Cinema in 2024 is alive and well.
My top 10, as well as a few other picks
The world in 2024 is a strange place, but strange times make for good art, and cinema being the most perfect and quintessential art form of our era, our anxieties, concerns, and desires are inevitably explored through it. This year, many writer-directors created fantastic work that made it to my list and continues to inspire me. Unfortunately, I was unable to watch everything I would have wanted and had I; my list would probably look different. My list skews towards English-language cinema, and I am biased toward it, but I do try to watch films from all around the world, and if I don’t get to them yet, I will likely get to them soon.
Out of those that I would have wanted to watch but haven’t yet, I can list the following:
“La Chimera” (2023) Dir. Alice Rohrwacher, “MadS” (2024) Dir. David Moreau, « The Promised Land » (2023) Dir. Nikolaj Arcel, «Red Rooms » (2023) Dir. Pascal Plante, « The Beast » (2023) Dir. Bertrand Bonello and “La Cocina” (2024) Dir. Alonso Ruizpalacios, to name a few.
Until I get to these, this is my list. Please reach out and share your thoughts. I would love to hear which films you favor this year.
“Late Night with the Devil” (2023) Dir. Cameron Cairnes and Colin Cairnes
Found footage films were quite popular a few decades ago. While there have been a few good to great entries, such as “The Blair Witch Project” (1999) by Daniel Myrick and Eduardo Sánchez, “REC” (2007) by Jaume Balagueró and Paco Plaza, and “Cloverfield” by the exceptionally talented yet underrated Matt Reeves, this genre is notoriously challenging to master. One of the primary difficulties lies in establishing a convincing reason for the film’s premise and sustaining that justification throughout. Additionally, crafting compelling characters has often proven elusive in this genre. However, “Late Night with the Devil” manages to overcome these challenges with impressive style. A significant factor in this success is David Dastmalchian, a talented character actor who takes on his first lead role as Jack Delroy — a charming yet troubled late-night host trying to make his mark in the 1970s late-night television scene overshadowed by Johnny Carson. What sets “Late Night with the Devil” apart is its unique blend of horror and drama, coupled with an authentic 1970s aesthetic and well-developed characters. The film feels like a time capsule from that era, showcasing the glorious fashion and meticulous attention to detail that reflect the passion of the writer-directors for this world. Numerous references and Easter eggs are throughout, which can enhance your appreciation of the film. However, they are unnecessary for enjoying this refreshing addition to the horror genre and the found footage subgenre. Overall, the film is an incredible journey from beginning to end and serves as a reminder that when someone possesses passion and skill, they can create something truly special.
“Challengers” (2024) Dir. Luca Guadagnino
Guadagnino has two films this year, but if you watch only one, make it this one. Written by Justin Kuritzakes, who is married to Celine Song, the writer-director of last year’s brilliant “Past Lives” (2023), this film serves as an antithesis to that earlier work. While it appears to be about tennis, it truly explores themes of passion, power, and sexuality, though it does so without explicitly showing the latter. Like Song’s film, it also revolves around a love triangle, but this one is kinetic, loud, and flashy, in contrast to the subtlety and restraint of “Past Lives.” Nonetheless, both films are excellent in their own right. “Challengers” (2024) is likely the most stylish film of the year, with Zendaya taking the lead in this department on top of delivering a pitch-perfect performance as a top tennis player. Mike Faist and Josh O’Connor closely follow behind, and they are great, but Zendaya shines through. This film is one of the decade’s most electric and sensual films. Its stylishness extends beyond the performances and embodies Guadagnino’s vision, which he has explored throughout his filmography to great acclaim. The film is visually stunning, featuring daring camerawork by Guadagnino’s frequent collaborator, Sayombhu Mukdeeprom. These impressive visuals are complemented by sharp editing and a frenetic score by Trent Reznor and Atticus Ross. Although the music appears unexpectedly and sometimes makes the dialogue difficult to understand fully, it enhances the story and adds depth to the sensorial experience. While the film covers all the themes I am describing (and more), it can also be interpreted as a story about adulthood and dealing with the mistakes and wounds of youth. This may be Guadagnino’s most enjoyable film to date. Much of it is supposedly set at Stanford, and although I didn’t recognize some of the locations, it added a thrill to my viewing experience. Perhaps that’s not here or there, but it made me giddy.
“Anora” (2024) Dir. Sean Baker
Sean Baker’s Palme d’Or-winning film is not what I expected, but that’s a very good thing. Baker has a knack for portraying characters who exist on the margins of society, which is his signature style. While “Anora” includes many of his hallmarks, it also differs significantly, feeling less like a traditional slice-of-life film. “Anora” is hilarious, resembling a screwball comedy, but it also contains intense moments, escalating chaos, and maintains its grip on the audience until the very end. It is sweet, sad, provocative, and brilliantly written by Sean Baker, featuring a star-making performance by Mikey Madison. The film feels like two separate stories: the first third is more in line with Baker’s earlier works, while the latter part takes unexpected turns. Despite this shift, the film remains cohesive, culminating in an emotional gut punch of an ending that distinctly reflects Baker’s style. It is well known that Sean Baker creates excellent films, but this one stands out as the most accessible and feels like the culmination of his career thus far. Mikey Madison, whom I first saw as Sadie in Tarantino’s “Once Upon a Time in Hollywood” (2019), delivers an authentic, complex, and empathetic performance, embodying a character with intense vulnerability and a zest for life. This depth grounds the film, ultimately serving as a character study beneath its surface. Her relationship with Mark Eydelshteyn, who plays Ivan, captures the essence of young, passionate love. While Eydelshteyn is excellent in his role, this film truly belongs to Mikey. “Anora” is a carefully crafted balancing act of various elements, and everything comes together effectively, including the devastating final scene that ties up the narrative, albeit not in the way you might expect.
“Strange Darling” (2023) Dir. JT Mollner
This film is best experienced without knowing too much about it beforehand. I had only seen the red and blue neon, almost surreal glowing images that looked gorgeous, standing side by side with other more naturalistic images, and they did not seem to fit in together. I was curious and had high expectations, but as I watched the film, I quickly realized they fit together. They do fit together! And that is only part of why this film is one of my favorite films of the year. While the cinematography is noteworthy, the film transcends visual aesthetics. It’s worth highlighting that Giovanni Ribisi, a well-known character actor, debuted as a cinematographer here, delivering crisp, vibrantly bursting images working hand-in-hand with the story and its characters in a thrilling and continuously subverting ride. The film looks like nothing contemporaneously produced, reminiscent of an earlier filmmaking era but with a postmodern story and storytelling techniques. It is a masterclass on the technical cinematography. Writer-director JT Mollner weaves together a compelling narrative about two characters grappling with isolation in their lives, ultimately connecting under unexpected circumstances, and that is as much as I should say. This twisty thriller has two excellent performances by Willa Fitzgerald and Kyle Gallner in a one-night encounter that the characters won’t forget, and it is sure to at least linger in your mind long after you leave the theater. The film’s ending is haunting and cathartic or confusing, but it makes sense and pays homage to some of the greats in the genre. The ending will stick with you, and it is a callback to some of the great films of the genre.
“Furiosa: A Mad Max Saga” (2024) Dir. George Miller
George Miller (you glorious madman!) has created another film in the long-running saga that has spanned over forty years. At 79, he exhibits more exuberance, passion, and guts than most filmmakers half his age, pouring every bit of it onto the screen. Only someone who is methodical, driven, imaginative, and possesses surgical precision — he is, after all, a trained medical doctor — could craft this epic opera, a sprawling and ambitious film. If you wanted a long war rig exploding chase a la “Mad Max: Fury Road” (2015), this is not it, and perhaps that is why it suffered with the audience. But in 2015, few expected that, notwithstanding, Miller delivered one million times over. But it is not all lost, as he gives us a brilliantly executed extended scene with a war rig that is as complex, thrilling, and masterful as only he can direct. Underneath all the sprawling spectacle, this is more of a character study of Furiosa, providing her origin. Still, perhaps more importantly, Dementus is a brilliantly fun new character on the precipice, balancing on the edge without crossing into absurdity, serving as the yang to Furiosa’s yin. Chris Hemsworth creates a character that takes his place amongst the pantheon of great villains standing next to Immortan Joe. His performance is nuanced and layered in a role that could have quickly gone wrong, but thankfully, it shines instead. in a thankless job that could have quickly gone south but didn’t by exploring different notes in a tight-rope act. In one notable scene, Dementus asks, “Do you have it in you to make it epic?” George Miller undeniably does; he makes it epic like very few can. In one scene, Dementus asks, “The question is, do you have it in you to make it epic?” George Miller definitely does; he makes it epic like few can. May he continue making films for another 100 years.
“Dune: Part Two” (2024) Dir. Denis Villeneuve
This film represents blockbuster filmmaking of epic proportions and the highest caliber. Few filmmakers can achieve this level of grandeur, and Denis Villeneuve has consistently done so for many years. The film, set in the desert (just like another one on this list), offers an immersive experience that feels tangible and is best enjoyed in a theater. The film’s design is immaculate and exquisite, showcasing Villeneuve’s signature style while maintaining the texture and depth characteristic of his previous works. The world feels lived-in, a quality that many other films often lack. Impeccable direction is evident in every frame, featuring standout set pieces such as a gladiator-like fight in almost monochromatic tones and the thrilling sandworm riding scenes. Hans Zimmer’s score is delightful and recognizable, filled with intoxicating harmonies and dramatic drumbeats that distinctly enhance the film’s atmosphere. This movie serves as a culmination of the story introduced in the first part, which was a monumental achievement in its own right. However, this sequel sticks the landing, bringing the narrative full circle, even with another film on the horizon. Although it is an epic film about many events and characters, it is also emotionally resonant, delving into themes that connect deeply with the audience. Outstanding performances from the entire cast anchor this emotional depth, but mainly by Timothée Chalamet and Zendaya (making her second appearance on the list), who further develop their characters and how they fit in with each other and within the universe they inhabit. Their portrayals and chemistry add layers of emotion that resonate profoundly. Their performances bring a depth of emotion that resonates with the audience. Denis Villeneuve seems capable of tackling any genre, from personal, Greek tragedy-like dramas such as “Incendies” (2010) to revenge-driven suburban nightmares like “Prisoners” (2013), as well as surreal psychological thrillers like “Enemy” (2013), and everything in between. I eagerly await Villeneuve’s future projects (like a few other of his peers), and I definitely want to see him complete the trilogy with the adaptation of Frank Herbert’s “Dune Messiah”. But I also want to see him expand his already diverse filmography. Perhaps he could throw his hat into the biopic or comedy genres. At this point, I am open to anything he chooses to pursue, and I am confident it will be a cinematic treat. The anticipation of what he might create next fills me with excitement and hope for the future of cinema.
“The Substance” (2024) Dir. Coralie Fargeat
Believe the hype! Winner of Best Screenplay by writer-director Coralie Fargeat at the Cannes Film Festival, this film is a twisted and satirical fairytale that would make both Kubrick and Cronenberg proud. A few years ago, I discovered “Revenge” (2017), Fargeat’s directorial debut, and I was impressed by her violent, daring, and raw style. Since then, I have eagerly anticipated her next project, which may be one of the best sophomore directorial efforts ever. Watching this film is a wild experience, with everything dialed up to 11 in a deeply personal story that explores themes of womanhood, aging, beauty, the entertainment industry, and self-acceptance. It is evident that Fargeat deeply understands cinema; she references many great filmmakers, but always through her unique vision and in service of the story she wants to tell. She brilliantly employs both meticulously designed sets and visceral, pulsating body horror, creating a powerful juxtaposition that enhances the audience’s experience. The film’s impact is profound, with exceptional performances from Demi Moore and Margaret Qualley that resonate deeply with viewers. Younger people may relate to the recklessness and hubris of Qualley’s character. At the same time, those of a certain age may connect with the raw and haunting portrayal of an aging character cast aside by society and grappling with impossible beauty standards and self-acceptance. These two perspectives collide in the glorious and unmistakable style of a Fargeat film. She holds nothing back, and her commitment to the story makes the film — and the experience for its audience — all the more rewarding. Fargeat is already iconic as a director, and I am sure she will continue her remarkable journey as a filmmaker. I can’t wait to see what she dreams of next.
“Kinds of Kindness” (2024) Dir. Yorgos Lanthimos
“Kinds of Kindness” is an intriguing exercise that is bizarre, intense, cynical, biting, and as unique and compelling as Yorgos Lanthimos’ remarkable filmography. This anthology film features three captivating vignettes with overarching themes and a rotating troupe of talented performers, creating a fascinating film despite its challenging nature. While its unconventional approach may challenge some viewers — evidenced by a few walkouts during my screening — it perfectly embodies Lanthimos’ intention to spark thought and inspire deep reflection that may continue days, weeks, or months after you’ve watched it. I watched this film earlier this year, and it still managed to latch to my brain. I keep returning to it, stimulating my thoughts and imagination and questioning my storytelling notions. While it embraces complexity, it also connects with something profound and authentic that resonates with viewers who are open to the experience. I’m enthusiastic about this journey, knowing it’s a confident endeavor by a truly gifted director. The film might have felt unwieldy, pretentious, and overwhelming in the hands of a lesser filmmaker. Still, Lanthimos elevates it beyond those bounds, inviting us to immerse ourselves fully in the artistic experience. If you’re ready to immerse yourself in an experience-daring narrative, “Kinds of Kindness” offers a rewarding adventure that will linger long after the credits and those amazingly weird mid-scenes roll!
“Nosferatu” (2024) Dir. Robert Eggers
Robert Eggers has drawn profound inspiration from F.W. Murnau’s iconic “Nosferatu: A Symphony of Horror” (1922) ever since he first laid eyes on a grainy silent VHS during his childhood. That classic film sparked his passion for storytelling, leading him to adapt it into a monochromatic theater performance, ultimately guiding him toward a fulfilling career as a director. It’s incredibly fitting that Eggers, now recognized as one of our time’s most innovative and respected young filmmakers, is returning to this pivotal source of inspiration in his dream project, completing a beautiful full-circle moment in his creative journey. The influence of this landmark German expressionist film is beautifully woven throughout Eggers’ body of work, so I was curious about how he would approach adapting the original material. His well-documented commitment to extensive research and accuracy is evident here, and he employs shadows and very dark, almost monochromatic photography in many parts as a nod to Murnau. However, this film stands out as a unique piece of work. Although I have only seen snippets of the original, I am familiar with the story, which began as an unlicensed adaptation of Bram Stoker’s novel “Dracula.” Interestingly, it became its own iconic work despite being the subject of one of the first influential copyright infringement cases. As I reflect on this film, I can’t help but notice parallels to Francis Ford Coppola’s “Bram Stoker’s Dracula” (1992). However, Eggers leans more into the hauntingly gothic elements of “Nosferatu,” contrasting with Coppola’s romantic interpretation. Bill Skarsgård’s portrayal of Count Orlok is nothing short of mesmerizing. He masterfully conveys the character’s menacing essence, enhanced by the film’s chilling sound design and the unsettling reactions of other characters. “Nosferatu” beautifully connects to Eggers’ earlier works while offering a more straightforward narrative that resonates with the grandeur and storytelling style of “The Northman” (2022). I am glad to live in a world where Eggers makes the films he desires.
“A Different Man” (2024) Dir. Aaron Schimberg
This film is crafted by a talented writer-director and serves as a character study that explores themes similar to those in “The Substance” (2024) but in a more subtle yet equally poignant and unique manner. Set in New York, the film inevitably draws inspiration from Woody Allen’s films of the ’70s, yet it takes a distinctive turn by venturing into a more absurd, surreal, and unconventional territory that would oddly fit nicely within a more experimental Woody Allen work. However, this film stands out as a unique creation, channeling a high-concept style that is also reminiscent of Charlie Kaufman. The film is brought to life by the outstanding performances of Sebastian Stan and Adam Pearson. While Stan delivers a commendable performance, it is Pearson who truly captivates the audience with his undeniable charisma. The film raises many challenging questions and answers some, but like all great films, it doesn’t have to provide all the answers; instead, it compellingly and memorably poses them to inspire conversation. I had the joy of watching this film without prior knowledge, and I found it an exhilarating experience. If you enjoy films that weave diverse influences and create something unique, “A Different Man” will captivate your interest, intrigue you, and spark your imagination.
Other notable films
“My First Film” (2024) Dir. Zia Anger
It is a meta reflection by a film director on her first film that rings true to anyone who has dared to direct a movie and creates a rich cinematic language through a tapestry of mediums and techniques.
“Trap” (2024) Dir. M. Night Shyamalan
I’ve been an unapologetic Shyamalan fan since he burst onto the scene. I am happy he continues making movies with this Hitchcockian thriller that delivers despite what would appear to be a silly premise.
“Juror #2” (2024) Dir. Clint Eastwood
What, by all accounts, should have been a smaller film in his distinguished and long filmography, Eastwood continues to deliver thoughtful cinema in his 90s. It is a thoughtful exploration of a moral dilemma that is sort of a modern reinterpretation of Sidney Lumet’s classic “12 Angry Men” (1957).
“Kill” (2023) Dir. Nikhil Nagesh Bhat
It is a thrilling, unrelenting ride that will make you question how this film was made.
“Alien: Romulus” (2024) Dir. Fede Alvarez
Breathes new life into the long-running franchise by going back to the original.
“Monkey Man” (2024) Dir. Dev Patel
Action-packed with influences from Korean cinema, John Wick, and mythology, among many others, but filtered through the unique eye of Dev Patel, a writer-director-producer slash action hero.
“Rebel Ridge” (2024) Dir. Jeremy Saulnier
It is a solid-driven action thriller that constantly zigs when others zag, anchored by Aaron Pierre’s mesmerizing performance.
