,532 800w, https://www.indiewire.com/wp-content/uploads/2024/09/TheSubstance_Still_09.jpg?resize=1280,852 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Christine Tamalet/MUBI </figcaption> </figure> <p>An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s “The Substance” will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years, a burden this camp-adjacent instant classic aspires to cast off with some of the most spectacularly disgusting body horror this side of “The Fly.”</p> <p>If the “Revenge” director’s immaculately crafted debut tried to dismantle male toxicity with a shotgun blast square to the balls, Fargeat’s riotous follow-up turns that same attention inwards, allowing her to take aim at both the pointlessness she’s been conditioned to feel as a forty-something woman, and also at the resentment she’s been conditioned to feel toward her younger self. Squelching with fury at how a woman’s “fuckability’”is used as the ultimate measure of her worth, the result of Fargeat’s mad experiment is equal parts “Freaky Friday,” “All About Eve,” and Andrzej Żuławski’s “Possession” — simple enough for a child to understand, but gross enough to make squeamish adults spew out their lunch. Those with the stomach to stick it out were rewarded with the most sickly entertaining theatrical experience of the year, one carried by the kind of go-for-broke performance that Hollywood stars only tend to give after they reach a certain age and start running out of options.” <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/the-substance-review-margaret-qualley-demi-moore-body-horror-1235006738/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>6. “All We Imagine as Light,” dir. Payal Kapadia</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="178" src="https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?w=300" class="attachment-medium size-medium" alt="'All We Imagine as Light'" srcset="https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp 2034w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=300,178 300w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1024,606 1024w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1536,909 1536w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=169,100 169w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=600,355 600w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1000,592 1000w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=244,144 244w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1160,687 1160w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=160,95 160w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=68,40 68w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1200,710 1200w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=284,168 284w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=569,337 569w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1140,675 1140w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=253,150 253w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=507,300 507w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1014,600 1014w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=150,89 150w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=110,65 110w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=285,169 285w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=320,189 320w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=640,379 640w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=800,474 800w, https://www.indiewire.com/wp-content/uploads/2024/05/All-We-Imagine-as-Light.webp?resize=1280,758 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Janus Films </figcaption> </figure> <p>The intimate way that women move through a city sprawl gives Payal Kapadia’s drama about two nurses in Mumbai a deeply romantic gauze. This romance has to do with the way that people occupy their space in this world, whether alone or sharing it with others. The younger nurse Anu (Divya Prabha) comes in from the rain and, although she is giving her roommate Prabha (Kani Kusruti) the silent treatment after an earlier insult, she is still comfortable stripping her top off in front of her, in order to change into something dry. All the while Prabha is trying to make good, saying that she has made Anu’s favorite dish.</p> <p>This casual everyday vignette is brimming with a sensuality (the rain, the clothes, the food, the women) that people don’t tend to notice when caught up in the rhythm of life. Kapadia shows it to us. She focuses our attention on the tiniest details while interweaving a tight meshwork of stories about love and loneliness. Discrete episodes resonate with quietly infinite multitudes. </p> <p>Consider the secret rendezvous between Anu and her Muslim boyfriend. Rather than showing overt scenes of the Hindu nationalism that India’s Prime Minister Modi has proudly brought to the mainstream, Kapadia lets its impact play out impressionistically via the furtive way that her star-crossed lovers meet. First and foremost, a master of image creation, she uses this secrecy as an opportunity to mount a compelling dialogue-free sequence of love hiding in plain sight. A busy traffic intersection is filmed with the long lens of a private detective. We see Anu first then glimpse a figure walking through the bustle until he — Shiaz! — is holding her hand. Without acknowledging each other, they keep walking together, touching but not speaking, until they are a safe distance from the hospital. In this scene, and others, Kapadia rescues her characters from the thrum of city life and invites us to co-exist with them in their dreams. <em>—SMK</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/all-we-imagine-as-light-review-1235008070/">Read IndieWire’s full review</a>.</em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>5. “Anora,” dir. Sean Baker</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?w=300" class="attachment-medium size-medium" alt="'Anora'" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg 1050w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=298,168 298w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=266,150 266w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/12/Anora.jpg?resize=800,450 800w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: NEON </figcaption> </figure> <p>Anora — or “Ani,” as she prefers to be called — is a brassy, 23-year-old Russian-American stripper who shares a small house with her sister in Brighton Beach. Ivan — or “Vanya,” as he uses interchangeably — is the 21-year-old son of a Moscow billionaire who stays in his father’s cocaine mansion on the far side of Brooklyn whenever he’s in New York, which if it were up to him would be always. She works seven nights a week at the Manhattan strip club where she’s the only Russian-speaker. Ivan, meanwhile, has clearly never worked a day in his life. She’s the child of a mom who lives in Miami and a dad who doesn’t exist, while he’s a hyper-juvenile nepo baby who may never be mature enough to graduate into a large adult son. </p> <p>There’s probably an effervescent rom-com to be made about these two wildly mismatched kids meeting over a lapdance and falling in love with each other after Ivan pays Ani $15,000 to be his “very horny girlfriend” for a week, but Sean Baker isn’t the least bit interested in settling for that story. Splenetically hilarious for more than two hours before reality catches up with it in the film’s unforgettable final scene, “Anora” has next to nothing to do with romance, and almost everything to do with the kind of working-class heartache that a modern Hollywood studio would never even try to get right. </p> <p>It’s a heartache that Mikey Madison’s towering lead performance allows to hide in plain sight, even — or perhaps especially — when she isn’t wearing anything that might help to disguise it. By the end of the movie, even her character’s name feels like an open wound, its ethnic origins preventing her from reaching the full potential of her fantasy, and/or the fantasy of her full potential. At one point someone googles the meaning of “Anora” so that he can explain it to her, but our heroine isn’t interested. “We don’t care about names in America,” she replies. In this country, who we are runs a distant second to the promise of who we might become. And that promise is growing emptier by the day. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/anora-review-mikey-madison-sean-baker-sex-worker-comedy-1235007333/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>4. “I Saw the TV Glow,” dir. Jane Schoenbrun</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg 3652w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1024,576 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1536,864 1536w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=2048,1152 2048w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=600,337 600w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1000,562 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1160,652 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1200,675 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=267,150 267w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1067,600 1067w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=150,84 150w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=285,160 285w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=640,360 640w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=800,450 800w, https://www.indiewire.com/wp-content/uploads/2024/12/I-Saw-the-TV-Glow.jpg?resize=1280,720 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: A24 </figcaption> </figure> <p>Sinister and liberating in equal measure (and often at the same time), Jane Schoenbrun’s ultra-lo-fi “We’re All Going to the World’s Fair” leveraged the inherent loneliness of webcams and the performative danger of online creepypasta into a haunting portrait of the potentially dysphoric relationship between screens and identity in the internet age. The kind of sui generis shot in the dark that feels like it could only have been made by someone who wasn’t sure if anyone would see it, Schoenbrun’s first movie is one of the rare coming-of-age films that manages to embody the full dread and possibility of self-recognition, and for that reason it almost immediately resonated with an audience of people — trans people in particular — who’d been waiting for something like “We’re All Going to the World’s Fair” since before they had the language to know how much they needed it. </p> <p>Another, more explicitly trans meditation on the role that media can play in revealing people to themselves, Jane Schoenbrun’s astonishing follow-up manages to retain the seductive fear of their micro-budget debut and deepen its thrilling wounds of discovery even while examining them at a much larger scale. If “We’re All Going to the World’s Fair” was a 360p snapshot of dysphoria in motion, “I Saw the TV Glow” is an intimate landscape shot with the ultra-vivid resolution of a recurring dream; it marries the queer radicality of a Gregg Araki film with the lush intoxication of a Gregory Crewdson photo, and finds Schoenbrun holding on to every inch of their vision as they make the leap from outsider artist to A24-stamped auteur. Anchored by some of the most arresting scenes in recent memory (including a Brigette Lundy-Paine monologue that burns with singular intensity), this is a movie that knows it will be seen, and yet, to an even greater degree than Schoenbrun’s debut, it’s also a movie about how the things people watch can have the power to see them in return. Even the parts of themselves they might be hiding from. Even the parts of themselves they aren’t ready to name yet. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/i-saw-the-tv-glow-review-1234946004/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>3. “The Beast,” dir. Bertrand Bonello</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="215" src="https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?w=300" class="attachment-medium size-medium" alt="THE BEAST, (aka LA BETE), Lea Seydoux, 2023. © Janus Films /Courtesy Everett Collection" srcset="https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg 2753w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=300,215 300w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1024,735 1024w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1536,1102 1536w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=2048,1470 2048w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=139,100 139w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=600,431 600w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=261,187 261w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1000,718 1000w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=244,175 244w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1160,833 1160w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=132,95 132w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=56,40 56w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1200,861 1200w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=234,168 234w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=470,337 470w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=940,675 940w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=279,200 279w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=557,400 557w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1115,800 1115w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=209,150 209w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=418,300 418w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=836,600 836w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=150,108 150w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=110,79 110w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=285,205 285w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=320,230 320w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=640,459 640w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=800,574 800w, https://www.indiewire.com/wp-content/uploads/2024/07/The-Beast.jpg?resize=1280,919 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Courtesy Everett Collection </figcaption> </figure> <p>Compelling evidence that every major arthouse director should be required to make their own “Cloud Atlas” before they die, Bertrand Bonello’s sweeping, romantic, and ravishingly strange “The Beast” finds the French director broadening — and in some cases challenging — the core obsessions of his previous films into a sci-fi epic about the fear of falling in love. </p> <p>Split into three lightly intercut parts that trace the connection between two star-crossed souls (embodied by Léa Seydoux and George MacKay) from 1910 to 2044, Bonello’s latest and most accessible movie begins by literalizing the same basic premise that has undergirded previous work like “House of Tolerance” and “Zombi Child”: The past is always present (a dialectic explored here with the help of a machine that encourages people to purify their DNA by purging themselves of any emotion left over from their past lives). </p> <p>The genre elements at play here allow Bonello to take for granted what his earlier films had to earn, and “The Beast” makes the most of that head start by knotting its overlapping temporalities into a story that’s suspended between the baggage we have from yesterday and the anxiety we have for tomorrow. As its title might imply, “The Beast” is a fairy tale of sorts — one whose moral instructs us to live in the moment, lest we not live at all. <em>—DE</em></p> <p><em><a href="https://www.indiewire.com/criticism/movies/the-beast-review-lea-seydoux-george-mackay-1234902052/">Read IndieWire’s full review.</a></em></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>2. “No Other Land,” dirs. Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="169" src="https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?w=300" class="attachment-medium size-medium" alt="" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg 1065w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=300,169 300w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=1024,577 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=178,100 178w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=600,338 600w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=125,70 125w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=660,370 660w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=1000,563 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=244,137 244w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=169,95 169w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=71,40 71w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=298,168 298w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=598,337 598w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=266,150 266w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=533,300 533w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=150,85 150w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=110,62 110w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=285,161 285w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=320,180 320w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=640,361 640w, https://www.indiewire.com/wp-content/uploads/2024/12/202409761_1-1.jpeg?resize=800,451 800w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Basel Adra </figcaption> </figure> <p>Born in the small Palestinian community of Masafer Yatta, 28-year-old Basel Adra has never known a life that wasn’t under threat of forced removal — or worse. But the freshness of his memory can also be attributed to the fact that Adra has never known a life that wasn’t being documented for his own protection. The most dehumanizing episodes of his existence have all been captured on camera by his family and their fellow villagers, the footage preserved and shared in the hopes that the world might witness their suffering and prevail upon Israel to let Palestinians live in peace (“I started filming when we started to end,” Adra intones, perhaps repeating the same words his father said the first time he picked up his own camera).</p> <p>Against all odds, that hope continues to persevere — not only among the survivors of Masafer Yatta, but also through “No Other Land,” the lucidly enraging documentary that Adra has co-directed about Israel’s decades-long attempt to erase them from the earth as completely as it erased them from its maps. The first major film about the occupation of Palestine since the start of the Israel-Hamas war in October of last year, this intimate and harrowing portrait of endurance is all the more powerful for its focus on the decades of colonial degradation that paved the way for the current nightmare.</p> <p>Eligible for a spot on this list thanks to the film’s brief qualifying run at a single New York City theater, “No Other Land” is still without permanent U.S. distribution. There’s a profound shame in that, but also a rea; sadness as well. Witnessing is the most effective defense people have against occupation, as occupiers — like all thieves — wilt in the face of being watched. The footage is out there, and it’s rarely or never been assembled into a more concise, powerful, and damning argument than it is here. Now it only needs to be seen. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/no-other-land-review-israel-palestine-1234956485/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> <li class="pmc-fallback-list-item-wrap lrv-u-margin-b-2"> <article class="pmc-fallback-list-item lrv-u-margin-lr-auto lrv-u-max-width-500"> <h2>1. “Nickel Boys,” dir. RaMell Ross</h2> <figure class="lrv-u-margin-t-050"> <img loading="lazy" decoding="async" width="300" height="183" src="https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?w=300" class="attachment-medium size-medium" alt="'Nickel Boys'" srcset="https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg 2460w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=300,183 300w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1024,626 1024w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1536,938 1536w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=2048,1251 2048w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=164,100 164w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=600,367 600w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1000,611 1000w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=244,149 244w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1160,709 1160w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=155,95 155w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=65,40 65w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1200,733 1200w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=275,168 275w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=552,337 552w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1105,675 1105w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=246,150 246w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=491,300 491w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=982,600 982w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=150,92 150w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=110,67 110w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=285,174 285w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=320,196 320w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=640,391 640w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=800,489 800w, https://www.indiewire.com/wp-content/uploads/2024/12/Nickel-Boys.jpeg?resize=1280,782 1280w" sizes="(max-width: 300px) 100vw, 300px" /> <figcaption> Image Credit: Amazon MGM Studios </figcaption> </figure> <p>A leaf twirls through a pair of fingers. A deck of playing cards is bridged together in extreme close-up. A dry-cleaned suit hangs out the window of a parked car like it’s waiting for its body to come back. A boy named Elwood studies his reflection in his grandmother’s steaming iron, and later in the window display of the local Tallahassee electronic shop whose TVs are broadcasting a speech by Martin Luther King, Jr. The year is 1962, Jim Crow laws are still in full effect across the South, and young Elwood Curtis (Ethan Herisse) can’t help but see himself in the world around him — he can’t help but think he can change it. </p> <p>In the news, Elwood sees men shooting themselves into outer space. At home, Elwood sees his defiantly ebullient Nana (Aunjanue Ellis-Taylor) dance around the kitchen as if nothing here on Earth could take the song out of her step. At school, Elwood sees pencils stuck in the ceiling of his classroom, where his teacher has the students cross out the most damaging lies from their history textbooks, and encourages Elwood to attend a free college for high-achieving Black kids. While hitchhiking there on the kindness of strangers, Elwood sees the man behind the wheel begin to panic when a cop pulls them over. The car was stolen. “Look down,” the driver tells him, but Elwood doesn’t. He needs to see this too. And that means we do as well, because in RaMell Ross’ faithful but visionary adaptation of Colson Whitehead’s “The Nickel Boys,” a novel about the bond that forms between two teenagers at a barbaric Florida reform school, the story is almost exclusively told through the eyes of its two lead characters. </p> <p>One still believes in America’s potential. The other is convinced that our country is already — and has always been — fulfilling the original promise of its cruelty. Ross’ formal approach (don’t call it a “conceit”) quite literally forces us to see both of their perspectives, but the epic banality of his pointillism denies any trace of didacticism between them. Pure sense and subjectivity in a way that evokes the same visual magic of Ross’ documentary work, “Nickel Boys” so viscerally and fundamentally centers the experience of its young Black characters that even the most racist brand of revisionist history could never hope to deny their truth. </p> <p>In its way, and in the context of a mainstream film that Amazon MGM Studios will release into hundreds or thousands of theaters across the United States, Ross’ aesthetic is as radical as Whitehead’s reimagining of the Underground Railroad as an actual train line. It’s also every inch as successful. Collaborating with the brilliant cinematographer Jomo Fray (“All Dirt Roads Taste of Salt”), who shares his prismatic attention to detail, Ross has devised an astoundingly effective way to express the relationship between how we see things and what we glean from them. The result is a rare testament to the transformative potential of cinematic adaptation (Ross co-wrote the script with Joslyn Barnes), and a staggeringly poignant reminder that America’s most enduring narratives are only subject to change when people are invited to look at them in a different light. “Nickel Boys” extends that invitation to the world with an open hand. It’s among the most extraordinary films of this young century. <em>—DE</em></p> <p><a href="https://www.indiewire.com/criticism/movies/nickel-boys-movie-review-1235042661/"><em>Read IndieWire’s full review.</em></a></p> </article> </li> </ul> </div> </div> </div></div><div class="_articleFooter_fls4s_1 _articleFooter_11kq4_1" data-component="article-footer"><div class="_menu_1n6g9_1 _menu_x8nii_1 " data-component="menu" data-collapsible="collapsed" data-accordionify="false" data-inline="true" data-theme="" data-has-menu-items="true" style=""><nav class="_inner_1n6g9_1 _inner_x8nii_1" aria-labelledby="" aria-label="" data-alias="menu__nav" tabIndex="" style=""><div class="_headingWrapper_1n6g9_1 _headingWrapper_x8nii_1"><div><div class='_text_y7yck_1 _text_1xmba_1' data-component='text' data-alias='menu__heading' data-alignment='' data-theme='menu-sm' data-transform='' data-truncate='' id='' >Read More:</div></div></div><ul class="" data-alias="menu__list" data-hidden="" style=""> <div 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data-transform='' data-truncate='' id='' data-text='saturday-night-live-week' >Saturday Night Live Week</div></div><div class='_text_y7yck_1 _text_1xmba_1' data-component='text' data-alias='card__card-title' data-alignment='' data-theme='card-title-secondary-sm' data-transform='' data-truncate='2' id='' ><a data-card-index='1' data-post-id='1235095227' href='https://www.indiewire.com/features/commentary/saturday-night-live-history-political-satire-1235095227/' target='_self'>How ‘Saturday Night Live’ Went from Mocking Politics to Shaping It in the Span of 50 Years</a></div></div></div></div> <div class="_card_1ptpv_1 _card_p1xct_1" data-post-id="1235093783" data-component="card" data-has-background="false" data-has-overlay="false" data-layout-size="xs" data-layout="sidebar" data-main-alignment="" data-main-spacing="s0" data-media-position="" ><div class="" data-alias="card__inner"><div class="" data-alias="card__aside"><figure class="_imageWrapper_n62wr_1 _imageWrapper_1m0la_1" data-component="image" data-alias="" data-ratio="oneByOne" data-round="false"><a href='https://www.indiewire.com/features/craft/tracker-locations-where-the-justin-hartley-series-shoots-1235093783/' title='' target='_self' rel='' data-card-index='2' data-post-id='1235093783' ><div class="_image_n62wr_1 " data-alias="image__inner-img"><img src="https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1" alt="“Springland” – As Colter helps a young woman locate her free-spirited sister, he digs deeper into how the sister’s last days may lead to a dark secret she unearthed in this tight-knit town, on the CBS Original series TRACKER, Sunday, Feb. 25 (9:00-10:00 PM, ET/PT) on the CBS Television Network, and streaming on Paramount+ (live and on demand for Paramount+ with SHOWTIME subscribers, or on demand for Paramount+ Essential subscribers the day after the episode airs)*. Pictured: Justin Hartley as Colton Shaw. Photo: Michael Courtney/CBS ©2023 CBS Broadcasting, Inc. All Rights Reserved." height="2000" width="3000" srcset="https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1 3000w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=300%2C200 300w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=1024%2C683 1024w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=1536%2C1024 1536w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=2048%2C1365 2048w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=150%2C100 150w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=600%2C400 600w, https://www.indiewire.com/wp-content/uploads/2025/02/2321114_1561b.jpg?w=3000&h=2000&crop=1&resize=281%2C187 281w, 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data-post-id='1235093783' href='https://www.indiewire.com/features/craft/tracker-locations-where-the-justin-hartley-series-shoots-1235093783/' target='_self'>Colter Shaw Goes on the Road Every Episode of ‘Tracker’ — Which Means Finding a Lot of Vancouver Locations</a></div></div></div></div> <div class="_card_1ptpv_1 _card_p1xct_1" data-post-id="1235095300" data-component="card" data-has-background="false" data-has-overlay="false" data-layout-size="xs" data-layout="sidebar" data-main-alignment="" data-main-spacing="s0" data-media-position="" ><div class="" data-alias="card__inner"><div class="" data-alias="card__aside"><figure class="_imageWrapper_n62wr_1 _imageWrapper_1m0la_1" data-component="image" data-alias="" data-ratio="oneByOne" data-round="false"><a href='https://www.indiewire.com/features/craft/2025-adg-lifetime-achievement-winners-interviews-1235095300/' title='' target='_self' rel='' data-card-index='3' data-post-id='1235095300' ><div class="_image_n62wr_1 " 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Brady Corbet","slug":"the-brutalist-3","description":"","image_credit":"A24","image_source_url":"","caption":"<p>It might seem too easy to observe that Brady Corbet’s “The Brutalist” — a 215-minute slab of a film that spans 30 years in the life of Hungarian-Jewish architect and Holocaust survivor László Tóth (Adrien Brody), who flees to America in the hopes of building a better future — has been constructed to embody the aesthetics of its title character. Shot in VistaVision and projected on 300lbs.’ worth of 70mm film stock, Corbet’s epic draws a perfectly self-evident connection between the weight of its raw material and that of the concrete monolith Tóth creates over the course of the story, and the same could be said of its minimalistic framing, its bone-deep aversion to nostalgia, and, most of all, the movie’s efforts to reveal the soul of its subject through the geometry of its design.<\/p>\n<p>But anyone familiar with Corbet’s previous features (“The Childhood of a Leader” and “Vox Lux”) will recognize that the seismic and shuddering obviousness of his style provides its own point. A deadly serious and fetishistically Euro-centric young auteur who’s fascinated by the cyclical relationship between trauma and culture, Corbet delights in the violent cause-and-effect of the 20th century, which shook the Earth off its axis in a way that invited people to reimagine it in their own image.<\/p>\n<p>Private lives were transmuted into public exteriors until it became impossible to ignore how we shape the world by moving through it, with personal experience revealed to be as inextricable from collective history as artists are from their work, as concrete is from a building, or — to put an even finer point on Corbet’s latest greatest (and least hostile) accomplishment to date — as immigrants are from America. László Tóth <em>is<\/em> “The Brutalist,” and “The Brutalist” is László Tóth. Both of them are brilliant, broken, and immense. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-brutalist-review-adrien-brody-1235042679\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":1,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/The-Brutalist.jpg?w=1280","width":1280,"height":720},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/The-Brutalist.jpg?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/The-Brutalist.jpg?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/The-Brutalist.jpg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/The-Brutalist.jpg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/The-Brutalist.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F1%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FThe-Brutalist.jpg%3Fw%3D650&description=%27The%20Brutalist%27","mime_type":"image\/jpeg","caption_no_shortcode":"<p>It might seem too easy to observe that Brady Corbet’s “The Brutalist” — a 215-minute slab of a film that spans 30 years in the life of Hungarian-Jewish architect and Holocaust survivor László Tóth (Adrien Brody), who flees to America in the hopes of building a better future — has been constructed to embody the aesthetics of its title character. 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In this case, that place is the small Chinese border city of Yanji during the depths of its endless winter, when people’s breath is as thick as the gray fumes that spew out of the factory smokestacks, and the snowy peak of Changbai Mountain looks closer to heaven than it does to Pyongyang. More than half a million people live there (many of them ethnic Koreans), but few of them seem to think of it as home. It’s as if they got stuck there on their way to somewhere else, and — in the wake of a pandemic that restricted travel and imperiled the economy — are still waiting to be defrosted. Still waiting for the warmth they need to become liquid again. <\/p>\n<p>The frigid soul of a “sad hot people” movie par excellence, Nana (an extraordinary Zhou Dongyu) has learned to fake the warmth she’s forgotten how to find in herself. By day she works as an effusively smiling tour guide who talks busloads of tourists through the same old spiel about local Yanji history, as if stuck in a time loop that only she can see. By night, Nana is a prickly ice queen who takes a cold degree of pleasure in rebuffing the handsome and rangy Han Xiao (“The Wandering Earth” star Qu Chuxiao), whose Korean-Chinese family runs the restaurant where Nana ends her tours. And then — as so often happens in life — a suicidal guy in a sweater vest shows up out of nowhere and changes the temperature for everyone. So begins one of the most vital love triangles in a year that had several to choose from. 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It’s a film about how youth is left to fester when it’s denied a future, and it vibrates with the leftover energy of people whose shared life force simply won’t let them <a href=\"https:\/\/en.wikipedia.org\/wiki\/Tang_ping\">lie flat and give up<\/a>. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-breaking-ice-review-1234865670\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid1\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid1' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid1","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235036643,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg","date":"2024-10-22 11:33:17","modified":"2024-12-02 15:49:42","alt":"GOOD ONE, Lily Collias, 2024. \u00a9 Metrograph Pictures \/ Courtesy Everett Collection","title":"23. “Good One,” dir. 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That leaves anxious divorcee Chris (character actor James Le Gros, feasting on a nuanced leading role), his avuncular best friend Matt (Danny McCarthy, <em>playing<\/em> a character actor who would kill for a part this good), and Chris’ queer 17-year-old daughter Sam (extraordinary newcomer Lily Collias), who dutifully comes along because she’s always seen it as her job to keep what little peace is left in her family. To not be a burden. To make her parents feel like they still know her, even if they’ve been too busy dealing with their own shit to recognize the young woman she’s in the process of becoming. By the time Sam and her two large adult chaperones make it back to their car in the final moments of this tender and knowing debut, that process will be painfully, rivetingly complete. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/good-one-review-india-donaldson-1234946846\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":3,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg?w=1280","width":1280,"height":720},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/MCDGOON_EC028.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F3%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F08%2FMCDGOON_EC028.jpg%3Fw%3D650&description=GOOD%20ONE%2C%20Lily%20Collias%2C%202024.%20%C2%A9%20Metrograph%20Pictures%20%2F%20Courtesy%20Everett%20Collection","mime_type":"image\/jpeg","caption_no_shortcode":"<p>A slight but sensitive and fantastically assured first feature that unfolds with the pointillistic detail of a great short story, India Donaldson’s “Good One” is a coming-of-age story that jettisons all of the genre’s most familiar trappings in favor of a long walk in the woods. <\/p>\n<p>There were supposed to be four people on the upstate New York camping trip, but one of the teens dropped out because he didn’t want to spend one of their last pre-college weekends sleeping in a polyester tent with his dad. That leaves anxious divorcee Chris (character actor James Le Gros, feasting on a nuanced leading role), his avuncular best friend Matt (Danny McCarthy, <em>playing<\/em> a character actor who would kill for a part this good), and Chris’ queer 17-year-old daughter Sam (extraordinary newcomer Lily Collias), who dutifully comes along because she’s always seen it as her job to keep what little peace is left in her family. To not be a burden. To make her parents feel like they still know her, even if they’ve been too busy dealing with their own shit to recognize the young woman she’s in the process of becoming. By the time Sam and her two large adult chaperones make it back to their car in the final moments of this tender and knowing debut, that process will be painfully, rivetingly complete. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/good-one-review-india-donaldson-1234946846\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-1\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid2\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid2' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid2","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235060536,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png","date":"2024-11-14 15:58:08","modified":"2024-12-02 15:49:42","alt":"'Juror #2'","title":"22. “Juror #2,” dir. Clint Eastwood","slug":"screen-shot-2024-10-28-at-1-25-29-am","description":"","image_credit":"Courtesy of Warner Bros.","image_source_url":"","caption":"<p>Buried by Warner Bros, but deeply and obviously worthy of its potential place in Clint Eastwood’s legacy, “Juror #2” is a throwback character study that typifies the kind of mid-budget hits that have kept the lights on at Warner Bros. for the last 50 years. <\/p>\n<p>Opening with broad strokes of patriotism that paint the American legal system in an infallible light, this tightly constructed legal thriller descends into a study of the ways that an imperfect system can be made even less perfect by the mortals tasked with running it. Yet it’s more interested in giving everyone the benefit of the doubt than casting blame on any individual person or group. Even in the film’s darkest moments, Eastwood and screenwriter Jonathan Abrams beg us to consider the possibility that our enemies are doing their best to get through the day without veering too far from their own definition of a good person, only to remind us how short of those ideals we’re each capable of falling. “Juror #2” argues that nobody should be defined by their mistakes, but we can’t move on from them without admitting to ourselves that we’ll never be fully liberated from our pasts. And if this really is the last movie of Eastwood’s career, boy does it ever end on the perfect note to cap off his body of work. <em>—CZ<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/juror-2-review-clint-eastwood-1235060535\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":4,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=1280","width":1280,"height":709},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=1024","width":1024,"height":567},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=800","width":800,"height":443},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=640","width":640,"height":354},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=320","width":320,"height":177},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/10\/Screen-Shot-2024-10-28-at-1.25.29-AM.png?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":360,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F4%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F10%2FScreen-Shot-2024-10-28-at-1.25.29-AM.png%3Fw%3D650&description=%27Juror%20%232%27","mime_type":"image\/png","caption_no_shortcode":"<p>Buried by Warner Bros, but deeply and obviously worthy of its potential place in Clint Eastwood’s legacy, “Juror #2” is a throwback character study that typifies the kind of mid-budget hits that have kept the lights on at Warner Bros. for the last 50 years. <\/p>\n<p>Opening with broad strokes of patriotism that paint the American legal system in an infallible light, this tightly constructed legal thriller descends into a study of the ways that an imperfect system can be made even less perfect by the mortals tasked with running it. Yet it’s more interested in giving everyone the benefit of the doubt than casting blame on any individual person or group. Even in the film’s darkest moments, Eastwood and screenwriter Jonathan Abrams beg us to consider the possibility that our enemies are doing their best to get through the day without veering too far from their own definition of a good person, only to remind us how short of those ideals we’re each capable of falling. “Juror #2” argues that nobody should be defined by their mistakes, but we can’t move on from them without admitting to ourselves that we’ll never be fully liberated from our pasts. And if this really is the last movie of Eastwood’s career, boy does it ever end on the perfect note to cap off his body of work. <em>—CZ<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/juror-2-review-clint-eastwood-1235060535\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-2\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid3\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid3' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid3","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071593,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg","date":"2024-12-02 12:10:13","modified":"2024-12-02 15:49:42","alt":"Hard Truths","title":"21. “Hard Truths,” dir. Mike Leigh","slug":"hardtruths-homepagebg-3840x1754","description":"","image_credit":"Bleecker Street","image_source_url":"","caption":"<p>In 2008, Mike Leigh made a movie called “Happy-Go-Lucky,” in which Sally Hawkins played a school teacher named Poppy who was so irrepressibly buoyant and upbeat that her joy seemed like a taunting provocation to the discontent of the world around her. Sixteen years later, the filmmaker returns to similar territory with “Hard Truths,” a searing but indivisibly empathetic drama about a British Jamaican woman so wretched that it might as well be called “Misery-Go-Fuck-Yourself.” <\/p>\n<p>As played by an absolutely titanic Marianne Jean-Baptiste, Pansy might be the single most vituperatively unpleasant character the movies have ever produced. It would be impossible to overstate the raw spectacle of watching Pansy make her way through the world; a spectacle that Leigh exaggerates further by confining the character to a modest little film that’s only a touch bigger than the working class London home she “shares” with her husband Curtley (David Webber) and their stunted 22-year-old son Moses (Tuwaine Barrett). <a href=\"https:\/\/www.vanityfair.com\/hollywood\/story\/its-a-terrifying-and-freeing-way-to-work-marianne-jean-baptiste-on-making-mike-leighs-hard-truths\">Jean-Baptiste has stressed<\/a> the importance of telling stories in which Black families aren’t framed in response to external forces, but the call is no less difficult to answer when it’s coming from inside the house. And while Pansy is obviously troubled (by afflictions both explained and not), her loved ones don’t have the heart to treat her like a problem, as doing so would threaten to betray their unspoken pledge to suffer each other in the face of an insufferable world. <\/p>\n<p>Per its title, “Hard Truths” doesn’t go in for easy fixes, and the film seems to end in much the same place as it starts. But it doesn’t. Not quite. The earth might quake wherever Pansy goes, but the film’s real power is in watching her family hold on to the shared history that she threatens to uproot. “I love you,” Chantelle tells her. “I don’t understand you, but I love you.” It’s a message that Leigh has been trying to convey to his characters for more than 40 years, and one that has seldom been so natural to accept for ourselves. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/hard-truths-review-mike-leigh-marianne-jean-baptiste-1235044173\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n<p> <\/p>\n","position":5,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg?w=1280","width":1280,"height":712},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg?w=1024","width":1024,"height":569},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg?w=800","width":800,"height":445},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg?w=640","width":640,"height":356},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg?w=320","width":320,"height":178},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/hardTruths-HomepageBG-3840X1754.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":361,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F5%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FhardTruths-HomepageBG-3840X1754.jpg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>In 2008, Mike Leigh made a movie called “Happy-Go-Lucky,” in which Sally Hawkins played a school teacher named Poppy who was so irrepressibly buoyant and upbeat that her joy seemed like a taunting provocation to the discontent of the world around her. Sixteen years later, the filmmaker returns to similar territory with “Hard Truths,” a searing but indivisibly empathetic drama about a British Jamaican woman so wretched that it might as well be called “Misery-Go-Fuck-Yourself.” <\/p>\n<p>As played by an absolutely titanic Marianne Jean-Baptiste, Pansy might be the single most vituperatively unpleasant character the movies have ever produced. It would be impossible to overstate the raw spectacle of watching Pansy make her way through the world; a spectacle that Leigh exaggerates further by confining the character to a modest little film that’s only a touch bigger than the working class London home she “shares” with her husband Curtley (David Webber) and their stunted 22-year-old son Moses (Tuwaine Barrett). <a href=\"https:\/\/www.vanityfair.com\/hollywood\/story\/its-a-terrifying-and-freeing-way-to-work-marianne-jean-baptiste-on-making-mike-leighs-hard-truths\">Jean-Baptiste has stressed<\/a> the importance of telling stories in which Black families aren’t framed in response to external forces, but the call is no less difficult to answer when it’s coming from inside the house. And while Pansy is obviously troubled (by afflictions both explained and not), her loved ones don’t have the heart to treat her like a problem, as doing so would threaten to betray their unspoken pledge to suffer each other in the face of an insufferable world. <\/p>\n<p>Per its title, “Hard Truths” doesn’t go in for easy fixes, and the film seems to end in much the same place as it starts. But it doesn’t. Not quite. The earth might quake wherever Pansy goes, but the film’s real power is in watching her family hold on to the shared history that she threatens to uproot. “I love you,” Chantelle tells her. “I don’t understand you, but I love you.” It’s a message that Leigh has been trying to convey to his characters for more than 40 years, and one that has seldom been so natural to accept for ourselves. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/hard-truths-review-mike-leigh-marianne-jean-baptiste-1235044173\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n<p> <\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-3\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid4\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid4' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid4","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235037167,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png","date":"2024-10-22 11:29:14","modified":"2024-12-02 15:49:43","alt":"'Daughters'","title":"20. “Daughters,” dirs. Angela Patton and Natalie Rae","slug":"daughters_00_58_46_19","description":"","image_credit":"Courtesy of Netflix","image_source_url":"","caption":"<p>An enormously moving documentary made all the more effective by co-directors Angela Patton and Natalie Rae’s steadfast refusal to settle for easy sentiment in the face of difficult outcomes, “Daughters” has as much ugly-cry potential as any film in recent memory. But the most lasting power of this film about a unique father-daughter dance for D.C.-area Black girls whose fathers are in jail comes in a final act that wipes those tears away to examine the hurt they leave behind. <\/p>\n<p>Like Garrett Bradley’s similarly lilting and delicate “Time” before it, “Daughters” conveys the destructive inhumanity of America’s prison system by pointing our attention toward its collateral victims: in this case, the children denied a meaningful relationship with their dads. “Daughters” doesn’t absolve the inmates of their role in that process, but it also doesn’t tell us what they’ve done to deserve their sentences. What would the specifics of Keith Smith’s crimes matter to his impossibly cute five-year-old daughter Aubrey, who practices math by counting the weeks until she can see her father again? <\/p>\n<p>That rhetorical question begs several more: What incentive or hope do prisoners have for rehabilitation if even the most determined among them is severed from their families? How can they stay in their loved ones’ lives if they can’t afford regular phone calls home? How can they help raise their children if they aren’t even allowed to touch them? The architects of our carceral state would have you believe that such cruel restrictions are fitting consequences for criminal actions. But “Daughters” — much like the Date with Dad program itself, which Patton founded as an offshoot of another empowerment program she runs for young Black girls — flips that logic against a system that sees broken families as more of a feature than a bug. This film is founded upon a self-evident idea that it reaffirms with heart-wrenching honesty at every turn: Allowing families to remain intact even when they’re separated behind bars isn’t some kind of charity, but rather a necessary step toward ending the same cycle of crime and punishment that our prisons do everything in their power to keep in place. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/daughters-review-documentary-1234948446\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":6,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png?w=1280","width":1280,"height":720},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/08\/Daughters_00_58_46_19.png?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F6%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F08%2FDaughters_00_58_46_19.png%3Fw%3D650&description=%27Daughters%27","mime_type":"image\/png","caption_no_shortcode":"<p>An enormously moving documentary made all the more effective by co-directors Angela Patton and Natalie Rae’s steadfast refusal to settle for easy sentiment in the face of difficult outcomes, “Daughters” has as much ugly-cry potential as any film in recent memory. But the most lasting power of this film about a unique father-daughter dance for D.C.-area Black girls whose fathers are in jail comes in a final act that wipes those tears away to examine the hurt they leave behind. <\/p>\n<p>Like Garrett Bradley’s similarly lilting and delicate “Time” before it, “Daughters” conveys the destructive inhumanity of America’s prison system by pointing our attention toward its collateral victims: in this case, the children denied a meaningful relationship with their dads. “Daughters” doesn’t absolve the inmates of their role in that process, but it also doesn’t tell us what they’ve done to deserve their sentences. What would the specifics of Keith Smith’s crimes matter to his impossibly cute five-year-old daughter Aubrey, who practices math by counting the weeks until she can see her father again? <\/p>\n<p>That rhetorical question begs several more: What incentive or hope do prisoners have for rehabilitation if even the most determined among them is severed from their families? How can they stay in their loved ones’ lives if they can’t afford regular phone calls home? How can they help raise their children if they aren’t even allowed to touch them? The architects of our carceral state would have you believe that such cruel restrictions are fitting consequences for criminal actions. But “Daughters” — much like the Date with Dad program itself, which Patton founded as an offshoot of another empowerment program she runs for young Black girls — flips that logic against a system that sees broken families as more of a feature than a bug. This film is founded upon a self-evident idea that it reaffirms with heart-wrenching honesty at every turn: Allowing families to remain intact even when they’re separated behind bars isn’t some kind of charity, but rather a necessary step toward ending the same cycle of crime and punishment that our prisons do everything in their power to keep in place. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/daughters-review-documentary-1234948446\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-4\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid5\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid5' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid5","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235020262,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg","date":"2024-10-22 11:29:14","modified":"2024-12-02 15:49:43","alt":"'Close Your Eyes'","title":"19. “Close Your Eyes,” dir. Victor Erice","slug":"close_your_eyes___jos__coronado__as_julio_arenas___dsc2754_copy","description":"","image_credit":"Film Movement","image_source_url":"","caption":"<p>Spanish filmmaker Victor Erice has only made three films since debuting with his extraordinary “The Spirit of the Beehive” in 1973, and while all of them have argued for — and served to remind audiences of — cinema’s unique power as a medium, none have done so more powerfully or more plaintively than “Close Your Eyes.” Erice’s latest stunner tells the story of a retired director who becomes re-obsessed with the unfinished movie that ruined his career, and determines to solve the mystery of why his lead actor disappeared in the middle of the shoot. From that simple premise Erice unravels the most nakedly personal film he’s ever made. At times, it feels like the <em>only <\/em>film he’s ever made. Or maybe all of them at once. <\/p>\n<p>Sedate but ultimately shattering by dint of its simplicity (and its absolute slam-dunk of a final scene), “Close Your Eyes” is neither an autobiographical cine-memoir à la “The Fabelmans” nor a teary-eyed tribute to the magic of the movies in the vein of “Cinema Paradiso.” Yet, as if by accident and divine purpose all at once, it also manages to become both of those things by the end. Set at the dawn of the streaming age and shot with the funereal sterility that came with it, “Close Your Eyes” openly laments the loss of a more tactile film experience (the kind that included actual film), but only so that it can honor the way certain images take root inside us when seen under the right circumstances.<\/p>\n<p>As he nears the end of a career that has always been fascinated by the liminal space between artifice and reality, however, Erice is somehow able to fulfill cinema’s miraculous promise as a vehicle of eternal return; as a magic trick capable of keeping the past alive long after it’s already died within us. The movies <em>are<\/em> real, “Close Your Eyes” insists with the intensity of an old master seizing what might be his last chance to say it. How much of ourselves will we lose if we forget how to project them properly? <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/close-your-eyes-review-victor-erice-1234914723\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":7,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=1280","width":1280,"height":792},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=1024","width":1024,"height":634},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=800","width":800,"height":495},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=640","width":640,"height":396},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=320","width":320,"height":198},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/06\/CLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":402,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F7%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F06%2FCLOSE_YOUR_EYES___Jos__Coronado__as_Julio_Arenas___DSC2754_copy.jpg%3Fw%3D650&description=%27Close%20Your%20Eyes%27%20","mime_type":"image\/jpeg","caption_no_shortcode":"<p>Spanish filmmaker Victor Erice has only made three films since debuting with his extraordinary “The Spirit of the Beehive” in 1973, and while all of them have argued for — and served to remind audiences of — cinema’s unique power as a medium, none have done so more powerfully or more plaintively than “Close Your Eyes.” Erice’s latest stunner tells the story of a retired director who becomes re-obsessed with the unfinished movie that ruined his career, and determines to solve the mystery of why his lead actor disappeared in the middle of the shoot. From that simple premise Erice unravels the most nakedly personal film he’s ever made. At times, it feels like the <em>only <\/em>film he’s ever made. Or maybe all of them at once. <\/p>\n<p>Sedate but ultimately shattering by dint of its simplicity (and its absolute slam-dunk of a final scene), “Close Your Eyes” is neither an autobiographical cine-memoir à la “The Fabelmans” nor a teary-eyed tribute to the magic of the movies in the vein of “Cinema Paradiso.” Yet, as if by accident and divine purpose all at once, it also manages to become both of those things by the end. Set at the dawn of the streaming age and shot with the funereal sterility that came with it, “Close Your Eyes” openly laments the loss of a more tactile film experience (the kind that included actual film), but only so that it can honor the way certain images take root inside us when seen under the right circumstances.<\/p>\n<p>As he nears the end of a career that has always been fascinated by the liminal space between artifice and reality, however, Erice is somehow able to fulfill cinema’s miraculous promise as a vehicle of eternal return; as a magic trick capable of keeping the past alive long after it’s already died within us. The movies <em>are<\/em> real, “Close Your Eyes” insists with the intensity of an old master seizing what might be his last chance to say it. How much of ourselves will we lose if we forget how to project them properly? <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/close-your-eyes-review-victor-erice-1234914723\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-5\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid6\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid6' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid6","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071617,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg","date":"2024-12-02 12:56:49","modified":"2024-12-02 15:49:43","alt":"Queer","title":"18. “Queer,” dir. Luca Guadagnino","slug":"queer-7","description":"","image_credit":"A24","image_source_url":"","caption":"<p>As an adaptation of “Junkie” author William S. Burroughs’ second novel, “Queer” is about chemical addictions, yes. But it’s even more about being so addicted to a person that, no matter how much you turn yourself inside out trying to get them to love you — charming them with your literary voice, lathering yourself into a stupor on drugs, or even going to the far reaches of a jungle — they will never love you the way you want them to, and even telepathy couldn’t help explain to you why.<\/p>\n<p>Luca Guadagnino’s profound and kaleidoscopic new film begins in a post-World War II Mexico City of the mind and ends in the Ecuadorian rainforest on an ayahuasca trip that’s part Apichatpong Weerasethakul, part “2001: A Space Odyssey,” but fully the “Call Me By Your Name” director’s own strange, sui generis creation. All sweaty, raw, self-lacerating, and debauched, William Lee (Daniel Craig) is an ex-pat who wanders from bar to bar in the Mexican capital in the 1940s, here recreated at Rome’s Cinecittà Studios with the rigorous detail, scope and strangeness of the warehouse mindscape in Charlie Kaufman’s “Synecdoche, New York.'”<\/p>\n<p>“How can a man who sees and feels be other than sad?” Burroughs asked himself in his last diary entry before his death of a heart attack at age 83. That he made it that long is a wonder, but those words prove telling for this extraordinary film: Even more than “Call Me By Your Name,” “Queer” pulses with the melancholy that comes with seeing and feeling too much, of a mind-altering love that reconfigures your entire sense of selfhood. <em>—RL<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/queer-review-luca-guadagnino-daniel-craig-1235043068\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":8,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg?w=1200","width":1200,"height":675},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Queer.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F8%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FQueer.jpeg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>As an adaptation of “Junkie” author William S. Burroughs’ second novel, “Queer” is about chemical addictions, yes. But it’s even more about being so addicted to a person that, no matter how much you turn yourself inside out trying to get them to love you — charming them with your literary voice, lathering yourself into a stupor on drugs, or even going to the far reaches of a jungle — they will never love you the way you want them to, and even telepathy couldn’t help explain to you why.<\/p>\n<p>Luca Guadagnino’s profound and kaleidoscopic new film begins in a post-World War II Mexico City of the mind and ends in the Ecuadorian rainforest on an ayahuasca trip that’s part Apichatpong Weerasethakul, part “2001: A Space Odyssey,” but fully the “Call Me By Your Name” director’s own strange, sui generis creation. All sweaty, raw, self-lacerating, and debauched, William Lee (Daniel Craig) is an ex-pat who wanders from bar to bar in the Mexican capital in the 1940s, here recreated at Rome’s Cinecittà Studios with the rigorous detail, scope and strangeness of the warehouse mindscape in Charlie Kaufman’s “Synecdoche, New York.'”<\/p>\n<p>“How can a man who sees and feels be other than sad?” Burroughs asked himself in his last diary entry before his death of a heart attack at age 83. That he made it that long is a wonder, but those words prove telling for this extraordinary film: Even more than “Call Me By Your Name,” “Queer” pulses with the melancholy that comes with seeing and feeling too much, of a mind-altering love that reconfigures your entire sense of selfhood. <em>—RL<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/queer-review-luca-guadagnino-daniel-craig-1235043068\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-6\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid7\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid7' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid7","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071638,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg","date":"2024-12-02 13:17:32","modified":"2024-12-02 15:49:43","alt":"Dahomey","title":"17. “Dahomey,” dir. Mati Diop","slug":"202414781_1-1","description":"","image_credit":"MUBI","image_source_url":"","caption":"<p>When Europe’s great powers raced to colonize a continent in the so-called “Scramble for Africa” just before the First World War, the tiny coastal Kingdom of Dahomey in the south of modern-day Benin was high on France’s shopping list. Only 85 French soldiers were killed when it was taken in 1894, while as many as 4,000 Dahomeans lost their lives. Nearly 300 years of culture and history were extinguished, and thousands of the nation’s most valuable treasures shipped to Paris.<\/p>\n<p>Running just 67 minutes long, this dense and remarkable documentary isn’t about the theft itself, but rather the 2021 return of 26 Dahomean treasures to Benin from the Musée du Quai Branly in Paris — a journey that director Mati Diop brings to life with new urgency by restoring these statues their stolen voices. They speak in monologues written by the Haitian author Makenzy Orcel, the artifacts reflecting on their trip home with a mix of pride, horror, and confusion between long scenes in which modern university students debate the meaning of their country’s pilfered heirlooms. The artifacts may be a living expression of Benin’s past, but this memorably bold meditation on history is all the more powerful for how it puts them into conversation with the present. <em>—AS<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/dahomey-review-mati-diop-1234954949\/#:~:text=Parts%20of%20it%20are%20so,go%20at%20a%20snail's%20pace.\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":9,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg?w=1280","width":1280,"height":721},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg?w=1024","width":1024,"height":577},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg?w=800","width":800,"height":451},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202414781_1-1.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F9%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2F202414781_1-1.jpeg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>When Europe’s great powers raced to colonize a continent in the so-called “Scramble for Africa” just before the First World War, the tiny coastal Kingdom of Dahomey in the south of modern-day Benin was high on France’s shopping list. Only 85 French soldiers were killed when it was taken in 1894, while as many as 4,000 Dahomeans lost their lives. Nearly 300 years of culture and history were extinguished, and thousands of the nation’s most valuable treasures shipped to Paris.<\/p>\n<p>Running just 67 minutes long, this dense and remarkable documentary isn’t about the theft itself, but rather the 2021 return of 26 Dahomean treasures to Benin from the Musée du Quai Branly in Paris — a journey that director Mati Diop brings to life with new urgency by restoring these statues their stolen voices. They speak in monologues written by the Haitian author Makenzy Orcel, the artifacts reflecting on their trip home with a mix of pride, horror, and confusion between long scenes in which modern university students debate the meaning of their country’s pilfered heirlooms. The artifacts may be a living expression of Benin’s past, but this memorably bold meditation on history is all the more powerful for how it puts them into conversation with the present. <em>—AS<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/dahomey-review-mati-diop-1234954949\/#:~:text=Parts%20of%20it%20are%20so,go%20at%20a%20snail's%20pace.\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-7\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid8\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid8' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid8","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071643,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg","date":"2024-12-02 13:19:39","modified":"2024-12-02 23:08:14","alt":"Lily-Rose Depp in Nosferatu","title":"16. “Nosferatu,” dir. Robert Eggers","slug":"nosferatu-16","description":"","image_credit":"Focus Features","image_source_url":"","caption":"<p>Modern in its perspective yet fetishistically accurate to its time, Robert Eggers’ horny-as-hell but highly repressed “Nosferatu” is nothing if not the version of this story you would expect him to make. Like “The Witch” before it, the film renders sin with a puritanical sense of mortal danger. Like “The Northman,” this ultra-sincere “Nosferatu” is a stylized fable that shirks off the simplicity of its plot with a visceral physicality. Like “The Lighthouse,” it features a deliriously happy Willem Dafoe as a pipe-smoking kook who says things like “The night demon has supped your good wife’s blood” with the enthusiasm of a character all too happy to have that chance. And like all of Eggers’ films, of which “Nosferatu” is the richest and most fully realized, it draws a spellbinding power from the friction it finds between historical social mores and the eternal human thirsts they exist to keep in check. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/nosferatu-review-robert-eggers-lily-rose-depp-1235071494\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":10,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg?w=1280","width":1280,"height":720},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nosferatu.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F10%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FNosferatu.jpg%3Fw%3D650&description=Nosferatu","mime_type":"image\/jpeg","caption_no_shortcode":"<p>Modern in its perspective yet fetishistically accurate to its time, Robert Eggers’ horny-as-hell but highly repressed “Nosferatu” is nothing if not the version of this story you would expect him to make. Like “The Witch” before it, the film renders sin with a puritanical sense of mortal danger. Like “The Northman,” this ultra-sincere “Nosferatu” is a stylized fable that shirks off the simplicity of its plot with a visceral physicality. Like “The Lighthouse,” it features a deliriously happy Willem Dafoe as a pipe-smoking kook who says things like “The night demon has supped your good wife’s blood” with the enthusiasm of a character all too happy to have that chance. And like all of Eggers’ films, of which “Nosferatu” is the richest and most fully realized, it draws a spellbinding power from the friction it finds between historical social mores and the eternal human thirsts they exist to keep in check. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/nosferatu-review-robert-eggers-lily-rose-depp-1235071494\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-8\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid9\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid9' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid9","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071649,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg","date":"2024-12-02 13:25:55","modified":"2024-12-02 15:49:43","alt":"Between the Temples","title":"15. “Between the Temples,” dir. Nathan Silver","slug":"between_the_temples-still1-large","description":"","image_credit":"Sony Pictures Classics","image_source_url":"","caption":"<p>There is a lot of joy in the Jewish tradition (most of which stems from the shared recognition that it’s somehow managed to survive), but happiness… well, there’s a feeling that <em>happiness<\/em> might be for other people. God didn’t choose us for <em>that<\/em>. If we had happiness, it wouldn’t be happiness. At the same time, however, we can’t help but want all the bliss in the world for our loved ones, even if I fear we might lose our ability to recognize them if they actually managed to find it. <\/p>\n<p>No film this side of “A Serious Man” has confronted that specific fear as directly as Nathan Silver’s “Between the Temples,” a spiky, hilarious, and thoroughly unorthodox screwball comedy about a grief-stricken cantor (a note-perfect Jason Schwartzman) who loses his voice, only to find that he’s surrounded by a chorus of well-intentioned people who are happy to speak for him — most crucially, his grade school music teacher, Carla (Carol Kane). Its punny title pointing towards the kind of latitude that Ben and Carla are begging for in order to find their bliss, “Between the Temples” ultimately isn’t sure if happiness is viable in the long-term. But in focusing less on the happiness we imagine for other people than on the happiness we get to share with them instead, its characters find enough joy in each other to make being alive feel like its own eternal reward. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/between-the-temples-review-jason-schwartzman-1234945489\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":11,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg?w=1280","width":1280,"height":721},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg?w=1024","width":1024,"height":577},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg?w=800","width":800,"height":451},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg?w=640","width":640,"height":361},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Between_the_Temples-Still1-Large.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F11%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FBetween_the_Temples-Still1-Large.jpeg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>There is a lot of joy in the Jewish tradition (most of which stems from the shared recognition that it’s somehow managed to survive), but happiness… well, there’s a feeling that <em>happiness<\/em> might be for other people. God didn’t choose us for <em>that<\/em>. If we had happiness, it wouldn’t be happiness. At the same time, however, we can’t help but want all the bliss in the world for our loved ones, even if I fear we might lose our ability to recognize them if they actually managed to find it. <\/p>\n<p>No film this side of “A Serious Man” has confronted that specific fear as directly as Nathan Silver’s “Between the Temples,” a spiky, hilarious, and thoroughly unorthodox screwball comedy about a grief-stricken cantor (a note-perfect Jason Schwartzman) who loses his voice, only to find that he’s surrounded by a chorus of well-intentioned people who are happy to speak for him — most crucially, his grade school music teacher, Carla (Carol Kane). Its punny title pointing towards the kind of latitude that Ben and Carla are begging for in order to find their bliss, “Between the Temples” ultimately isn’t sure if happiness is viable in the long-term. But in focusing less on the happiness we imagine for other people than on the happiness we get to share with them instead, its characters find enough joy in each other to make being alive feel like its own eternal reward. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/between-the-temples-review-jason-schwartzman-1234945489\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-9\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid10\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid10' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid10","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235023173,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg","date":"2024-07-05 13:52:55","modified":"2024-12-02 23:08:21","alt":"CHALLENGERS, from left: Mike Faist, Zendaya, Josh O'Connor, 2024. \u00a9 MGM \/Courtesy Everett Collection","title":"14. “Challengers,” dir. Luca Guadagnino","slug":"mcdchal-mg009","description":"","image_credit":"Amazon MGM Studios","image_source_url":"","caption":"<p>A transcendently sweaty tennis love triangle so turned on by the heat of competition that its sex scenes feel like foreplay and its rallies feel like porn, Luca Guadagnino’s “Challengers” is so much more than just the horniest story ever set in New Rochelle, which is where this movie’s three main characters — two archrivals and the beautiful former player between them — all happen to cross paths during the final match of a dingy U.S. Open qualifier that’s sponsored by a local tire store. They’ve been fucking each other on and off the court for more than a decade by the time “Challengers” unleashes its first serve, and yet, despite winning on every level of their chosen sport, these long-limbed athletes have lost their lust for life at some point along the way. At this point, their lust for each other might be the only force on Earth powerful enough to get their heads back in the game. <\/p>\n<p>That might sound like the set-up for a relatively straightforward — if refreshingly bi-curious — romantic comedy, but “Challengers” is a far cry from “Wimbledon,” and Guadagnino couldn’t give less of a shit about who comes out on top at the end. On the contrary, the “Call Me by Your Name” director was likely turned on by the sensual backspin of Justin Kuritzkes’ script, which subverts the typical stakes of each match in order to focus on the animating thrill of wanting something with every flooded sweat gland on your body. Watching Zendaya’s Tashi Donaldson get exactly that was one of the most thrilling things we saw this year. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/challengers-movie-review-zendaya-1234973713\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":12,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg?w=1280","width":1280,"height":662},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg?w=1024","width":1024,"height":529},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg?w=800","width":800,"height":414},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg?w=640","width":640,"height":331},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg?w=320","width":320,"height":165},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Challengers.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":336,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F12%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F07%2FChallengers.jpg%3Fw%3D650&description=CHALLENGERS%2C%20from%20left%3A%20Mike%20Faist%2C%20Zendaya%2C%20Josh%20O%27Connor%2C%202024.%20%C2%A9%20MGM%20%2FCourtesy%20Everett%20Collection","mime_type":"image\/jpeg","caption_no_shortcode":"<p>A transcendently sweaty tennis love triangle so turned on by the heat of competition that its sex scenes feel like foreplay and its rallies feel like porn, Luca Guadagnino’s “Challengers” is so much more than just the horniest story ever set in New Rochelle, which is where this movie’s three main characters — two archrivals and the beautiful former player between them — all happen to cross paths during the final match of a dingy U.S. Open qualifier that’s sponsored by a local tire store. They’ve been fucking each other on and off the court for more than a decade by the time “Challengers” unleashes its first serve, and yet, despite winning on every level of their chosen sport, these long-limbed athletes have lost their lust for life at some point along the way. At this point, their lust for each other might be the only force on Earth powerful enough to get their heads back in the game. <\/p>\n<p>That might sound like the set-up for a relatively straightforward — if refreshingly bi-curious — romantic comedy, but “Challengers” is a far cry from “Wimbledon,” and Guadagnino couldn’t give less of a shit about who comes out on top at the end. On the contrary, the “Call Me by Your Name” director was likely turned on by the sensual backspin of Justin Kuritzkes’ script, which subverts the typical stakes of each match in order to focus on the animating thrill of wanting something with every flooded sweat gland on your body. Watching Zendaya’s Tashi Donaldson get exactly that was one of the most thrilling things we saw this year. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/challengers-movie-review-zendaya-1234973713\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-10\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid11\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid11' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid11","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071657,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg","date":"2024-12-02 13:39:18","modified":"2024-12-02 23:08:25","alt":"Flow","title":"13. “Flow,” dir. Gints Zilbalodis","slug":"flow-gints-zilbalodis-1","description":"","image_credit":"Janus Films","image_source_url":"","caption":"<p>There’s a moment near the end of Gints Zilbalodis’ “Flow” that powerfully tugs at the heartstrings. It’s when the film‘s central character, a black cat who you’ve come to have a profound emotional connection with, rediscovers a lost ball that he and his animal friends had been playing with earlier in the movie. He thought he’d never see it again. And suddenly he does. Sometimes, lost things can be found again.<\/p>\n<p>If you thought that emotion elicited without cloying manipulation was something lost in animation, it is found again in “Flow” as well. A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory — evocative, beguiling, and majestic in its fable-like story about a motley crew of animals trying to survive in a flooded world. They speak volumes without ever having to say a single word. <em>—CB<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/flow-review-animated-film-gints-zilbalodis-1235008455\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":13,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg?w=1200","width":1200,"height":697},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg?w=1024","width":1024,"height":595},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg?w=800","width":800,"height":465},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg?w=640","width":640,"height":372},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg?w=320","width":320,"height":186},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Flow-Gints-Zilbalodis-1.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":378,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F13%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FFlow-Gints-Zilbalodis-1.jpeg%3Fw%3D650&description=%27Flow%27","mime_type":"image\/jpeg","caption_no_shortcode":"<p>There’s a moment near the end of Gints Zilbalodis’ “Flow” that powerfully tugs at the heartstrings. It’s when the film‘s central character, a black cat who you’ve come to have a profound emotional connection with, rediscovers a lost ball that he and his animal friends had been playing with earlier in the movie. He thought he’d never see it again. And suddenly he does. Sometimes, lost things can be found again.<\/p>\n<p>If you thought that emotion elicited without cloying manipulation was something lost in animation, it is found again in “Flow” as well. A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory — evocative, beguiling, and majestic in its fable-like story about a motley crew of animals trying to survive in a flooded world. They speak volumes without ever having to say a single word. <em>—CB<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/flow-review-animated-film-gints-zilbalodis-1235008455\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-11\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid12\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid12' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid12","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071663,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg","date":"2024-12-02 13:46:00","modified":"2024-12-02 23:08:28","alt":"A Different Man","title":"12. “A Different Man,” dir. Aaron Schimberg","slug":"a-different-man-9","description":"","image_credit":"A24","image_source_url":"","caption":"<p>A caustically funny cosmic joke of a film about an insecure actor who finds a miracle cure for his facial disfigurement, only to be upstaged by a stranger who oozes self-confidence despite (still) having the exact same condition the main character had once allowed to hold him back, Aaron Schimberg’s ruthless and Escher-like “A Different Man” might have felt cruel if not for how cleverly it complicates its punchline. <\/p>\n<p>Are we supposed to be laughing at someone — someone who’s been treated like a monster for his entire adult life — just because they couldn’t resist the opportunity to shed their skin? Anyone familiar with Schimberg’s “Chained for Life,” which similarly defenestrated the notion of disabilities as “God’s mistakes,” already knows the answer to that question. Besides, who among us would pass up the chance to look like Sebastian Stan? <\/p>\n<p>In that light, it’s more tempting to interpret “A Different Man” as a dark and damning satire of our social conditioning, which has convinced us to see asymmetry as ugliness, and internalize ugliness as inhuman. But while that might be a more accurate distillation of what Schimberg is doing here, leaving it there would fail to convey the full ambition of a deliriously surreal psycho-thriller that complicates its own identity at every turn. By refracting Brian De Palma’s self-reflexiveness and the Coen brothers’ mordant fatalism through the prism of his most personal obsessions, Schimberg creates a house of mirrors so brilliant and complex that it becomes impossible to match any of his characters to their own reflections, and absolutely useless to reduce the movie around them to the stuff of moral instruction. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/a-different-man-review-sebastian-stan-1234946519\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":14,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg?w=1280","width":1280,"height":734},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg?w=1024","width":1024,"height":587},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg?w=800","width":800,"height":459},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg?w=640","width":640,"height":367},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg?w=320","width":320,"height":184},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/A-different-man.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":373,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F14%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FA-different-man.jpg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>A caustically funny cosmic joke of a film about an insecure actor who finds a miracle cure for his facial disfigurement, only to be upstaged by a stranger who oozes self-confidence despite (still) having the exact same condition the main character had once allowed to hold him back, Aaron Schimberg’s ruthless and Escher-like “A Different Man” might have felt cruel if not for how cleverly it complicates its punchline. <\/p>\n<p>Are we supposed to be laughing at someone — someone who’s been treated like a monster for his entire adult life — just because they couldn’t resist the opportunity to shed their skin? Anyone familiar with Schimberg’s “Chained for Life,” which similarly defenestrated the notion of disabilities as “God’s mistakes,” already knows the answer to that question. Besides, who among us would pass up the chance to look like Sebastian Stan? <\/p>\n<p>In that light, it’s more tempting to interpret “A Different Man” as a dark and damning satire of our social conditioning, which has convinced us to see asymmetry as ugliness, and internalize ugliness as inhuman. But while that might be a more accurate distillation of what Schimberg is doing here, leaving it there would fail to convey the full ambition of a deliriously surreal psycho-thriller that complicates its own identity at every turn. By refracting Brian De Palma’s self-reflexiveness and the Coen brothers’ mordant fatalism through the prism of his most personal obsessions, Schimberg creates a house of mirrors so brilliant and complex that it becomes impossible to match any of his characters to their own reflections, and absolutely useless to reduce the movie around them to the stuff of moral instruction. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/a-different-man-review-sebastian-stan-1234946519\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-12\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid13\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid13' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid13","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071666,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg","date":"2024-12-02 13:49:47","modified":"2024-12-02 23:08:32","alt":"The Seed of the Sacred Fig","title":"11. “The Seed of the Sacred Fig,” dir. Mohammad Rasoulof","slug":"1167","description":"","image_credit":"NEON","image_source_url":"","caption":"<p>“The Seed of the Sacred Fig” is an anguished cry from the heart of Mohammad Rasoulof, the Iranian filmmaker who recently fled his home country for Europe after receiving an eight-year prison sentence from the Islamic Republic. Shot in secret, and using the brutal 2022 killing of Mahsa Amini as his launching point, Rasoulof tells the story of a government lackey (the remarkable Misagh Zare, currently banned from leaving Iran) whose relationship to his wife and their three daughters — less servile than their parents — grows strained after he’s appointed to the same Revolutionary Court that passed judgment on the director himself.<\/p>\n<p>The trouble at home threatens to unravel the family when the father misplaces his service gun, a severe crime that comes with a potential jail sentence of its own. From there, a finely wrought piece of domestic portraiture descends into the stuff of a paranoid thriller, as the father becomes hellbent on forcing a confession from someone lest he put himself in the line of fire. It’s a simple premise that ultimately erupts into a potent allegory about the corruptive price of power and the suppression of women under a religious patriarchy that crushes the very people it claims to protect. <em>—RL<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-seed-of-the-sacred-fig-review-mohammad-rasoulof-1235008351\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":15,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg?w=1200","width":1200,"height":720},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg?w=1024","width":1024,"height":614},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg?w=800","width":800,"height":480},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg?w=640","width":640,"height":384},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg?w=320","width":320,"height":192},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/1167.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":390,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F15%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2F1167.jpeg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>“The Seed of the Sacred Fig” is an anguished cry from the heart of Mohammad Rasoulof, the Iranian filmmaker who recently fled his home country for Europe after receiving an eight-year prison sentence from the Islamic Republic. Shot in secret, and using the brutal 2022 killing of Mahsa Amini as his launching point, Rasoulof tells the story of a government lackey (the remarkable Misagh Zare, currently banned from leaving Iran) whose relationship to his wife and their three daughters — less servile than their parents — grows strained after he’s appointed to the same Revolutionary Court that passed judgment on the director himself.<\/p>\n<p>The trouble at home threatens to unravel the family when the father misplaces his service gun, a severe crime that comes with a potential jail sentence of its own. From there, a finely wrought piece of domestic portraiture descends into the stuff of a paranoid thriller, as the father becomes hellbent on forcing a confession from someone lest he put himself in the line of fire. It’s a simple premise that ultimately erupts into a potent allegory about the corruptive price of power and the suppression of women under a religious patriarchy that crushes the very people it claims to protect. <em>—RL<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-seed-of-the-sacred-fig-review-mohammad-rasoulof-1235008351\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-13\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid14\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid14' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid14","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235023180,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp","date":"2024-07-05 13:55:18","modified":"2024-12-02 15:49:44","alt":"Do Not Expect Too Much from the End of the World","title":"10. “Do Not Expect Too Much from the End of the World,” dir. Radu Jude","slug":"do-not-expect-too-much-from-the-end-of-the-world","description":"","image_credit":"MUBI","image_source_url":"","caption":"<p>It takes real flair to concoct visual-gag-after-visual-gag within episodic riffs on the raw deals suffered by the gig-economy-classes in modern day Bucharest. Like a sharper Romanian riposte to Ruben Östlund, Radu Jude blends absurdist humor with keen social integrity, as the trials of a dangerously overworked production assistant named Ange (Ilinca Manolache, sensational) builds to a 40-minute final shot in which tragicomedy is heaped upon tragicomedy to unbearably brilliant effect.<\/p>\n<p>Observing a nation’s shortcomings is not typically this fun. Yet — unlike latter-day miserabilist works by the likes of Ken Loach — Jude’s “Do Not Expect Too Much from the End of the World” and its barbs stick entirely because Jude trusts his audience to appreciate tonal scope. There are no arch-villains, but plenty of morons with too much power, and Jude’s script is ripe with delicious character notes. This is a work by someone totally secure in their thinking, and able to afford punchlines to all kinds of ghoulish pen-pushers without fear of confusing the film’s ideological clarity. <em>—SMK<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/do-not-expect-too-much-from-the-end-of-the-world-review-radu-jude-1234891904\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":16,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=1280","width":1280,"height":730},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=1024","width":1024,"height":584},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=800","width":800,"height":456},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=640","width":640,"height":365},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=320","width":320,"height":182},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Do-Not-Expect-Too-Much-from-the-End-of-the-World.webp?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":371,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F16%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F07%2FDo-Not-Expect-Too-Much-from-the-End-of-the-World.webp%3Fw%3D650&description","mime_type":"image\/webp","caption_no_shortcode":"<p>It takes real flair to concoct visual-gag-after-visual-gag within episodic riffs on the raw deals suffered by the gig-economy-classes in modern day Bucharest. Like a sharper Romanian riposte to Ruben Östlund, Radu Jude blends absurdist humor with keen social integrity, as the trials of a dangerously overworked production assistant named Ange (Ilinca Manolache, sensational) builds to a 40-minute final shot in which tragicomedy is heaped upon tragicomedy to unbearably brilliant effect.<\/p>\n<p>Observing a nation’s shortcomings is not typically this fun. Yet — unlike latter-day miserabilist works by the likes of Ken Loach — Jude’s “Do Not Expect Too Much from the End of the World” and its barbs stick entirely because Jude trusts his audience to appreciate tonal scope. There are no arch-villains, but plenty of morons with too much power, and Jude’s script is ripe with delicious character notes. This is a work by someone totally secure in their thinking, and able to afford punchlines to all kinds of ghoulish pen-pushers without fear of confusing the film’s ideological clarity. <em>—SMK<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/do-not-expect-too-much-from-the-end-of-the-world-review-radu-jude-1234891904\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-14\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid15\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid15' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid15","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235023182,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg","date":"2024-07-05 13:55:56","modified":"2024-12-02 15:49:44","alt":"EVIL DOES NOT EXIST, (aka AKU WA SONZAI SHINAI) from left: Ryo Nishikawa, Hitoshi Omika, 2023. \u00a9 Sideshow \/ Courtesy Everett Collection","title":"9. “Evil Does Not Exist,” dir. Ry\u00fbsuke Hamaguchi","slug":"mcdevdo-ec006-2","description":"","image_credit":"Janus\/Sideshow","image_source_url":"","caption":"<p>“Evil Does Not Exist,” the title of the latest film from “Drive My Car” director Ryûsuke Hamaguchi, would be a bold statement to make in the year 2024. But as it turns out in this eerie and elusive ecological tone poem about man, nature, and man’s nature, the statement is not necessarily something the Japanese filmmaker believes. At first, this gently lilting film even seems like a call for compassion; set in a bucolic village on the outskirts of Tokyo it centers on how the village’s inhabitants tangle with a corporation trying to set up a glamping site in their forest, only for the two opposing sides to eventually find common ground. But that entente proves a foil for a much darker twist Hamaguchi pulls in the film’s last act.<\/p>\n<p>“Evil Does Not Exist” is a slow-moving film with little in the way of epiphanies or answers. Hamaguchi’s reverence for nature is reflected in his unhurried views of the village’s flora and fauna, and in the plaintive tones of Eiko Ishibashi’s jazz-inflected score — which, like the film itself, is prone to shockingly unexpected paroxysms of violence. In this case, they convey the underlying dissonance of our world with a clarity that leaves the film’s peaceful surface of fir trees and council meetings feeling like a sinister cover-up. <em>—RL<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/evil-does-not-exist-review-ryusuke-hamaguchi-1234902318\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":17,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg?w=1280","width":1280,"height":728},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg?w=1024","width":1024,"height":582},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg?w=800","width":800,"height":455},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg?w=640","width":640,"height":364},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg?w=320","width":320,"height":182},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Evil-Does-Not-Exist.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":370,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F17%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F07%2FEvil-Does-Not-Exist.jpg%3Fw%3D650&description=EVIL%20DOES%20NOT%20EXIST%2C%20%28aka%20AKU%20WA%20SONZAI%20SHINAI%29%20from%20left%3A%20Ryo%20Nishikawa%2C%20Hitoshi%20Omika%2C%202023.%20%C2%A9%20Sideshow%20%2F%20Courtesy%20Everett%20Collection","mime_type":"image\/jpeg","caption_no_shortcode":"<p>“Evil Does Not Exist,” the title of the latest film from “Drive My Car” director Ryûsuke Hamaguchi, would be a bold statement to make in the year 2024. But as it turns out in this eerie and elusive ecological tone poem about man, nature, and man’s nature, the statement is not necessarily something the Japanese filmmaker believes. At first, this gently lilting film even seems like a call for compassion; set in a bucolic village on the outskirts of Tokyo it centers on how the village’s inhabitants tangle with a corporation trying to set up a glamping site in their forest, only for the two opposing sides to eventually find common ground. But that entente proves a foil for a much darker twist Hamaguchi pulls in the film’s last act.<\/p>\n<p>“Evil Does Not Exist” is a slow-moving film with little in the way of epiphanies or answers. Hamaguchi’s reverence for nature is reflected in his unhurried views of the village’s flora and fauna, and in the plaintive tones of Eiko Ishibashi’s jazz-inflected score — which, like the film itself, is prone to shockingly unexpected paroxysms of violence. In this case, they convey the underlying dissonance of our world with a clarity that leaves the film’s peaceful surface of fir trees and council meetings feeling like a sinister cover-up. <em>—RL<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/evil-does-not-exist-review-ryusuke-hamaguchi-1234902318\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-15\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid16\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid16' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid16","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235023188,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg","date":"2024-07-05 13:57:13","modified":"2024-12-02 15:49:45","alt":"FURIOSA: A MAD MAX SAGA, (aka FURIOSA), Anya Taylor-Joy, 2024. \u00a9 Warner Bros. \/Courtesy Everett Collection","title":"8. “Furiosa: A Mad Max Saga,” dir. George Miller","slug":"mcdfuaa-wb026","description":"","image_credit":"Warner Bros.","image_source_url":"","caption":"<p>You can’t unkill the world. Charlize Theron’s Imperator Furiosa learned that lesson the hard way when she commandeered a rig full of Immortan Joe’s precious war brides and sped across the desert towards the matriarchal eden from which she was stolen as a child. She and her motley crew of reluctant allies drove as far as the highways of Valhalla would take them, only to discover that the Green Place of Many Mothers wasn’t beyond the uninhabitable swampland they had passed to get there — it was the uninhabitable swampland they had to passed to get there. There is no going back, but sometimes you can only find the path forward by looking in the rear-view mirror.<\/p>\n<p>And so it stands to reason that inveterate madman George Miller has followed the most spectacular action movie of the 21st century not with a sequel that continues where “Mad Max: Fury Road” left off, but rather with a prequel that paves the way to where it began. Instead of trying to outdo the orgiastic mayhem that brought his Ozploitation franchise screaming into the 21st century all shiny and chrome, Miller has chosen to do something even crazier and more rewarding: He’s created a symphonic, five-part, decades-spanning revenge saga so immense and self-possessed that it refuses to be seen as the mere extension of another movie.<\/p>\n<p>Avoiding the same traps that have made too many recent franchise offshoots feel like just less of the same (in part because it was fully written before a frame of “Fury Road” had ever been shot), “Furiosa” doesn’t try to reverse-engineer one of the most propulsive cinematic experiences ever conceived so much as it scours the Wasteland for the emotion that will be required to fuel it. Whereas “Fury Road” was driven by the search for hope, “Furiosa” is an even more glorious film about why people need it in the first place. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/wp-admin\/_wp_link_placeholder\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":18,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg?w=1280","width":1280,"height":528},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg?w=1024","width":1024,"height":422},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg?w=800","width":800,"height":330},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg?w=640","width":640,"height":264},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg?w=320","width":320,"height":132},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/Furiosa.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":268,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F18%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F07%2FFuriosa.jpg%3Fw%3D650&description=FURIOSA%3A%20A%20MAD%20MAX%20SAGA%2C%20%28aka%20FURIOSA%29%2C%20Anya%20Taylor-Joy%2C%202024.%20%20%C2%A9%20Warner%20Bros.%20%2FCourtesy%20Everett%20Collection","mime_type":"image\/jpeg","caption_no_shortcode":"<p>You can’t unkill the world. Charlize Theron’s Imperator Furiosa learned that lesson the hard way when she commandeered a rig full of Immortan Joe’s precious war brides and sped across the desert towards the matriarchal eden from which she was stolen as a child. She and her motley crew of reluctant allies drove as far as the highways of Valhalla would take them, only to discover that the Green Place of Many Mothers wasn’t beyond the uninhabitable swampland they had passed to get there — it was the uninhabitable swampland they had to passed to get there. There is no going back, but sometimes you can only find the path forward by looking in the rear-view mirror.<\/p>\n<p>And so it stands to reason that inveterate madman George Miller has followed the most spectacular action movie of the 21st century not with a sequel that continues where “Mad Max: Fury Road” left off, but rather with a prequel that paves the way to where it began. Instead of trying to outdo the orgiastic mayhem that brought his Ozploitation franchise screaming into the 21st century all shiny and chrome, Miller has chosen to do something even crazier and more rewarding: He’s created a symphonic, five-part, decades-spanning revenge saga so immense and self-possessed that it refuses to be seen as the mere extension of another movie.<\/p>\n<p>Avoiding the same traps that have made too many recent franchise offshoots feel like just less of the same (in part because it was fully written before a frame of “Fury Road” had ever been shot), “Furiosa” doesn’t try to reverse-engineer one of the most propulsive cinematic experiences ever conceived so much as it scours the Wasteland for the emotion that will be required to fuel it. Whereas “Fury Road” was driven by the search for hope, “Furiosa” is an even more glorious film about why people need it in the first place. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/wp-admin\/_wp_link_placeholder\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-16\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid17\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid17' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid17","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235052496,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg","date":"2024-10-22 11:35:50","modified":"2024-12-02 15:49:45","alt":"The Substance","title":"7. “The Substance,” dir. 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Squelching with fury at how a woman’s “fuckability’”is used as the ultimate measure of her worth, the result of Fargeat’s mad experiment is equal parts “Freaky Friday,” “All About Eve,” and Andrzej \u017bu\u0142awski’s “Possession” — simple enough for a child to understand, but gross enough to make squeamish adults spew out their lunch. Those with the stomach to stick it out were rewarded with the most sickly entertaining theatrical experience of the year, one carried by the kind of go-for-broke performance that Hollywood stars only tend to give after they reach a certain age and start running out of options.” <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-substance-review-margaret-qualley-demi-moore-body-horror-1235006738\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":19,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg?w=1280","width":1280,"height":852},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg?w=1024","width":1024,"height":681},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg?w=800","width":800,"height":532},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg?w=640","width":640,"height":426},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg?w=320","width":320,"height":213},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/09\/TheSubstance_Still_09.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":432,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F19%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F09%2FTheSubstance_Still_09.jpg%3Fw%3D650&description=%27The%20Substance%2C%27%20MUBI","mime_type":"image\/jpeg","caption_no_shortcode":"<p>An immensely, unstoppably, ecstatically demented fairy tale about female self-hatred, Coralie Fargeat’s “The Substance” will stop at nothing — and I mean nothing — to explode the ruthless beauty standards that society has inflicted upon women for thousands of years, a burden this camp-adjacent instant classic aspires to cast off with some of the most spectacularly disgusting body horror this side of “The Fly.”<\/p>\n<p>If the “Revenge” director’s immaculately crafted debut tried to dismantle male toxicity with a shotgun blast square to the balls, Fargeat’s riotous follow-up turns that same attention inwards, allowing her to take aim at both the pointlessness she’s been conditioned to feel as a forty-something woman, and also at the resentment she’s been conditioned to feel toward her younger self. Squelching with fury at how a woman’s “fuckability’”is used as the ultimate measure of her worth, the result of Fargeat’s mad experiment is equal parts “Freaky Friday,” “All About Eve,” and Andrzej \u017bu\u0142awski’s “Possession” — simple enough for a child to understand, but gross enough to make squeamish adults spew out their lunch. Those with the stomach to stick it out were rewarded with the most sickly entertaining theatrical experience of the year, one carried by the kind of go-for-broke performance that Hollywood stars only tend to give after they reach a certain age and start running out of options.” <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-substance-review-margaret-qualley-demi-moore-body-horror-1235006738\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-17\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid18\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid18' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid18","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235008985,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp","date":"2024-11-14 15:53:54","modified":"2024-12-02 15:49:45","alt":"'All We Imagine as Light'","title":"6. “All We Imagine as Light,” dir. Payal Kapadia","slug":"all-we-imagine-as-light-2","description":"","image_credit":"Janus Films","image_source_url":"","caption":"<p>The intimate way that women move through a city sprawl gives Payal Kapadia’s drama about two nurses in Mumbai a deeply romantic gauze. This romance has to do with the way that people occupy their space in this world, whether alone or sharing it with others. The younger nurse Anu (Divya Prabha) comes in from the rain and, although she is giving her roommate Prabha (Kani Kusruti) the silent treatment after an earlier insult, she is still comfortable stripping her top off in front of her, in order to change into something dry. All the while Prabha is trying to make good, saying that she has made Anu’s favorite dish.<\/p>\n<p>This casual everyday vignette is brimming with a sensuality (the rain, the clothes, the food, the women) that people don’t tend to notice when caught up in the rhythm of life. Kapadia shows it to us. She focuses our attention on the tiniest details while interweaving a tight meshwork of stories about love and loneliness. Discrete episodes resonate with quietly infinite multitudes. <\/p>\n<p>Consider the secret rendezvous between Anu and her Muslim boyfriend. Rather than showing overt scenes of the Hindu nationalism that India’s Prime Minister Modi has proudly brought to the mainstream, Kapadia lets its impact play out impressionistically via the furtive way that her star-crossed lovers meet. First and foremost, a master of image creation, she uses this secrecy as an opportunity to mount a compelling dialogue-free sequence of love hiding in plain sight. A busy traffic intersection is filmed with the long lens of a private detective. We see Anu first then glimpse a figure walking through the bustle until he — Shiaz! — is holding her hand. Without acknowledging each other, they keep walking together, touching but not speaking, until they are a safe distance from the hospital. In this scene, and others, Kapadia rescues her characters from the thrum of city life and invites us to co-exist with them in their dreams. <em>—SMK<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/all-we-imagine-as-light-review-1235008070\/\">Read IndieWire’s full review<\/a>.<\/em><\/p>\n","position":20,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp?w=1280","width":1280,"height":758},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp?w=1024","width":1024,"height":606},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp?w=800","width":800,"height":474},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp?w=640","width":640,"height":379},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp?w=320","width":320,"height":189},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/05\/All-We-Imagine-as-Light.webp?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":385,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F20%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F05%2FAll-We-Imagine-as-Light.webp%3Fw%3D650&description=%27All%20We%20Imagine%20as%20Light%27","mime_type":"image\/webp","caption_no_shortcode":"<p>The intimate way that women move through a city sprawl gives Payal Kapadia’s drama about two nurses in Mumbai a deeply romantic gauze. This romance has to do with the way that people occupy their space in this world, whether alone or sharing it with others. The younger nurse Anu (Divya Prabha) comes in from the rain and, although she is giving her roommate Prabha (Kani Kusruti) the silent treatment after an earlier insult, she is still comfortable stripping her top off in front of her, in order to change into something dry. All the while Prabha is trying to make good, saying that she has made Anu’s favorite dish.<\/p>\n<p>This casual everyday vignette is brimming with a sensuality (the rain, the clothes, the food, the women) that people don’t tend to notice when caught up in the rhythm of life. Kapadia shows it to us. She focuses our attention on the tiniest details while interweaving a tight meshwork of stories about love and loneliness. Discrete episodes resonate with quietly infinite multitudes. <\/p>\n<p>Consider the secret rendezvous between Anu and her Muslim boyfriend. Rather than showing overt scenes of the Hindu nationalism that India’s Prime Minister Modi has proudly brought to the mainstream, Kapadia lets its impact play out impressionistically via the furtive way that her star-crossed lovers meet. First and foremost, a master of image creation, she uses this secrecy as an opportunity to mount a compelling dialogue-free sequence of love hiding in plain sight. A busy traffic intersection is filmed with the long lens of a private detective. We see Anu first then glimpse a figure walking through the bustle until he — Shiaz! — is holding her hand. Without acknowledging each other, they keep walking together, touching but not speaking, until they are a safe distance from the hospital. In this scene, and others, Kapadia rescues her characters from the thrum of city life and invites us to co-exist with them in their dreams. <em>—SMK<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/all-we-imagine-as-light-review-1235008070\/\">Read IndieWire’s full review<\/a>.<\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-18\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid19\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid19' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid19","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071717,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg","date":"2024-12-02 14:53:10","modified":"2024-12-02 15:49:45","alt":"Anora","title":"5. “Anora,” dir. Sean Baker","slug":"anora-4","description":"","image_credit":"NEON","image_source_url":"","caption":"<p>Anora — or “Ani,” as she prefers to be called — is a brassy, 23-year-old Russian-American stripper who shares a small house with her sister in Brighton Beach. Ivan — or “Vanya,” as he uses interchangeably — is the 21-year-old son of a Moscow billionaire who stays in his father’s cocaine mansion on the far side of Brooklyn whenever he’s in New York, which if it were up to him would be always. She works seven nights a week at the Manhattan strip club where she’s the only Russian-speaker. Ivan, meanwhile, has clearly never worked a day in his life. She’s the child of a mom who lives in Miami and a dad who doesn’t exist, while he’s a hyper-juvenile nepo baby who may never be mature enough to graduate into a large adult son. <\/p>\n<p>There’s probably an effervescent rom-com to be made about these two wildly mismatched kids meeting over a lapdance and falling in love with each other after Ivan pays Ani $15,000 to be his “very horny girlfriend” for a week, but Sean Baker isn’t the least bit interested in settling for that story. Splenetically hilarious for more than two hours before reality catches up with it in the film’s unforgettable final scene, “Anora” has next to nothing to do with romance, and almost everything to do with the kind of working-class heartache that a modern Hollywood studio would never even try to get right. <\/p>\n<p>It’s a heartache that Mikey Madison’s towering lead performance allows to hide in plain sight, even — or perhaps especially — when she isn’t wearing anything that might help to disguise it. By the end of the movie, even her character’s name feels like an open wound, its ethnic origins preventing her from reaching the full potential of her fantasy, and\/or the fantasy of her full potential. At one point someone googles the meaning of “Anora” so that he can explain it to her, but our heroine isn’t interested. “We don’t care about names in America,” she replies. In this country, who we are runs a distant second to the promise of who we might become. And that promise is growing emptier by the day. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/anora-review-mikey-madison-sean-baker-sex-worker-comedy-1235007333\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":21,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg?w=1050","width":1050,"height":591},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Anora.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F21%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FAnora.jpg%3Fw%3D650&description=%27Anora%27","mime_type":"image\/jpeg","caption_no_shortcode":"<p>Anora — or “Ani,” as she prefers to be called — is a brassy, 23-year-old Russian-American stripper who shares a small house with her sister in Brighton Beach. Ivan — or “Vanya,” as he uses interchangeably — is the 21-year-old son of a Moscow billionaire who stays in his father’s cocaine mansion on the far side of Brooklyn whenever he’s in New York, which if it were up to him would be always. She works seven nights a week at the Manhattan strip club where she’s the only Russian-speaker. Ivan, meanwhile, has clearly never worked a day in his life. She’s the child of a mom who lives in Miami and a dad who doesn’t exist, while he’s a hyper-juvenile nepo baby who may never be mature enough to graduate into a large adult son. <\/p>\n<p>There’s probably an effervescent rom-com to be made about these two wildly mismatched kids meeting over a lapdance and falling in love with each other after Ivan pays Ani $15,000 to be his “very horny girlfriend” for a week, but Sean Baker isn’t the least bit interested in settling for that story. Splenetically hilarious for more than two hours before reality catches up with it in the film’s unforgettable final scene, “Anora” has next to nothing to do with romance, and almost everything to do with the kind of working-class heartache that a modern Hollywood studio would never even try to get right. <\/p>\n<p>It’s a heartache that Mikey Madison’s towering lead performance allows to hide in plain sight, even — or perhaps especially — when she isn’t wearing anything that might help to disguise it. By the end of the movie, even her character’s name feels like an open wound, its ethnic origins preventing her from reaching the full potential of her fantasy, and\/or the fantasy of her full potential. At one point someone googles the meaning of “Anora” so that he can explain it to her, but our heroine isn’t interested. “We don’t care about names in America,” she replies. In this country, who we are runs a distant second to the promise of who we might become. And that promise is growing emptier by the day. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/anora-review-mikey-madison-sean-baker-sex-worker-comedy-1235007333\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-19\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid20\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid20' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid20","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071724,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg","date":"2024-12-02 14:58:16","modified":"2024-12-02 15:49:45","alt":"I Saw the TV Glow","title":"4. “I Saw the TV Glow,” dir. Jane Schoenbrun","slug":"i-saw-the-tv-glow-7","description":"","image_credit":"A24","image_source_url":"","caption":"<p>Sinister and liberating in equal measure (and often at the same time), Jane Schoenbrun’s ultra-lo-fi “We’re All Going to the World’s Fair” leveraged the inherent loneliness of webcams and the performative danger of online creepypasta into a haunting portrait of the potentially dysphoric relationship between screens and identity in the internet age. The kind of sui generis shot in the dark that feels like it could only have been made by someone who wasn’t sure if anyone would see it, Schoenbrun’s first movie is one of the rare coming-of-age films that manages to embody the full dread and possibility of self-recognition, and for that reason it almost immediately resonated with an audience of people — trans people in particular — who’d been waiting for something like “We’re All Going to the World’s Fair” since before they had the language to know how much they needed it. <\/p>\n<p>Another, more explicitly trans meditation on the role that media can play in revealing people to themselves, Jane Schoenbrun’s astonishing follow-up manages to retain the seductive fear of their micro-budget debut and deepen its thrilling wounds of discovery even while examining them at a much larger scale. If “We’re All Going to the World’s Fair” was a 360p snapshot of dysphoria in motion, “I Saw the TV Glow” is an intimate landscape shot with the ultra-vivid resolution of a recurring dream; it marries the queer radicality of a Gregg Araki film with the lush intoxication of a Gregory Crewdson photo, and finds Schoenbrun holding on to every inch of their vision as they make the leap from outsider artist to A24-stamped auteur. Anchored by some of the most arresting scenes in recent memory (including a Brigette Lundy-Paine monologue that burns with singular intensity), this is a movie that knows it will be seen, and yet, to an even greater degree than Schoenbrun’s debut, it’s also a movie about how the things people watch can have the power to see them in return. Even the parts of themselves they might be hiding from. Even the parts of themselves they aren’t ready to name yet. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/i-saw-the-tv-glow-review-1234946004\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":22,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg?w=1280","width":1280,"height":720},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg?w=1024","width":1024,"height":576},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg?w=800","width":800,"height":450},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg?w=640","width":640,"height":360},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/I-Saw-the-TV-Glow.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F22%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FI-Saw-the-TV-Glow.jpg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>Sinister and liberating in equal measure (and often at the same time), Jane Schoenbrun’s ultra-lo-fi “We’re All Going to the World’s Fair” leveraged the inherent loneliness of webcams and the performative danger of online creepypasta into a haunting portrait of the potentially dysphoric relationship between screens and identity in the internet age. The kind of sui generis shot in the dark that feels like it could only have been made by someone who wasn’t sure if anyone would see it, Schoenbrun’s first movie is one of the rare coming-of-age films that manages to embody the full dread and possibility of self-recognition, and for that reason it almost immediately resonated with an audience of people — trans people in particular — who’d been waiting for something like “We’re All Going to the World’s Fair” since before they had the language to know how much they needed it. <\/p>\n<p>Another, more explicitly trans meditation on the role that media can play in revealing people to themselves, Jane Schoenbrun’s astonishing follow-up manages to retain the seductive fear of their micro-budget debut and deepen its thrilling wounds of discovery even while examining them at a much larger scale. If “We’re All Going to the World’s Fair” was a 360p snapshot of dysphoria in motion, “I Saw the TV Glow” is an intimate landscape shot with the ultra-vivid resolution of a recurring dream; it marries the queer radicality of a Gregg Araki film with the lush intoxication of a Gregory Crewdson photo, and finds Schoenbrun holding on to every inch of their vision as they make the leap from outsider artist to A24-stamped auteur. Anchored by some of the most arresting scenes in recent memory (including a Brigette Lundy-Paine monologue that burns with singular intensity), this is a movie that knows it will be seen, and yet, to an even greater degree than Schoenbrun’s debut, it’s also a movie about how the things people watch can have the power to see them in return. Even the parts of themselves they might be hiding from. Even the parts of themselves they aren’t ready to name yet. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/i-saw-the-tv-glow-review-1234946004\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-20\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid21\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid21' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid21","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235023169,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg","date":"2024-07-05 13:52:16","modified":"2024-12-02 15:49:45","alt":"THE BEAST, (aka LA BETE), Lea Seydoux, 2023. \u00a9 Janus Films \/Courtesy Everett Collection","title":"3. “The Beast,” dir. Bertrand Bonello","slug":"mcdbeas-ec081-2","description":"","image_credit":"Courtesy Everett Collection","image_source_url":"","caption":"<p>Compelling evidence that every major arthouse director should be required to make their own “Cloud Atlas” before they die, Bertrand Bonello’s sweeping, romantic, and ravishingly strange “The Beast” finds the French director broadening — and in some cases challenging — the core obsessions of his previous films into a sci-fi epic about the fear of falling in love. <\/p>\n<p>Split into three lightly intercut parts that trace the connection between two star-crossed souls (embodied by Léa Seydoux and George MacKay) from 1910 to 2044, Bonello’s latest and most accessible movie begins by literalizing the same basic premise that has undergirded previous work like “House of Tolerance” and “Zombi Child”: The past is always present (a dialectic explored here with the help of a machine that encourages people to purify their DNA by purging themselves of any emotion left over from their past lives). <\/p>\n<p>The genre elements at play here allow Bonello to take for granted what his earlier films had to earn, and “The Beast” makes the most of that head start by knotting its overlapping temporalities into a story that’s suspended between the baggage we have from yesterday and the anxiety we have for tomorrow. As its title might imply, “The Beast” is a fairy tale of sorts — one whose moral instructs us to live in the moment, lest we not live at all. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-beast-review-lea-seydoux-george-mackay-1234902052\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","position":23,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg?w=1280","width":1280,"height":919},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg?w=1024","width":1024,"height":735},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg?w=800","width":800,"height":574},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg?w=640","width":640,"height":459},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg?w=320","width":320,"height":230},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/07\/The-Beast.jpg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":467,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F23%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F07%2FThe-Beast.jpg%3Fw%3D650&description=THE%20BEAST%2C%20%28aka%20LA%20BETE%29%2C%20Lea%20Seydoux%2C%202023.%20%C2%A9%20Janus%20Films%20%2FCourtesy%20Everett%20Collection","mime_type":"image\/jpeg","caption_no_shortcode":"<p>Compelling evidence that every major arthouse director should be required to make their own “Cloud Atlas” before they die, Bertrand Bonello’s sweeping, romantic, and ravishingly strange “The Beast” finds the French director broadening — and in some cases challenging — the core obsessions of his previous films into a sci-fi epic about the fear of falling in love. <\/p>\n<p>Split into three lightly intercut parts that trace the connection between two star-crossed souls (embodied by Léa Seydoux and George MacKay) from 1910 to 2044, Bonello’s latest and most accessible movie begins by literalizing the same basic premise that has undergirded previous work like “House of Tolerance” and “Zombi Child”: The past is always present (a dialectic explored here with the help of a machine that encourages people to purify their DNA by purging themselves of any emotion left over from their past lives). <\/p>\n<p>The genre elements at play here allow Bonello to take for granted what his earlier films had to earn, and “The Beast” makes the most of that head start by knotting its overlapping temporalities into a story that’s suspended between the baggage we have from yesterday and the anxiety we have for tomorrow. As its title might imply, “The Beast” is a fairy tale of sorts — one whose moral instructs us to live in the moment, lest we not live at all. <em>—DE<\/em><\/p>\n<p><em><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/the-beast-review-lea-seydoux-george-mackay-1234902052\/\">Read IndieWire’s full review.<\/a><\/em><\/p>\n","ads":{"html":"\t<div class=\"admz \" id=\"adm-in-gallery-x-21\">\n\t\t\t\t\t<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n\t\t\t\t\n<div style=\"min-width:300px;min-height:275px;\"\n\tclass=\"pmc-adm-boomerang-pub-div ad-text\"\n\tdata-priority=\"6\"\n>\n\t<div id=\"gpt-dsk-gallery-ingalleryx-uid22\"\n\t\tclass=\" adw-300 adh-250\" data-is-adhesion-ad=\"\">\n\t\t<script type=\"application\/javascript\">\n\t\t\t\n\t\t\tblogherads.adq.push(function () {\n\t\t\t\t\t\t\t\tblogherads\n\t\t\t\t\t.defineSlot( 'medrec', 'gpt-dsk-gallery-ingalleryx-uid22' )\n\t\t\t\t\t\t\t\t.setTargeting( 'pos', [\"mid\",\"in-galleryx\"] )\n.setTargeting( 'viewable', 'yes' )\n\t\t\t\t\t\t\t\t\t\t\t\t.setSubAdUnitPath(\"gallery\\\/in-galleryX\")\n\t\t\t\t\t\t\t\t\t\t\t\t.addSize([[300,250],[620,350],[300,251]])\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.setLazyLoadMultiplier(2)\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t;\n\t\t\t\t\t\t\t});\n\t\t<\/script>\n\t<\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t\t\t<\/div>\n","data":[{"divId":"gpt-dsk-gallery-ingalleryx-uid22","displayType":"medrec","targeting":[{"key":"pos","value":"mid"},{"key":"pos","value":"in-galleryx"},{"key":"viewable","value":"yes"}],"lazyLoad":"yes","lazyLoadMultiplier":2,"zone":"gallery\/in-galleryX","sizes":[[300,250],[620,350],[300,251]]}]}},{"ID":1235071727,"image":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg","date":"2024-12-02 15:02:19","modified":"2024-12-02 15:49:46","alt":"No Other Land","title":"2. “No Other Land,” dirs. Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor","slug":"202409761_1-1","description":"","image_credit":"Basel Adra","image_source_url":"","caption":"<p>Born in the small Palestinian community of Masafer Yatta, 28-year-old Basel Adra has never known a life that wasn’t under threat of forced removal — or worse. But the freshness of his memory can also be attributed to the fact that Adra has never known a life that wasn’t being documented for his own protection. The most dehumanizing episodes of his existence have all been captured on camera by his family and their fellow villagers, the footage preserved and shared in the hopes that the world might witness their suffering and prevail upon Israel to let Palestinians live in peace (“I started filming when we started to end,” Adra intones, perhaps repeating the same words his father said the first time he picked up his own camera).<\/p>\n<p>Against all odds, that hope continues to persevere — not only among the survivors of Masafer Yatta, but also through “No Other Land,” the lucidly enraging documentary that Adra has co-directed about Israel’s decades-long attempt to erase them from the earth as completely as it erased them from its maps. The first major film about the occupation of Palestine since the start of the Israel-Hamas war in October of last year, this intimate and harrowing portrait of endurance is all the more powerful for its focus on the decades of colonial degradation that paved the way for the current nightmare.<\/p>\n<p>Eligible for a spot on this list thanks to the film’s brief qualifying run at a single New York City theater, “No Other Land” is still without permanent U.S. distribution. There’s a profound shame in that, but also a rea; sadness as well. Witnessing is the most effective defense people have against occupation, as occupiers — like all thieves — wilt in the face of being watched. The footage is out there, and it’s rarely or never been assembled into a more concise, powerful, and damning argument than it is here. Now it only needs to be seen. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/no-other-land-review-israel-palestine-1234956485\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":24,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg?w=1065","width":1065,"height":600},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg?w=1024","width":1024,"height":577},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg?w=800","width":800,"height":451},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg?w=640","width":640,"height":361},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg?w=320","width":320,"height":180},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/202409761_1-1.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":366,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F24%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2F202409761_1-1.jpeg%3Fw%3D650&description","mime_type":"image\/jpeg","caption_no_shortcode":"<p>Born in the small Palestinian community of Masafer Yatta, 28-year-old Basel Adra has never known a life that wasn’t under threat of forced removal — or worse. But the freshness of his memory can also be attributed to the fact that Adra has never known a life that wasn’t being documented for his own protection. The most dehumanizing episodes of his existence have all been captured on camera by his family and their fellow villagers, the footage preserved and shared in the hopes that the world might witness their suffering and prevail upon Israel to let Palestinians live in peace (“I started filming when we started to end,” Adra intones, perhaps repeating the same words his father said the first time he picked up his own camera).<\/p>\n<p>Against all odds, that hope continues to persevere — not only among the survivors of Masafer Yatta, but also through “No Other Land,” the lucidly enraging documentary that Adra has co-directed about Israel’s decades-long attempt to erase them from the earth as completely as it erased them from its maps. The first major film about the occupation of Palestine since the start of the Israel-Hamas war in October of last year, this intimate and harrowing portrait of endurance is all the more powerful for its focus on the decades of colonial degradation that paved the way for the current nightmare.<\/p>\n<p>Eligible for a spot on this list thanks to the film’s brief qualifying run at a single New York City theater, “No Other Land” is still without permanent U.S. distribution. There’s a profound shame in that, but also a rea; sadness as well. Witnessing is the most effective defense people have against occupation, as occupiers — like all thieves — wilt in the face of being watched. The footage is out there, and it’s rarely or never been assembled into a more concise, powerful, and damning argument than it is here. 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RaMell Ross","slug":"nickel-boys-5","description":"","image_credit":"Amazon MGM Studios","image_source_url":"","caption":"<p>A leaf twirls through a pair of fingers. A deck of playing cards is bridged together in extreme close-up. A dry-cleaned suit hangs out the window of a parked car like it’s waiting for its body to come back. A boy named Elwood studies his reflection in his grandmother’s steaming iron, and later in the window display of the local Tallahassee electronic shop whose TVs are broadcasting a speech by Martin Luther King, Jr. The year is 1962, Jim Crow laws are still in full effect across the South, and young Elwood Curtis (Ethan Herisse) can’t help but see himself in the world around him — he can’t help but think he can change it. <\/p>\n<p>In the news, Elwood sees men shooting themselves into outer space. At home, Elwood sees his defiantly ebullient Nana (Aunjanue Ellis-Taylor) dance around the kitchen as if nothing here on Earth could take the song out of her step. At school, Elwood sees pencils stuck in the ceiling of his classroom, where his teacher has the students cross out the most damaging lies from their history textbooks, and encourages Elwood to attend a free college for high-achieving Black kids. While hitchhiking there on the kindness of strangers, Elwood sees the man behind the wheel begin to panic when a cop pulls them over. The car was stolen. “Look down,” the driver tells him, but Elwood doesn’t. He needs to see this too. And that means we do as well, because in RaMell Ross’ faithful but visionary adaptation of Colson Whitehead’s “The Nickel Boys,” a novel about the bond that forms between two teenagers at a barbaric Florida reform school, the story is almost exclusively told through the eyes of its two lead characters. <\/p>\n<p>One still believes in America’s potential. The other is convinced that our country is already — and has always been — fulfilling the original promise of its cruelty. Ross’ formal approach (don’t call it a “conceit”) quite literally forces us to see both of their perspectives, but the epic banality of his pointillism denies any trace of didacticism between them. Pure sense and subjectivity in a way that evokes the same visual magic of Ross’ documentary work, “Nickel Boys” so viscerally and fundamentally centers the experience of its young Black characters that even the most racist brand of revisionist history could never hope to deny their truth. <\/p>\n<p>In its way, and in the context of a mainstream film that Amazon MGM Studios will release into hundreds or thousands of theaters across the United States, Ross’ aesthetic is as radical as Whitehead’s reimagining of the Underground Railroad as an actual train line. It’s also every inch as successful. Collaborating with the brilliant cinematographer Jomo Fray (“All Dirt Roads Taste of Salt”), who shares his prismatic attention to detail, Ross has devised an astoundingly effective way to express the relationship between how we see things and what we glean from them. The result is a rare testament to the transformative potential of cinematic adaptation (Ross co-wrote the script with Joslyn Barnes), and a staggeringly poignant reminder that America’s most enduring narratives are only subject to change when people are invited to look at them in a different light. “Nickel Boys” extends that invitation to the world with an open hand. It’s among the most extraordinary films of this young century. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/nickel-boys-movie-review-1235042661\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","position":25,"url":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","sizes":{"pmc-gallery-xxl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nickel-Boys.jpeg?w=1280","width":1280,"height":782},"pmc-gallery-xl":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nickel-Boys.jpeg?w=1024","width":1024,"height":626},"pmc-gallery-l":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nickel-Boys.jpeg?w=800","width":800,"height":489},"pmc-gallery-m":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nickel-Boys.jpeg?w=640","width":640,"height":391},"pmc-gallery-s":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nickel-Boys.jpeg?w=320","width":320,"height":196},"thumbnail":{"src":"https:\/\/www.indiewire.com\/wp-content\/uploads\/2024\/12\/Nickel-Boys.jpeg?w=150&h=150&crop=1","width":"150","height":"150"}},"fullWidth":650,"fullHeight":397,"pinterestUrl":"https:\/\/www.pinterest.com\/pin\/create\/button\/?url=https%3A%2F%2Fwww.indiewire.com%2Fgallery%2Fbest-movies-2024%2F25%2F&media=https%3A%2F%2Fwww.indiewire.com%2Fwp-content%2Fuploads%2F2024%2F12%2FNickel-Boys.jpeg%3Fw%3D650&description=%27Nickel%20Boys%27","mime_type":"image\/jpeg","caption_no_shortcode":"<p>A leaf twirls through a pair of fingers. A deck of playing cards is bridged together in extreme close-up. A dry-cleaned suit hangs out the window of a parked car like it’s waiting for its body to come back. A boy named Elwood studies his reflection in his grandmother’s steaming iron, and later in the window display of the local Tallahassee electronic shop whose TVs are broadcasting a speech by Martin Luther King, Jr. The year is 1962, Jim Crow laws are still in full effect across the South, and young Elwood Curtis (Ethan Herisse) can’t help but see himself in the world around him — he can’t help but think he can change it. <\/p>\n<p>In the news, Elwood sees men shooting themselves into outer space. At home, Elwood sees his defiantly ebullient Nana (Aunjanue Ellis-Taylor) dance around the kitchen as if nothing here on Earth could take the song out of her step. 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Ross’ formal approach (don’t call it a “conceit”) quite literally forces us to see both of their perspectives, but the epic banality of his pointillism denies any trace of didacticism between them. Pure sense and subjectivity in a way that evokes the same visual magic of Ross’ documentary work, “Nickel Boys” so viscerally and fundamentally centers the experience of its young Black characters that even the most racist brand of revisionist history could never hope to deny their truth. <\/p>\n<p>In its way, and in the context of a mainstream film that Amazon MGM Studios will release into hundreds or thousands of theaters across the United States, Ross’ aesthetic is as radical as Whitehead’s reimagining of the Underground Railroad as an actual train line. It’s also every inch as successful. Collaborating with the brilliant cinematographer Jomo Fray (“All Dirt Roads Taste of Salt”), who shares his prismatic attention to detail, Ross has devised an astoundingly effective way to express the relationship between how we see things and what we glean from them. The result is a rare testament to the transformative potential of cinematic adaptation (Ross co-wrote the script with Joslyn Barnes), and a staggeringly poignant reminder that America’s most enduring narratives are only subject to change when people are invited to look at them in a different light. “Nickel Boys” extends that invitation to the world with an open hand. It’s among the most extraordinary films of this young century. <em>—DE<\/em><\/p>\n<p><a href=\"https:\/\/www.indiewire.com\/criticism\/movies\/nickel-boys-movie-review-1235042661\/\"><em>Read IndieWire’s full review.<\/em><\/a><\/p>\n","ads":[]}],"galleryCount":"25","galleryId":"1235023165","type":"vertical","galleryTitle":"The 25 Best Movies of 2024","logo":{"src":"https:\/\/www.indiewire.com\/wp-content\/plugins\/pmc-plugins\/pmc-nova\/wp-assets\/brand-logos\/indiewire-logo-white.svg","width":150,"height":29},"i10n":{"backToArticle":"Back to Article","backToAllGalleries":"Back to All Galleries","backToReview":"Back to Review","backToAllReviews":"Back to All Reviews","thumbnail":"Thumbnails","nextSlide":"Next Slide","prevSlide":"Previous Slide","skipAd":"Skip Ad","skipIn":"Skip In","of":"of","missingSomething":"You're missing something!","subscribeNow":"Subscribe Now","next":"Next","nextGallery":"Next Gallery","closeThisMessage":"Close this message","closeModal":"Close Modal","closeGallery":"Close Gallery","startSlideShow":"Start Slideshow","lightBox":"Lightbox","scrollUp":"Scroll Up","scrollDown":"Scroll Down","look":"Look","readMore":"Read More","showLess":"Show Less","vertical":{"photo":"Photo"}},"ads":[],"adsProvider":"boomerang","railBottomAdRefreshInterval":"2","adhesionAdRefreshInterval":"2","adAfter":"1","enableInterstitial":"","interstitialAdAfter":"25","socialIconsUseMenu":"1","socialIcons":{"facebook":[],"twitter":[],"pinterest":[],"tumblr":[]},"twitterUserName":"IndieWire","timestamp":{"date":"December 03, 2024, 9:30am","datetime":"2024-12-03T09:30:17-05:00"},"showThumbnails":"1","siteTitle":"IndieWire","siteUrl":"\/","pagePermalink":"https:\/\/www.indiewire.com\/gallery\/best-movies-2024\/","zoom":"","pinit":"","sponsored":"","sponsoredStyle":[],"runwayMenu":[],"mobileCloseButton":"","galleryFetchUrl":"\/wp-json\/pmc-gallery\/v4\/get-related-gallery-list?_wpnonce=4b2ba9c71b&post_id=1235023165\/","styles":{"header-height":"79px","theme-color":"var( --pmc-gallery--theme-color )","vertical-headline-font-weight":"var( --pmc-gallery--vertical--headline--font-weight )","vertical-caption-font-weight":"var( --pmc-gallery--vertical--caption--font-weight )","vertical-subtitle-font-weight":500,"vertical-player-font-weight":500,"vertical-headline-font-family":"var( --pmc-gallery--vertical--headline--font-family )","vertical-caption-font-family":"var( --pmc-gallery--vertical--caption--font-family )","vertical-subtitle-font-family":"inherit","vertical-player-font-family":"inherit","vertical-max-image-width":"var( --pmc-gallery--vertical--max-image-width )","horizontal-intro-card-font-family":"inherit","horizontal-header-title-style":[]},"forceSameEnding":"1","subscriptionsLink":"","isMobile":""}; 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