94th Academy Awards Predictions: Best Picture

The film awards season has been going on for a while now. But if, unlike me, you’re not aghast at Janusz Kamiński’s snub at the ASC Awards, the awards season is probably synonymous with “The Oscars.” Nominations will be announced on February 8th, and the lineup for Best Picture of the Year is starting to take shape. For the past few years, the Academy has had protocol in place to recognize between 5 and 10 nominees, but this year they will have a full slate of 10 nominees. This change will hopefully allow for some surprises, and certainly makes the category a bit more difficult to predict. But, I have done my best. As far as I can tell, the films listed below are in the running to be in the running for Best Picture.

 

As a note, I try to keep my personal opinions out of my guessing. So me saying a movie has a good or bad chance of a nomination in no way reflects my opinion on that movie. To see a rundown of my personal favorites of the year, you can check out this post!

 

THE LOCKS:

 

The Power of the Dog

Why it will be nominated: A lot could change before Oscars night, but at this point, The Power of the Dog is my pick to win it all. Jane Campion already seems like a lock to win Best Director, and the film stands solid across other categories as well. It’s done well with critics, it’s done well with guilds, it has simply performed strongly everywhere.

 

Why it might not: A few years ago, industry prejudice against Netflix was high, and despite a heavy campaign, it was almost impossible for the platform to earn any of its films a nomination. To date, Netflix has still not snagged a Best Picture win, despite putting forth heavyweight contenders like Roma and The Irishman. That’s currently the greatest weakness I can see for its chances of winning, but I still don’t seriously see it costing it a nomination. Especially at a time when more people than ever are watching their movies on a computer screen.

 

Belfast

Why it will be nominated: If The Power of the Dog has any real competition at this point, it’s probably Belfast, which has been a contender ever since it won the coveted People’s Choice Award at the Toronto International Film Festival. It’s a sweet film, and the most personal film Kenneth Branagh has ever directed.

 

Why it might not: Truth be told, there’s no way Belfast isn’t getting a nomination, but the reception for it has cooled a bit since earlier in the awards season. It has still been performing as well as expected, but there isn’t the same excitement surrounding it as there once was. There was a surprise at the SAG Awards—even though it picked up 2 nominations, both Jamie Dornan and Ciaran Hinds were snubbed for Best Supporting Actor, which indicated that the film’s support might not be wholly dominant. Belfast is maybe going to be the most interesting film to keep an eye on when nominations are announced, is it could really go either way. It’s either going to be one of the most nominated films of the year, or it’s going to only take a handful of nominations. Even in the latter situation, however, one of those nominations will be for Best Picture

 

West Side Story

Why it will be nominated: When Steven Spielberg makes a prestige picture, it has the Academy’s attention. Even when he makes a film like The Post, which was well-received but was widely considered underwhelming, he gets a Best Picture nomination. His West Side Story is a much better and much more exciting picture than The Post, and if it wins, it’ll be the first remake of a Best Picture winner to also win Best Picture.

 

Why it might not: The elephant in the room for West Side Story is its box office returns. The industry put a lot of their hopes on this movie to bring people to the theaters, and it just didn’t happen. In a perfect world, that shouldn’t matter, and the film has been well-received regardless of audience turnout, but it might be hard for the Academy to cast their votes for West Side Story if it has the perception of not being a “winner.”

 

King Richard

Why it will be nominated: The Academy loves biopics, and of the many in the race this year, King Richard has had the best showing by far. Not much more to say, really. It’s just a movie tailor-made to receive a Best Picture nomination.

 

Why it might not: There’s no argument to be made against King Richard, but it’s also not exactly the most innovative film. Of all the films in discussion, even ones that have not been performing as well, King Richard has to be the most forgettable. If it doesn’t get a nomination, everyone will be surprised, but it’s hard to imagine anyone being all that upset—this isn’t a film people are going to rally behind. As for other awards, Will Smith has been campaigning hard to earn his first ever Oscar for this performance, but it doesn’t really have huge momentum in any other category. A screenplay nod is likely, but a win definitely isn’t. And, most damningly for its Oscar chances, Reinaldo Marcus Green isn’t even remotely a part of the Best Director race.

 

Dune

Why it will be nominated: One of the better results of the Oscars expanding Best Picture past five nominees is that genre films are more frequently recognized. It used to be that sci-fi films only rarely made it into the Best Picture race, but there have been multiple nominees in recent memory. Dune is destined to be the next one. With its dominance in the technical categories, it is like to pick up more nominations than any other film this year, including Best Picture.

 

Why it might not: While genre films have indeed gotten more attention recently, there has yet to be one with a genuine shot at Best Picture. While it has been well received, the fact that Dune is the start of a new franchise might alienate Oscar voters who tend to respond more to standalone films. Still, the secret weapon here is Denis Villeneuve, who is likely to land a Best Director nomination, and whose prestige background helps give Dune a bit of artistic cred.

 

THE FRONTRUNNERS:

 

CODA

Why it will be nominated: One of the earliest 2021 releases to generate real awards buzz, CODA is the type of pared down, feel-good movie that tends to do well at the Oscars. After last year’s nominees were criticized for being “too sad,” (a WOEFULLY bad take) CODA is exactly what the Oscars needs to make the nominees more crowd-pleasing.

 

Why it won’t: I’ve currently been wondering if CODA is simply too small scale to really make an impression at the Oscars. Sundance films rarely maintain momentum, and while it looks like CODA is going to be an exception, its early release does leave it slightly vulnerable. I’m also always wary of a film that feels like a lock for Best Picture but doesn’t have any buzz in categories like Director and Editing, as those are usually categories which overlap. If another film lower down on this list pulls an upset, CODA has a chance to simply be edged out. It’s also worth noting that, despite some great performances from deaf actors Troy Kotsur, Daniel Durant, and Marlee Matlin (who also produces), the film has received significant criticism from the deaf community for its basic story. Unfortunately, I don’t see that criticism making much of a difference to the Academy, but it is nonetheless worth mentioning.

 

Don’t Look Up

Why it will be nominated: Don’t Look Up wasn’t finished until recently, meaning it bypassed the festival circuit. Still, given that Adam McKay’s last two films received Best Picture nominations, and given the stacked ensemble cast, it has always been at least a part of the conversation even before anyone had seen it. Since its release, it has been doing really well at the various guild awards racking up nominations in top categories at big ceremonies like the PGAs, DGAs, WGAs, and SAG Awards. But while recognition from these branches is usually key, I think an even more compelling case for Don't Look Up's chances is that it’s been nominated by more technical categories as well. Even fans of the film would probably agree that there wasn’t anything particularly notable about, say, its production design, costume design, or its makeup and hairstyling. And yet the respective guilds for these categories ALSO nominated Don’t Look Up, in what can only be an attempt to reward the film as a whole. This demonstrates that it has broad support throughout the industry, which launches it to the top tier contenders like a rocket trying to explode a comet.

 

Why it won’t: If Don’t Look Up gets a Best Picture nomination as expected, it will be the worst critically-reviewed Best Picture nominee in recent memory. It has a Rotten Tomatoes score of 56%! You’d have to go a decade back to find a Best Picture nominee with a lower Rotten Tomatoes score (Extremely Loud and Incredibly Close). And you’d have to go all the way back to 1969 for a lower score before that! There has been much discussion about how good or bad this movie actually is (with McKay himself receiving backlash for his flippant response to the criticism of the film). While Rotten Tomatoes is far from a perfect system of grading, a film that was this panned really isn't what one imagines as a Best Picture contender. To be clear, I DO indeed expect it to get a nomination, but given how divisive it has been, I don’t want to just assume it’s a sure thing.

 

And, look. I try to keep my personal feelings out of this particular analysis, but…how is this seriously a contender for a Best Picture nomination? This movie is an absolute mess. It's really bad. Really, really bad. Not just "not Best Picture material" bad, this is one of the worst movies of the year. Look, I didn’t like The Big Short, but a lot of people seemed to, so I guess it made sense as a Best Picture nominee. Then everyone felt “meh” about Vice and it still got a Best Picture nominee. Now, most people agree that Don’t Look Up is garbage and it’s STILL IN CONTENTION?! What hold does Adam McKay have over this industry? Why are we rewarding him? He must be stopped. This film deserves to be forgotten. The fact that it hasn’t been makes me so unbelievably angry.

 

Licorice Pizza

Why it will be nominated: Anytime Paul Thomas Anderson makes a film, there’s a chance it will be an Oscar contender. He’s beloved by the industry and the public alike, and his latest film is exactly the sort of prestige “indie” film that the Oscars likes to include.

 

Why it won’t: From a prognosticator’s point of view, Licorice Pizza is the type of movie that makes awards season speculation interesting. This one is on the bubble in a lot of categories—it’s in a position to either overperform or underperform to a huge degree. I do think it will get a Best Picture nomination, but I could see a situation where she doesn’t score a single one (or maybe just one for Original Screenplay). I could also see it doing VERY well. The big category is going to be Best Director. If Paul Thomas Anderson gets a Best Director nomination, then it’s in the running for Best Picture. If not, then it might be dead in the water.

 

tick, tick…BOOM!

Why it will be nominated: One of the biggest surprises of the awards season has been how well tick, tick…BOOM! has done. Initially, the buzz for this film all surrounded star Andrew Garfield, but as his odds of winning have grown, so has the reception for the film as a whole. A lot of the titles on this list have either remained steady or are starting to lost momentum. This is one of the few films that’s actually on an upswing, and seems to have a lot of goodwill towards it within the industry.

 

Why it won’t: Movie musicals are not as popular a genre as they once were, and it has been decades since there was more than one musical in the Best Picture lineup. In a year where Steven Freakin’ Spielberg made a remake of one of the most beloved musical films of all time, tick, tick…BOOM! is decidedly the “other” movie musical in the running. This movie also feels inherently theatrical, which I think is to its benefit, but it might alienate some members of the voting branch for that reason.

 

Drive My Car

Why it will be nominated: This is definitely my gutsiest pick. Drive My Car is one of the most acclaimed films of the year, and picked up a large number of Best Picture titles at various critic’s choice events. It’s the current frontrunner to win Best International Film, so those filling out nominating ballots should have it on their radar. A few years ago, the makeup of the Academy was expanded and, as a result, a greater percentage of non-American voters were added. The significance of this has been fairly notable in the Best Director category, where foreign-language film directors like Pawel Pawlikowski for Cold War and Thomas Vinterberg for Another Round have snuck in fairly unexpectedly. While neither of those films managed to earn Best Picture nominations, with the expansion to 10 nominees, I feel like Drive My Car has a genuine chance to be the biggest surprise on nomination day.

 

Why it won’t: This is ultimately speculation on my part. It’s an educated guess, but until it happens there’s not really a precedent for a movie performing like Drive My Car to be launched to Oscar glory. Most likely due to it being in another language, it hasn’t performed as well with the guilds as it has with the critics. And unfortunately, those guild awards are far more significant indicators than whatever critics think. Even though some of its omissions from the guild awards are because it wasn’t eligible, that doesn’t change the fact that it’s not been at the front of everybody’s lips this awards season. That might mean it doesn’t have the buzz for voters to really give it consideration.

 

THE POTENTIAL UPSETS:

 

The Lost Daughter

Why it might pull an upset: Maggie Gyllenhaal's directorial debut has received rave reviews, and might just earn star Olivia Colman her second Oscar for Best Actress. An indie darling, it looks likely to win Best Feature at both the Independent Spirit Awards and the Gotham Independent Film Awards, both of which were won last year by future Best Picture winner Nomadland. While I'm calling it a potential upset, it's maybe more accurate to say it's a dark horse. If this film proves to have widespread support within the Academy, we might see it pop up in the screenplay category, and maybe even a nomination for Colman's co-stars Jessie Buckley or Dakota Johnson.

 

Why it probably won't: I love The Lost Daughter, and am glad it has been doing well at the independent film awards, but it might not be flashy enough to make it to the Oscars. But perhaps most concerning for this film is that it's one of many films that Netflix is stumping for. Their awards campaign is leaning on The Power of the Dog, Don't Look Up, and now tick, tick...BOOM!, which means that The campaign for The Lost Daughter is a little less focused, with Colman getting the brunt of the attention. If it can score a surprise nomination over one of the other Netflix films in the running, that's an indication that this film is more beloved than expected, and watch it get a more substantial push before the ceremony.

 

Nightmare Alley

Why it might pull an upset: The last time Guillermo del Toro directed a film, it won Best Picture. That means that any future film of his needs to be at least a consideration for the Oscars. Nightmare Alley, del Toro's take on film noir, is the director's most Oscar-friendly film to date. It has gained some momentum recently with some key nominations, like Best Picture at the Critic's Choice Awards, Best Adapted Screenplay at the WGA Awards, and one of the top ten films of the year by the National Board of Review.

 

Why it probably won't: Interestingly, if The Shape of Water hadn't won Best Picture, I think Nightmare Alley would be one of the leading contenders. The Academy loves when someone is "overdue," and if not for that win, del Toro would be one of those beloved figures who gets recognized in part because it's "their time." Conversely, they don't love giving repeat wins to those who have already won in major categories. Even voters who like Nightmare Alley might forego placing it on their ballots specifically because del Toro just won. I think we'll see it show up in a lot of the technical categories (especially Production Design), but Best Picture is a much longer shot.

 

Being the Ricardos

Why it might pull an upset: For most of the awards season, Being the Ricardos has mainly been in contention for other awards, with it eyeing Best Actress for star Nicole Kidman, and MAYBE Best Original Screenplay for Aaron Sorkin. But something has happened recently. Out of nowhere, Javier Bardem started gaining attention for his performance (including at the crucial SAG Awards), and then it landed a Best Picture nomination at the PGA Awards. At the very least, this suspects that the industry like Being the Ricardos a lot more than initially expected. This is great news for Kidman, and might be great news for the film as a whole. All of a sudden, it's entered the Best Picture conversation.

 

Why it probably won't: Being in the conversation is great, but its buzz is a lot more of a murmur than a roar. Kidman is a sure thing, Best Picture is still a long way away. The nod from the PGA Awards is most likely a fluke.

 

House of Gucci

Why it might pull an upset: House of Gucci has probably had the most ups and downs out of any movie this awards season. At some awards ceremonies it has done really well, and at some it has been completely shut out. Its most significant showing is its three nominations at the SAG Awards (including Best Ensemble), which shouldn’t be discounted—actors make up more of the Academy than any other group.

 

Why it probably won’t: Its showing at the SAG Awards is enough to give pause, but without those, House of Gucci has a pretty weak case. The fact that it was snubbed by the Producers Guild is difficult to overlook in particular, as that was a branch that it should have had a good shot with. The awards campaign seems to be focusing its efforts on securing nominations for Lady Gaga and (sigh) Jared Leto instead of Best Picture. It shouldn’t be counted out, but especially compared to my other potential upsets, it doesn’t seem to have insider support.

 

The Tragedy of Macbeth

Why it might pull an upset: If the rules for Best Picture voting were the same as the last few years, The Tragedy of Macbeth wouldn’t have stood a chance. But with the nominees expanded to ten films exactly, it feels likely that there’s going to be at least one wild card present. This last happened in 2010 and 2011, and opened the door for animated films (Up and Toy Story 3), genre films (Black Swan and District 9) and smaller-scale films with less buzz around them (Winter’s Bone, The Blind Side and A Serious Man). I could definitely see The Tragedy of Macbeth claiming one of these wildcard spots. A lot of the people involved are Academy favorites; Frances McDormand is a rare 3-time acting winner, and Denzel Washington has gotten a nomination in the past even for his lesser performances (anyone remember Roman J. Israel, Esq.?. Director Joel Coen in particular is an Academy favorite, as Coen Brothers movies have frequently performed better at the Oscars than they have at other previous ceremonies—like when The Ballad of Buster Scruggs received a screenplay nomination seemingly out of nowhere.

 

Why it probably won’t: Every argument that The Tragedy of Macbeth will earn a Best Picture nod is purely hypothetical. It simply hasn’t been gaining the type of recognition it needs to be in contention, and I honestly feel like voters don’t know what to do with it. Being a Shakespeare adaptation is already alienating for some voters, and fans of the Coen Brothers might be disappointed because it doesn’t “feel” like a Coen Brothers movie. I still think the film has a chance to overperform, and might pick up nominations for Washington, McDormand and maybe even Coen in Best Director. But Best Picture seems a bit too far out of reach.

 

THE LONGSHOTS:

 

A Hero

In discussing Drive My Car, I’ve already mentioned that I could see an international film sneaking into the nominees. While Drive My Car does seem like the best option, we shouldn’t count out A Hero. The Oscars really loves director Asghar Farhadi, who has already won 2 Oscars previously, and A Hero’s later release means it might have more of a shot against Drive My Car than previously thought. If so, Farhadi might sneak in over Hamaguchi.

 

Spider-Man: No Way Home

Look…if the internet had its say, the latest Spider-Man film would get in no problem. But buzz online doesn’t translate to actual awards chances. The Academy doesn’t care about No Way Home. It’s just not happening. But I wanted to at least address the fact that a lot of people want it to happen.

 

But what do you think? Which film are you rooting for? Let me know, and tune in with me on February 8th to see how my predictions turn out? And you can read my predictions in all other categories here.

The 100 Best Movie Performances of 2021

I’ve already counted down my favorite films of the year (if you missed that list, check it out HERE!) but what about performances? In one of my most compulsive activities, I’ve spent all year keeping track of my favorite film performances, and have whittled the list down to my 100 favorites. Did yours make the list? Find out below!

 

100) Sandra Hüller as The Employee—I’m Your Man

 

99) Bradley Cooper as Stanton Carlisle—Nightmare Alley

 

98) Brenda Deiss as Lil—Red Rocket

 

97) David Rysdahl as Mike—Nine Days

 

96) Jim Broadbent as The King—A Boy Called Christmas

 

95) David Marsais as Jean-Gab—Mandibles

 

94) Jila Shahi as Zaman—There Is No Evil

 

93) Lynn Cohen as Mrs. Litvak—The Vigil

 

92) Sienna Sayer as Rachel—Martyrs Lane

 

91) Rachel Zegler as Maria—West Side Story

90) Denzel Washington as Macbeth—The Tragedy of Macbeth

 

89) Jesse Plemons as George Burbank—The Power of the Dog

 

88) LaKeith Stanfield as Cherokee Bill—The Harder They Fall

 

87) Max Harwood as Jamie New—Everybody’s Talking About Jamie

 

86) Kotone Furukawa as Meiko—Wheel of Fortune and Fantasy

 

85) André Holland as Brian Redfield—Passing

 

84) Jude Hill as Buddy—Belfast

 

83) Adarsh Gourav as Balram Halwai—The White Tiger

 

82) Alana Haim as Alana Kane—Licorice Pizza

 

81) Robin de Jesús as Michael—tick, tick…BOOM!

80) Mohammad Valizadegan as Javad—There Is No Evil

 

79) Amy Seimetz as Mary Wertz—No Sudden Move

 

78) Amir Jadidi as Rahim Soltani—A Hero

 

77) Grégoire Ludig as Manu—Mandibles

 

76) Gillian Wallace Horvat as Gillian Wallace Horvat—I Blame Society

 

75) Marion Cotillard as Ann Defrasnoux—Annette

 

74) Jayne Houdyshell as Deirdre Blake—The Humans

 

73) Jessie Buckley as Leda Caruso—The Lost Daughter

 

72) Jesse Plemons as Roy Mitchell—Judas and the Black Messiah

 

71) Danielle Deadwyler as Cuffee—The Harder They Fall

70) Richard Jenkins as Erik Blake—The Humans

 

69) Jerry Mofokeng Wa Makhetha as The Lesiba Player—This Is Not a Burial, It’s a Resurrection

 

68) Mahtab Servati as Nana—There Is No Evil

 

67) Katsuki Mori as Nao—Wheel of Fortune and Fantasy

 

66) Ciarán Hinds as Pop—Belfast

 

65) Colman Domingo as Abegunde “X” Olawale—Zola

 

64) Katja Herbers as Femke Boot—The Columnist

 

63) Mike Faist as Riff—West Side Story

 

62) Adèle Exarchopoulos as Agnès—Mandibles

 

61) Jim Cummings as Jordan Hines—The Beta Test

60) Clayne Crawford as David—The Killing of Two Lovers

 

59) Beanie Feldstein as Brigid—The Humans

 

58) Isabelle Fuhrman as Alex Dall—The Novice

 

57) Regina King as Trudy Smith—The Harder They Fall

 

56) Jeffrey Wright as Roebuck Wright—The French Dispatch

 

55) Dakota Johnson as Nina—The Lost Daughter

 

54) Suzanna Son as Raylee—Red Rocket

 

53) Ariana De Bose as Anita—West Side Story

 

52) Anders Danielsen Lie as Aksel—The Worst Person in the World

 

51) David Strathairn as Pete Krumbein—Nightmare Alley

50) Gaby Hoffmann as Viv—C’mon C’mon

 

49) Alec Utgoff as Zhenia—Never Gonna Snow Again

 

48) Kirsten Dunst as Rose Gordon—The Power of the Dog

 

47) Ehsan Mirhosseini as Heshmat—There Is No Evil

 

46) Dominique Fishback as Deborah Johnson—Judas and the Black Messiah

 

45) Dev Patel as Gawain—The Green Knight

 

44) Vikash Bhai as Farhad—Limbo

 

43) Troy Kotsur as Frank Rossi—CODA

 

42) Kiera Thompson as Leah—Martyrs Lane

 

41) Aris Servetalis as Aris—Apples

40) Zazie Beetz as Emma—Nine Days

 

39) Aoba Kawai as Nana Aya—Wheel of Fortune and Fantasy

 

38) Mads Mikkelsen as Markus—Riders of Justice

 

37) Ann Dowd as Linda—Mass

 

36) Jasna Đuričić as Aida Selmanagić—Quo Vadis, Aida?

 

35) Olga Merediz as “Abuela” Claudia—In the Heights

 

34) Olivia Colman as Anne—The Father

 

33) Reed Birney as Richard—Mass

 

32) Haley Bennett as Roxanne—Cyrano

 

31) Amir El-Masry as Omar—Limbo

30) Valerie Mahaffey as Mme. Reynard—French Exit

 

29) Aitana Sánchez-Gijón as Teresa Ferreras—Parallel Mothers

 

28) Woody Norman as Jesse—C’mon C’mon

 

27) Mohammad Seddighimehr as Bahram—There Is No Evil

 

26) Winston Duke as Will—Nine Days

 

25) Léa Seydoux as France de Meurs—France

 

24) Hidetoshi Nishijima as Yūsuke Kafuku—Drive My Car

 

23) Tessa Thompson as Irene “Reenie” Redfield—Passing

 

22) Renate Reinsve as Julie—The Worst Person in the World

 

21) Penélope Cruz as Janis Martinez—Parallel Mothers

20) Fusako Urabe as Moka Natsuko—Wheel of Fortune and Fantasy

 

19) Michelle Pfeiffer as Frances Price—French Exit

 

18) Maren Eggert as Dr. Alma Felser—I’m Your Man

 

17) Peter Dinklage as Cyrano de Bergerac—Cyrano

 

16) Jason Isaacs as Jay Perry—Mass

 

15) Agathe Rousselle as Alexia—Titane

 

14) Adam Driver as Henry McHenry—Annette

 

13) Patti Harrison as Anna—Together Together

 

12) Ruth Negga as Clare Bellew—Passing

 

11) Magdalena Koleśnik as Sylwia Zajac—Sweat

10) Anthony Hopkins as Anthony—The Father

9) Dan Stevens as Tom—I’m Your Man

8) Martha Plimpton as Gail Perry—Mass

7) LaKeith Stanfield as Bill O’Neal—Judas and the Black Messiah

6) Simon Rex as Mikey Davies/Mikey Saber—Red Rocket

5) Olivia Colman as Leda Caruso—The Lost Daughter

4) Joaquin Phoenix as Johnny—C’mon C’mon

3) Daniel Kaluuya as Fred Hampton—Judas and the Black Messiah

2) Kathryn Hunter as The Witches—The Tragedy of Macbeth

 

And my pick for the best performance of 2021 is...

1) Mary Twala as Mantoa—This Is Not a Burial, It’s a Resurrection

 

 

A couple of notable statistics:

 

The only actors to make more than one appearance are Olivia Colman, LaKeith Stanfield, and Jesse Plemons, with two appearances apiece.

 

With 5 performances mentioned, There Is No Evil is the film with the most entries on my list. That's followed by Wheel of Fortune and Fantasy, Judas and the Black Messiah, and Mass, with 4 apiece.

 

But that's my list. What does yours look like? What performances do you think I overlooked? Which ones do you agree with. Which ones are you yet to see? Let me know in the comments!

The Best Films of 2021: Part 2

In Part 1 of my annual “Best Of” countdown, I already went through 20 of the amazing movies that 2021 had to offer. Now, here are my absolute favorites.

 

#10 Together Together

In many ways, Together Together is a standard-issue rom-com. The films follows a new relationship between Matt and Anna (Ed Helms and Patti Harrison) and explores the ways in which that relationship develops. They learn about each other, they support each other, they argue, and they make big decisions about their future together. But there’s one big thing that sets Together Together apart from other rom-coms: Matt and Anna are not in a romantic relationship. Matt is a single man eager to become a father, and Anna is the surrogate carrying his baby to term. It’s an interesting angle to pursue, and the lack of romance doesn’t take away from the seriousness of the relationship or the platonic intimacy between the two. In fact, it allows Nikole Beckwith’s excellent screenplay to dig even deeper into the dynamics of their relationship without the distraction of attraction. The relationship at the center of Together Together is one that I’ve never seen represented on film before—it's a friendship, but it’s also a lot more. As Anna’s boss Jules (a truly hilarious Julio Torres) says, “I know you’re not fucking, but that doesn’t mean that you don’t have a thing. It’s something. And it’s finite. Just because you’re not ‘together together’ doesn’t mean you haven’t created a bond.” These types of relationships exist out in the world, and it’s wonderful seeing one displayed in all of its complexity without succumbing to pressure to make it “more” than what it is. Of course, any rom-com (or non-rom-com, I guess) survives on the strength of the couple at its center. Helms and Harrison have a wonderful presence on screen together, and maintain a lovely rapport throughout the film. Helms’ natural affability is on full display here. I feel like his filmography never really took off the way it once seemed destined to, but this performance proves he has the chops to be a reliable headliner. But it’s Harrison who truly commands the film. Her arc as Anna is the heftier one, and the more complex one, but Harrison makes it look easy. Her on-screen presence is cool and enigmatic, and hints at a larger life and emotional range beyond just what’s shown in the scenes we’re privy to. It’s an immensely confident performance, and her internal arc is what truly makes Together Together so wonderful.

 

#9 Limbo

A comedy about the treatment of refugees might be difficult to imagine, but Ben Sharrock’s incredible debut sold me on the concept within the first five minutes. This is a film with a strong sense of identity wins you over easily with its quirky charm, and then gets under your skin with its emotional message. Limbo tells the story of Omar (Amir El-Masry), a Syrian musician living with other refugees on a remote Scottish island while they await the results of their claims for asylum. As the title suggests, Limbo is a story about the painfulness of waiting, especially for a decision that is so completely out of your hands. In one of the film’s most distinctive conventions, Omar and his fellow refugees take a series of classes taught by Helga and Boris (Sidse Babett Knudsen and Kenneth Collard) supposedly meant to teach them about life in their new country. These classes are, of course, utterly bizarre, and blatantly unhelpful. Instead, Omar’s real lessons rise from his own observations from his surroundings. El-Masry is wonderful to watch—Omar is a quiet character, but you can see how active he is despite his passivity. For a movie that frequently relies on long stretches of silence, it always feels like something is going on thanks to his intriguing central performance. And Omar isn’t the only intriguing character. The other refugees he lives with (Kwabena Ansah, Ola Orebiyi, and Vikash Bhai) also give wonderful performances, especially Bhai, whose character of Farhad is one of the most memorable of the year. He’s quirky and tragic, and compliments Omar’s stoicism nicely. As funny as Limbo is (and it really is frequently laugh-out-loud funny) it ultimately succeeds because of the strength of its story and its message. While it nicely highlights the absurdity of the situation these refugees are in, eventually the bleak reality of their situation takes over and Sharrock knows exactly how to navigate a drastic tone shift while still making the film feel cohesive in tone. It all leads to a climax that is fairly predictable, but still wonderful to behold, and rather poetic in its execution. Limbo isn’t blind to the harsh reality of the situation it’s depicting, but still strives for hopefulness without feeling dismissive. There’s another notable film this year that considers itself a comedy about a “big issue” (hint: it’s inexplicably going to be a Best Picture nominee despite a 55% Rotten Tomatoes score) but if you compare that film and Limbo, I think it should be clear just how much stronger (and funnier!) Limbo is. We need more films like this. Perhaps Sharrock’s next effort will garner more attention.

 

#8 I’m Your Man

Perhaps it’s due to how rapidly technology has become a part of our lives, and perhaps it’s because of the success of Black Mirror, but technology-based sci-fi is having a moment of late. The German film I’m Your Man (which made the shortlist for the International Film Oscar) is one of the most intelligent entries into this genre. And while its ultimate message is one that’s been conveyed on film many times before, it’s rarely presented this eloquently. The film follows Dr. Alma Felser (Maren Eggert), an archaeologist who reluctantly agrees to act as a tester for a new product: a robot designed to simulate romantic companionship (and no, not just a sex robot, but an actual partner). She’s assigned the robot Tom (Dan Stevens), whose seeming perfection is immediately irritating to the love-averse Alma. She’s clearly uncomfortable with the very idea of this new invention, and much of the early part of the film plays out like a standard rom-com, observing the growing pains of a new couple (where one of them happens to be a robot). But as the film progresses, it becomes clear that writer/director Maria Schrader has a lot to say about life and love, and what genuine human connection actually means. It’s an unpretentious portrayal of love: both in showing the messiness that comes with sharing your life with another person, and in showing the joy and security that this sort of connection can bring. The greatest surprise is how hopeful the film actually is. The second greatest surprise is the performance of Stevens. Stevens has been in a lot of projects over the last few years, and I’ve often felt like he’s not given a lot to work with. His performance in I’m Your Man is easily his best and most interesting work to date. What’s fascinating is that, as a robot, Tom’s directive is to become more human. Stevens has to chart this progress from scene to scene, starting off stilted and gradually becoming more lifelike scene by scene. When his character experiences hurt, we SEE that difference in the rest of the film. The film’s thesis rests on this change, and Stevens rises to the challenge with ease. The film only works if the audience falls in love with Tom in line with Alma, and thanks to Stevens’ stellar performance, that’s exactly what happens.

 

#7 Nine Days

There have been many cinematic depictions of the afterlife, examining the question of what does it look like once we’re no longer on earth. But there are far fewer depictions of a “beforelife.” It’s a bit of a surprise when you stop to think of it. The afterlife might feel like more of a profound unknown, but when it comes to a question of souls and “the meaning of it all,” surely the place where we are before coming to Earth is as good of a setting to examine these ideas as wherever we go afterwards. That’s the backdrop for Nine Days, a new film from Edson Oda which starts with one of the most intriguing premises of the year, and only gets better from there. The film follows Will (Winston Duke), some sort of supernatural arbiter whose job is to interview potential souls and choose who gets the opportunity to live a life on Earth. After one of Will’s previous selections, Amanda, kills herself unexpectedly, Will meets a group of new candidates and must choose who will fill that vacancy at the end of a nine-day process. The stakes are unbelievably high from the outset—both for the candidates (if one thought death was the ultimate high stakes, never existing is even higher) and for Will himself, who feels an additional burden to choose correctly after feeling like he is responsible for Amanda’s suffering. These characters are wonderful—even the candidates who we don’t get to spend as much time with make a wonderful impression and are a colorful lineup of distinct personalities. And Will himself is a fascinating character at the film’s center—an awkward and lovable being who is wholeheartedly human even as he struggles to figure out what exactly that might mean. As Nine Days goes on its philosophical journey, there are multiple beautiful moments. But one of my favorite conceits of Nine Days is the gift that Will gives to each candidate who doesn’t make it to Earth. After he turns down the candidates, he offers them the chance to experience one life event of their choosing, which he attempts to recreate in his studio. Simple moments like going to a beach or riding a bike become major productions, and take on a newfound beauty in the eyes of these characters. Nine Days made me think, and made me cry. It’s one of the most original films of the year, and I’m so sad that it passed by unnoticed this year. Do yourself a favor and experience Nine Days. If this is what Oda has accomplished in his feature debut, I can only imagine what wonders he will bring to the screen next.

 

#6 C’mon C’mon

I don’t understand the industry’s continued apathy towards Mike Mills. His films have always picked up their fair share of accolades, in particular for the performances, but I don’t think any of his movies have ever received the attention they deserved. For me, he’s one of the most essential American filmmakers working today, and his films are some of the most sensitive and intelligent movies about family ever made. C’mon C’mon is his latest classic, and I’m frustrated that it has faded quite a bit from the awards season conversation. C’mon C’mon follows Johnny (Joaquin Phoenix), a radio journalist in the middle of a large interview project. When his sister Viv (Gaby Hoffmann) has to spend time caring for her estranged bipolar husband (Scoot McNairy), Johnny agrees to look after their nine-year-old son Jesse (Woody Norman). Mills has a real talent for bringing a great deal of complexity to what seems like a straightforward story, and he’s showcased that talent again here. While the story follows a basic arc that we’ve seen many times before (kid and unlikely guardian butt heads, then reconcile, and form a lasting and significant relationship), the way that story unfolds feels both genuine and surprising, and Mills brings real stakes to a story that should have been a lot more predictable. What’s wonderful about C’mon C’mon is that it feels wise without feeling pretentious. The characters’ struggles are just presented so honestly that you can’t help but love them and root for them. The cast is wonderful. Norman is a revelation, and Hoffmann is a fantastic presence throughout the films. Even much smaller roles, like McNairy’s, leave an impression. And while they’re not exactly acting, the kids who are interviewed by Johnny for his radio project are joyous. But of course, the star here is Phoenix. Phoenix is an incredible actor, but his performances sometimes lose me when he’s not reigned in (I much prefer his work in Her to Joker, for example). But he’s really marvelous here. There’s a vulnerability to his performance that is unmatched by any other this year. You don’t feel like he’s acting, you just feel like you’re observing him. It’s not my pick for the best Joaquin Phoenix performance (that honor will probably always belong to You Were Never Really Here) but C’mon C’mon is a close second. As artists, both Phoenix and Mills place a lot of trust in their audience. Their work here is understated, but incredibly strong and surprisingly joyous.

 

#5 I Blame Society

During the two previous awards seasons, there have been two films featuring “edgy” characters which I’ve gone on record as not being a big fan of: Joker and Promising Young Woman. I don’t want to rehash my specific criticisms of each film (which I’ve laid out in previous Oscars analysis on this blog), but on the whole I ultimately felt like both films failed to achieve the goal they’d set for themselves. Neither of these main characters felt particularly dangerous to me, in a way that the film’s success seemed to hinge on, and so their behavior felt non-sensical (and a bit silly and contrived) as opposed to chaotic or suspenseful to me. And if fans of those films don’t understand what I’m possibly talking about, I will now always direct them to I Blame Society, one of the most underrated movies of the year. It’s a low-budget marvel of character and chaos. Director and co-writer Gillian Wallace Horvat stars as a (hopefully mostly) fictionalized version of herself: a struggling filmmaker who, while working on her latest project, devolves into a serial killer. Now THIS is a character who actually feels dangerous. Even before she kills anyone, it becomes clear that she’s capable of tremendous violence. But as erratic as her behavior is, the films avoids feeling like it has abandoned the rules it has set out. As chaotic as her behavior is, Gillian clearly lives by her own warped sense of morals and logic, and those remain consistent throughout the film. At one point, her concerned boyfriend cautiously reminds her that, “There’s no movie that is worth hurting someone for,” to which she replies, “I don’t agree. If it’s a very bad person for a very good movie.” It’s a reprehensible thing to say, of course, but I Blame Society never tips its hat to how ludicrous it knows it is. Sometimes, the film even pulls off a wonderfully uncomfortable trick when you find yourself agreeing with Gillian despite her terrible actions. When Gillian eavesdrops on the most obnoxious person on the planet, and then smilingly says to the camera, “He has to die,” it’s impossible to not at least understand the sentiment. Perhaps what sets it apart from films like the ones I mentioned above is that it’s actively unconcerned with whether you find the protagonist likeable or not. Instead, it simply invites you to come along for the ride and lets Gillian’s journey speak to you however you see fit. In doing so, it manages to be a lot more insightful and interesting. I should also mention that this script is unbelievably funny. Those who can’t watch cringe comedy should maybe stay away, but it’s been a long time since I’ve laughed so much at a movie. Oftentimes, I’d find myself laughing and gasping in horror in the same scene—sometimes during the same line. It’s comedy by way of dread. Wallace Horvat and her co-write Chase Williamson (who also plays a character in the film) have a distinct comic voice that is wonderfully defined and confident, and genuinely pushes boundaries without being offensive. And the humor in the film isn’t extraneous—the comedy is an inherent part of the storytelling, and the use of comedy reveals a lot about the characters (and a lot about the audience watching). I Blame Society looks like it was made with practically no budget, but its strong sense of perspective marks Gillian Wallace Horvat as a tremendous talent and I cannot wait to see what she does next. I Blame Society may not have gotten any attention during its initial run, but hopefully it can be recognized as a cult classic. Honestly, it would be fitting.

 

#4 The Father

Before I saw The Father, I thought I knew exactly what kind of movie it would be. I thought it would be your run-of-the-mill Alzheimer’s family drama, with some good work by some good actors, but ultimately a really depressing movie that I’ve seen many times before. But within the first few minutes of the film, I was shocked to find out that not only was this movie not what I was expecting, but I was immediately hooked. There has never been a film about Alzheimer’s like this one. What sets The Father apart from other stories about this subject is that it tells its story from the perspective of the person who has Alzheimer’s. Instead of just trying to make its audience feel sad, it makes us feel disoriented. I don’t know if I’d say that The Father is a horror movie outright, but it uses horror tropes to tell its story in a way that it is visceral and spellbinding. Time shifts, the set shifts, and characters change names and faces in front of our eyes. It’s brilliant, and allows us as an audience to feel the same paranoia and confusion that the main character feels. We don’t feel sorry for the character, we have a chance to genuinely empathize with them. But what makes The Father so masterful is that it pulls this off while still maintaining clarity. Even though we see things from our main character’s unreliable perspective, The Father plays out like a mystery. We get to piece together a true narrative from the fragments we’re presented with. This film is far more like Memento than Still Alice. And, of course, one can’t talk about The Father without talking about the excellent performances. Unfortunately, The Father is probably going to be best remembered for the Best Actor in a Leading Role debacle at The Oscars. For those who somehow missed it, The Oscars made a baffling decision last year to award Best Picture over the final two acting awards, making Best Actor in a Leading Role the final category of the night. It was seemingly done in anticipation of Chadwick Boseman winning—as that win for the tragically departed actor would have been a climactic end of the evening. Instead, the award of course went to Anthony Hopkins for The Father, who wasn’t even present to accept the award. So everyone was disappointed about Boseman, and then Joaquin Phoenix just sort of calmly accepted the award on Hopkins’ behalf, and then everyone suddenly went home. It was unbelievably awkward, and unfairly set up Hopkins’ win as being at Boseman’s expense. But if you put that snafu aside, I do think Hopkins earned that award with this performance. Hopkins’ filmography is formidable, but this just might be career-best work from him. It's subtle, while still being emotionally raw. It’s rare for an actor as recognizable as Hopkins to truly disappear into a role, but that’s what he does here, and the film would not have worked as well if not for his work. And the rest of the small cast is also excellent. The ensemble of Olivia Colman, Mark Gatiss, Imogen Poots, Rufus Sewell, and Olivia Williams match Hopkins in every scene. Everything about The Father is a masterclass in innovative storytelling. If the film didn’t seem of interest to you initially, I urge you to take a chance on it. I guarantee it will surprise you.

 

#3 Judas and the Black Messiah

While it obviously did quite well, I still don’t understand how Judas and the Black Messiah didn’t completely dominate the awards season last year. This is the rare example of a film that feels like Oscar bait which still maintains a high degree of artistry. Absolutely everything about this film works, and even though it was released in February of 2021, I never had any doubts it would be firmly towards the top of my year-end list upon my first viewing. It’s bold, energetic, and genuinely thrilling, and is the rare period piece to still feel contemporary and relevant. And while the film’s two stars are the ones who received the brunt of the accolades during last year’s awards season, director and co-writer Shaka King is a major talent who I hope will gain deserved recognition in the future. Judas and the Black Messiah tells the story of Bill O’Neal (LaKeith Stanfield), an FBI Informant who infiltrated the Black Panther Party, and whose betrayal ultimately led to the assassination of activist Fred Hampton (Daniel Kaluuya). It’s a vital story, and one that goes well-beyond the history taught in schools. Kaluuya won the Oscar for this role and undoubtedly deserved it. His performance as Hampton is captivating and heroic—he doesn’t just indicate Hampton’s heroism, he embodies it. It’s a portrayal that goes beyond mere imitation, so that you understand not Hampton for who he was AND who others perceived him as. But the film’s masterful feat is that it also provides complexity to O’Neal. Stanfield is one of the best actors working today, and he had an incredibly difficult challenge as O’Neal. It would be easy to dismiss O’Neal as cowardly or traitorous, but this film has no interest in that narrative. Rather, it acknowledges that O’Neal was similarly a victim of a much larger conspiracy at play. Hampton may have been the FBI’s target, but O’Neal was similarly a casualty, and the film shows a great amount of empathy for both. Despite his involvement in Hampton’s death, O’Neal is still a person that Hampton was fighting for—and the film understands that fight implicitly. It’s a cautionary tale that also serves as a sobering call to action.

 

#2 There Is No Evil

Some of the most powerful art comes from places where art is most censored. Artists either have to figure out a way to hide a message in their work that won’t be understood by the government, or they throw caution to the wind and brazenly make a statement in the face of potential consequences. are few places where art—and film in particular—is more censored, and the result is a wave of work that is bold, creative, and immensely political and thoughtful. Some of Iran’s finest directors have been charged with filmmaking bans, and must make their work in secret. It’s essential work that demands to be seen, and Mohammad Rasoulof’s There Is No Evil is the latest film to solidify Iranian cinema as some of the most incredible in the world right now. Banned from being shown in Iran, this anthology film features four separate stories that focus on the death penalty in Iran—specifically four men who are either currently or were previously enlisted as executioners. If that sounds dark then, yeah you’re right it definitely is, but Rasoulof isn’t interested in being exploitative or heavy-handed. He doesn’t get bogged down with political intricacies, and rather presents his four chapters as moral parables, focusing on the characters’ stories as opposed to hitting you on the head with what he’s trying to say. Anthology films can often suffer from a lack of cohesion, but these four pieces work together perfectly. Each works and feels complete on its own, and Rasoulof establishes a different tone and aesthetic for all four films. But they benefit from being presented with the other offerings, as certain themes resonate and shift as you view the films in succession. All four are strong, but I was particularly taken with the first and last films. The first, also titled “There Is No Evil,” follows Heshmat (Ehsan Mirhosseini), a seemingly ordinary man simply going about his day with his family. It is a masterclass in restraint, seemingly mundane up until a true gutpunch of an ending—it quietly sets the tone for the rest of the film, and is a film that holds up under repeat viewings. The fourth and last entry, “Kiss Me,” is the most epic and far-reaching of the four installments; the four films crescendo nicely in terms of scope and intensity. It follows a couple (Mohammad Seddighimehr and Jilla Shahi) who are visited by their niece Darya (Baran Rasoulof, the director’s daughter) at their secluded home where they keep bees. The first three films deal with a series of characters forced to make choices, but “Kiss Me” is the one that most deals with the aftershocks of making such a choice, and the effects that such a dilemma might have on someone’s sense of morality. There Is No Evil gives its audience a glimpse into the difficulties of life under this government’s control, while making grander points about humanity which will resonate no matter where you are watching from. If you are interested in exploring Iranian cinema, it’s hard to imagine a better example of what makes it so distinct and powerful.

 

#1 This Is Not a Burial, It’s a Resurrection

It is quite difficult for African films to find international recognition. But there is a vibrant film culture in Africa, and I’m glad whenever a film from that continent breaks through and gains wider distribution. The country of Lesotho in particular is not widely known for its films. I couldn’t find out for sure if This Is Not a Burial, It’s a Resurrection is the first film the country of Lesotho to ever get a release in the United States, but it is definitely the first has ever submitted to the International Film category at the Oscars, and is certainly the first film from Lesotho I’ve ever heard of. That alone made it a film I wanted to seek out, and I’m so glad I did. There were many excellent films released this year. This Is Not a Burial, It’s a Resurrection is the only I one I can refer to as a masterpiece. The film follows Mantoa (The late, great South African actress Mary Twala), a widow mourning the recent loss of her son, who leads her whole town to rise up against a proposal for a dam that would flood the local cemetery. The story is clear, substantive, and familiar—many reviewers spoke to how it plays out like a modern-day fable. But the story primarily serves as a backdrop for writer/director Lemohang Jeremiah Mosese to bring to the screen interpretations and visualizations of themes like grief, pride, and resistance. It’s nothing short of cinematic poetry. This is a movie that you feel rather than watch, and it was utterly breathtaking to experience. Mosese is a profound talent, who understands film as an artform innately. His work here is profound and beautiful and haunting in ways that most directors can only hope to aspire to. His cast is also excellent, with a standout being Jerry Mofokeng Wa as the film’s narrator, credited only as The Lesiba Player. This man’s voice is intoxicating, and this film features as great a use of voiceover narration as I’ve ever seen. But the clear standout of the film is Twala. Twala sadly passed away in 2020, after a long and prolific career in South African cinema (she’s probably best known to American audiences for being featured in Beyoncé’s film Black is King). Her work here is nothing short of astonishing, and for me there simply wasn’t a better or more captivating performance this year. It is a tour de force performance at the center of a truly breathtaking film.

 

 

Those are my picks for my favorite films of the year! Did your favorite make the cut? Let me know, and keep watching great films! And you can see my countdown of the 100 best performances of the year here!