Top 19 Films of 2019

How can I sum up 2019 in movies… For a large part of the year, I actually thought it was quite weak film-wise, for the longest time the top of my „year ranked” list was filled with 2018 films released a year late in my country. But, thankfully, something happened in the autumn/winter and I found myself watching all those great new films. Still, I think there were a lot of things that made a stir in the film world that I simply do not feel that strongly about. And I would say this is the year the reboot/sequel/remake fatigue started getting to me (anyone remember they made a new Men in Black?).

Honorable mentions: The Favourite, Once Upon a Time in Hollywood, Shoplifters, The Souvenir, J’ai perdu mon corps, Atlantics, Booksmart, Mirai, The Image Book, Peterloo, Toy Story 4, Birds of Passage,  Lords of Chaos, Yesterday, Hail Satan?, Blinded by the Light, Apollo 11, Piercing

19. Vox Lux, dir. Brady Corbet

It may not be the greatest start to a „best of” list if the first thing on it is a film that literally everyone I know not just disliked but flat out hated. I went to see Vox Lux with my parents who enjoy everything they see and I have never seen them so confused and maybe even mad at what they just witnessed on the screen. Maybe the fact that the film is so outrageous is the reason why it spoke to me. I did not know what it was about before watching it (other than having a vague idea of Natalie Portman as a pop star), I was shocked by the opening scene and later it took me on a crazy journey of the machinations of fame and the appropriation of someone’s suffering by the masses.  This is, to me, what I imagined Climax was to others this year.

18. High Life, dir. Claire Denis

Space, silence, bodily fluids – exactly what one would expect from a Claire Denis sci-fi film. We are following Robert Pattinson and his daughter, the sole survivors on a spaceship. We see flashbacks that in a way explain what happened but also not really, time feels like it does not exist. This is a film that does not rely on a linear story, it is definitely one that has to be felt.

Do I „get” High Life? Am I even smart enough to „get” it? Is it meant to be understood? Is it okay if it is not? I definitely have my thoughts and observations about what Claire Denis chose to show on the screen but I feel like sharing them accomplishes nothing. This is a space journey of the soul if I ever saw one.

17. Her Smell, dir. Alex Ross Perry

Elisabeth Moss as a not-Courtney-Love riot girl singer with some troubles that take toll on her personal and professional life. She drinks, she takes drugs, there are some weird new age people hanging around… But she also has a little daughter and the baby’s father thinks she should get her act together if she wants to raise her. Her Smell is Elisabeth Moss being drunk, being loud, causing troubles – rock ’n’ roll. I love punk and I love riot grrrls, and while this film is mostly about Moss herself, not so much about the movement, but that is fine. I really appreciated some quieter, tender moments in between all the madness (and yes – I am talking about that wonderful rendition of Bryan Adams’s „Heaven”).

16. Dolemite Is My Name, dir. Craig Brewer

Many of the year’s films’ theme seemed to be trying to find joy and happiness in difficult, sad circumstances. And I think one of the most triumphant people seeking something more than they were dealt was Dolemite, played by Eddie Murphy. Alongside number ten, Dolemite Is My Name is probably the biggest crowd-pleaser on the list. It is funny, it features a cast of charismatic characters that are fun to root for, it looks great. And while I loved High Life and how it made me try and connect to my own humanity and humanity in general, I also enjoyed  and appreciated having fun with those wannabe filmmakers making something incredibly dumb. I hope Eddie Murphy gets some awards love this season.

15. Uncut Gems, dir. Josh Safdie & Benny Safdie

I feel like normally I am not that big on crime films and this year there were three fantastic ones I had to include on the list: Hustlers, The Irishman, and Uncut Gems (oddly enough, Knives Out, a murder mystery, occupies a different space in my mind). Uncut Gems is maybe the one that keeps you on the edge of your chair the most. While watching Adam Sandler running around New York City, making risky financial decisions, I would sometimes get genuinely stressed. But it was a fun kind of stress. It was fun and frustrating (because WHY would he make all those decisions) and it somehow messed me up about how „retro” 2012 looks already. Side-note, every film should feature „L’Amour toujours” by Gigi D’Agostino.

14. The Irishman, dir. Martin Scorsese

I am very glad that despite his pretty strong opinions as to what cinema is and what it should be, Martin Scorsese still decided to work with Netflix because to me The Irishman feels more like a fantastic mini-series than a film. And that is not a bad thing, in fact, I think it helps the case of a film that is three and a half hours long. The Irishman does feel like a goodbye. I do not think it is, really (for anyone involved), but it does evoke feelings of melancholy and reflection. You can feel it with the way Scorsese composed the shots and the story, you can feel tin De Niro’s acting choices. And the de-aging very rarely (maybe once? – that one fight scene…) actually bothered me. Hot take: Anna Paquin’s only six words of dialogue may be the year’s most profound and effective moment in film.

13. Dolor y gloria, Pedro Almodóvar

Speaking of looking back at your past as a human and as an artist…

All of Almodóvar’s films look amazing but Pain and Glory might be particularly beautiful. But, even though I love pretty-looking films the most, here the story and the entirety of Antonio Banderas’s performance is what truly won my love. Maybe an artist clearly talking about himself, looking back at his life, via the characters he creates is not the most revolutionary idea but Almodóvar does put his own stamp on it and creates something wonderful. And the ending might be the greatest ending of this year in film.

12. The Miseducation of Cameron Post, dir. Desiree Akhavan

A lot of people my age (or even older) read and love young adult literature. I never understood that completely, because, while I have some childish interests and enjoy low-brow things all the time, whenever I read one of those novels I get bored so quickly that I cannot imagine reading them for fun and actually feeling connected to those teenage characters. 

But then one day I read The Miseducation of Cameron Post by Emily M. Danforth. I was shocked by how well the book was written, by how much space was given to Cameron’s, a teenage lesbian sent to a conversion camp, feelings and thoughts and pain. And Desiree Akhavan managed to adapt this quality of the book, the subtleties, the feelings. I would urge anyone to seek this film and not get discouraged by thinking it is just another YA adaptation. And if you are, like I was, worried about Chloë Grace Moretz… don’t be, she’s fine.

11. Us, dir. Jordan Peele

Two actresses this year gave, in my opinion, truly masterful performances – and both of them were in horror films which makes me worried they might not get what they deserve come the awards season. One of those actresses will be mentioned in relation the the film at number two on the list, the other is Lupita Nyong’o in Us. I think the film is absolutely fantastic and it is sad that it seemed to have lost a bit of momentum because of the boring „plot hole” crowd who nitpick things that are not even problems, seemingly choosing to completely ignore the big picture. This might just be a perfect representation of the US today (said the non-American), it definitely is a perfect new horror entry with maybe the simplest yet also incredibly clever villains in a long time.

10. Knives Out, dir. Rian Johnson

This one probably won’t surprise anyone. It seems like no other film this year united the audience members worldwide that well – everyone seemed to enjoy Knives Out. And, I am going to be honest, as someone who truly loves The Last Jedi, seeing Rian Johnson getting praise and validation felt great (especially now that The Rise of Skywalker turned out to be… quite a disaster). Knives Out is fun and funny but it is also a critique of the rich which I always love. But, truth be told what won me over in the end were probably the sets and the sweaters. Plus, I laughed way too hard at the Nazi kid.

9. Hustlers, dir. Lorene Scafaria

A group of gorgeous women pole dancing for money. One could argue that this is not the image we should be promoting in the woke year of 2019. But the truth is that this is not a story of female empowerment, this is a crime film about people being pushed to desperate measures by finding themselves in dire straits. This is a portrait of women doing morally questionable things. But Lorene Scafaria somehow manages to show those things as wrong technically, while also suggesting why we might sympathize for them a bit. This is a film about class, about capitalism and how it can ruin us. And the performances are fantastic – I hope the seemingly universal enthusiasm about Jennifer Lopez potentially getting a Best Supporting Actress Oscar works out.

8. The Lighthouse, dir. Robert Eggers

Maybe I have actually wanted to write a proper post with actual reasons as to why I consider the films I include here worthy of mentioning as the absolute best of the year. And here is something important: Robert Eggers’s The Lighthouse is a work of art, a masterfully shot, acted, and directed gem of a film. But also, the thing I want to shout out loud when people mention it is: „MY AESTHETIC”! I love Robert Pattinson and Willem Defoe, I love sweaters, I love the sea, I love lighthouses, I love the exploration of human mind’s slow descent into madness… The Lighthouse has all of that and, somehow, it also has a lot of humour. It is scary, it is disturbing, but it is also fun. I am so glad it exists and we still get films like that.

7. The Last Black Man in San Francisco, dir. Joe Talbot

A tale of trying to desperately find who you are and whether what you always believed in is actually true. Also, a portrait of gentrification, of losing your legacy and safety. And all of this is absolutely gorgeously shot. It is one of the most beautiful films of the year. The cinematography, the music, and the way I could somehow relate to the characters’ feelings despite being in a completely different place and life situation made this film one of the most touching experiences of the year. I wish it would be talked about more as far as awards are concerned but at the same time I love the idea of this film being this actual hidden gem you watch by accident sometime in 2032 and it changes your life. 

6. If Beale Street Could Talk, dir. Barry Jenkins

I realize that this is technically a 2018 film, it was even nominated for an Oscar this year. But in my country it only came out this spring. And if it did come out last year here as well, I would still have to include it on my Best of the Year list.

When I first heard that Barry Jenkins is making a film about a man falsely accused of rape in the year 2018, I cringed. But then I thought, which man can I actually trust with a subject like that if not Barry Jenkins? And the film handled the topic in a compassionate, fair way than did not accuse the rape victim of anything, a film that recognizes where the problems lie, what power structures are at play here. Plus, the cinematography, the colours, the music (maybe most beautiful score of the year) are incredibly gorgeous and the performances are wonderful (Regina King’s Oscar was maybe the most deserved one this year). A heartbreak of a film in the best way possible.

5. Minding the Gap, dir. Bing Liu

Again, a 2018 release technically but a 2019 release for me. And so I can include in on my 2019 list and I will because I will take every opportunity I get to talk about this film. On the surface level this is a portrait of the skateboarding community that the director Bing Liu himself has been a part of. But as the film progresses and we get to know the characters it becomes so much more. This is a story about abuse and growing up and dealing with your traumas as well as you can and still messing up sometimes. 

One thing I feel the need to mention is that Minding the Gap features what might be the most astonishing and heartbreaking moment in editing I have seen this whole year and probably longer.  And it ends with “This Year” by The Mountain Goats, the ultimate expression of joy and choosing to live despite what one has been through, so it truly is something I could not have not loved.

4. Portrait de la jeune fille en feu, dir. Céline Sciamma

-I’ve dreamt of that for years. 

-Dying? 

-Running.

An incredible film. Céline Sciamma deserves all the directing awards in the world. This is a story that heavily features art and painting and every scene truly does look like a painting. And the relationship we are watching being formed on the screen is equally gorgeous. This is a story about love and about pain and repression and desperately wanting to express yourself, to not be forced to be small and quiet. Beautiful cinema in every way. I lack the writing skills to properly express my feelings towards it.

3. Gi-saeng-chung, dir. Bong Joon-ho

The one film (other than Knives Out) everyone seems to agree on this year. Parasite is this year’s critical darling that also works well with audiences (if they give it a chance). Including me! I do not know if that is an element of the film that works particularly well with people, or is it it as a whole. There is an exploration of the subject of class and there is also a suspenseful thriller intrigue going on. Best of both worlds. 

And even though many disturbing things are going on on the screen, I have to say I loved being in this world. Maybe there is just something about spending two hours mostly in one place with established group of people that brings you close to them. Even if you do not necessarily condone their behaviour. Then again, maybe you do: Parasite makes you question your own morals because maybe you are okay with doing bad things to rich people (Parasite is basically Hustlers, I guess).

2. Midsommar, dir. Ari Aster

Call me shallow (by Lady Gaga and Bradley Cooper) but I love beauty. And one of my favourite things is beautiful look of a film. And on that front, Midsommar truly delivers. As soon as the first teasers dropped, I knew this would be my top film of the year. Not only because everything is so gorgeous in it, but also because I just LOVE folk horror, or even the slightest mention of folk themes in horror (or, any other media). 

And then I actually saw the film and it turned out that it is also, among all the craziness, a very real life experience. As disturbing as the film is, there is also some positive message, some life affirmation. [SPOILER] The final shot of the film represents liberation and acceptance of what is, as it is, of freeing yourself of all the emotional burden. I would really love to experience that in 2020.

Also, if there was any justice in the world, as I alluded to earlier, Florence Pugh would be the frontrunner for Best Actress Oscar.

1. Marriage Story, dir. Noah Baumbach

Normally I really do not enjoy watching dramas about rich, white, straight people who are really sad. And while divorce is hard on everybody, rich or not, the necessity to fly back and forth between New York City and Los Angeles is such a ridiculous and unreliable problem that it should make me roll my eyes so hard they pop out of my skull. And yet, Marriage Story is my favourite film of the year. And no one is more surprised than I am.

Let us begin with the acting, because that is what most people talk about when they talk about Marriage Story. I won’t add anything revolutionary to the discussion. Both Scarlett Johansson and Adam Driver deliver emotional, beautiful performances with some truly impressive big scenes in addition to small, tender little moments that just break your heart. The look of the film! It seems to bland at first, empty light apartments, but why does it work so well? But what I appreciate most about the film are probably all the little moments in the script that do something unusual: be it a brilliant scene with a knife or a Sondheim sing-along. Those are the moments that, as sad as it may sound, make my life worth living.

I always end up liking the films that make me feel things the most. And Marriage Story made me feel a lot. It made me feel what it is like (dare I say it?) being alive.