Best Films of 2020

In a year of unparalleled weirdness and chaos, at least we had movies. I find that films are the best kind of distraction and while I didn’t get to see many films in the Cinema I did still get to watch a few new releases thanks to services like Mubi, BFI Player and of course Netflix. So here are my top films of 2020.

My Top 5 Films of 2020

Parasite directed by Bong Joon-ho

Yes, I am fully aware that this film came out in 2019 for most people, but here in the UK, we got Parasite in cinemas at the beginning of 2020 before the world went to shit. And it’s literally a masterpiece. Hilariously dark and with a biting social commentary Parasite is Bong at his best. If you haven’t seen this film yet you most definitely should, it broke records and has made people think twice about subtitle prejudice finally! Look out for a full review on here soon.

Portrait of a Lady on Fire directed by Céline Sciamma

Portrait of a Lady on Fire may be the most beautiful and heartfelt love story I have seen in ages, I was sobbing throughout the last 20 or so minutes, and I can’t stop thinking about it. I even wrote a gushing review earlier this year because I loved it so much. Read the full review: Portrait of a Lady on Fire Review

Emma. directed by Autumn de Wilde

Stylish, aesthetic and thoroughly good fun Autumn de Wilde’s Emma. is a delight to behold. I found myself just utterly enamoured by this whole film, and I think a rewatch may be on the horizon as it’s buoyancy and frivolity would be the most welcome distraction from lockdown 3.0.

The Woman Who Ran directed by Hong Sang-soo

Hong Sang-soo's latest film is a smart and witty look at female relationships and troublesome men. The thing I absolutely love about Hong’s films is that they always feel like the lives on display exist in reality, that if the camera weren’t rolling, everything would happen that way regardless. Read the full film review: The Woman Who Ran Review.

DNA directed by Maïwenn

DNA explores the void left by losing a loved one and how grief can bring out the worst in you or bring you back in touch with your roots. Neige clings to her grandfather through the things he left behind and her connection to Algeria through him. Filled with drama and some necessary injection of humour, this is a compelling film that will leave you questioning the fabric of your own familial bonds.

Honourable mentions: Swallow, Little Joe, The Lighthouse.

Films I should have watched but didn’t (for some unknown reason)

Small Axe Anthology directed by Steve McQueen

I love Steve McQueen’s work, but his films are emotionally brutal. Small Axe is an anthology series that focuses on Black lives in moments in modern British history and looks to be some of his most powerful work yet. I will be watching these important films imminently.

The Wild Goose Lake directed by Diao Yinan

I missed this film at the 2019 London East Asian Film Festival to my annoyance, and then the film became available on MUBI, and I missed it again. I really should have watched it when I had the chance.

Les Misérables directed by Ladj Ly

I am learning French, love social realism films, and films loosely inspired by literary works…don’t even get me started! As to why I haven’t watched this film yet, I don’t know the answer. I keep going to put it on, and then I decide to watch something else, I think it’s because there is just too much choice. Also, on some platforms like Mubi or All4, you only have a limited time to watch certain movies, whereas Netflix seems to keep titles in its library for much longer. But as I am trying to get fluent in French by the end of 2020, I will most definitely be watching this one ASAP!

Most disappointing film of 2020

Tenet directed by Christopher Nolan

I was so excited about this film, the trailers looked great, the cast is phenomenal, and normally, Nolan delivers a smart and intelligent blockbuster. But with Tenet I think Nolan tried to be clever for the sake of being clever. If you strip away all the time stuff then it’s a just another spy movie, complete with a bad caricature villain and the usual underdeveloped female character. But what made this film the most infuriating to watch was the sound engineering! I like to hear what characters say, especially in a film when 90% of the dialogue is exposition! For anyone in a non-English speaking country, they undoubtedly benefited from the inclusion of subtitles so perhaps after a re-watch (with subtitles) I might go a little easier on this film. But then again probably not.

Korean Cinema: 도망친 여자 (The Woman Who Ran) Review

It’s safe to say that if a Hong Sang-soo film becomes available to watch in the UK I will jump at the chance to see it. Thankfully the London Korea Film Festival went digital this year as I was seriously weighing up whether it was worth risking a trip to the cinema to see his latest film.

The Woman Who Ran stars Hong’s long time muse Kim Min-hee who once again gives a fantastically understated performance as Gam-hee a woman we follow through three encounters with three different friends. Something I absolutely love about Hong’s films is that they always feel like the lives on display exist in reality, that if the camera wasn’t rolling everything would happen that way regardless.

In the first segment, Gam-hee visits a friend at their semi-rural apartment complex. Here the characters discuss a variety of topics which randomly involve animals, from the prettiness of cow’s eyes that cause the two women to consider becoming vegetarian briefly (while eating meat) to the aggressive dominance a Cockerel has over the neighbour’s chickens and another neighbour who ardently wants the apartments stray cat community to be cut off from being fed, dubbing them ‘robber cats’.

What struck me with these conversations is that there is always more to them than what meets the eye, especially with the conversation about the Cockerel, which could easily be a metaphor for sexual harassment and abuse women face when a man aggressively expresses his dominance.

The Cat Man, on the other hand, can be seen as a symbol of the human ego; he declares that the people of the apartment complex are more important than the stray cats, while Young-soon’s roommate insists that the cats have every right to survive. Is Hong weaving a conversation on the climate crisis into the film? Perhaps, that’s the impression I got anyway.

‘People in love should always stick to each other’

It soon becomes apparent that conversations with men are shot from behind; why does Hong make the men mainly faceless? Exposing them just for a few mere moments as they arrive or depart the destination of the conversation.

Another thing to consider is that each man is causing problems for the women they are conversing with. Cat Man tells Gam-hee’s hosts that they need to stop feeding stray cats, a young poet stalks Gam-hee’s second friend after a drunken one-night stand and Gam-hee herself is confronted by her self-important ex.

Gam-hee’s husband is mentioned several times and is actually faceless as he never appears in the film, but his view that ‘people in love should always stick to each other’ dominates Gam-hee’s life (as she is only now away from him after five years of marriage).

In this way, it feels like Hong is showcasing women’s lives with a very obvious #metoo sentiment; he is revealing how some men behave towards women and how things are made far more complicated for them because of the men they encounter.

This is all done with an obvious sense of humour, the women are all smart and engage in varied conversations whereas the men all come off rather foolish. And of course, this wouldn’t be a Hong Sang-soo film if he didn’t manage to weave in his usual musings of art and artists which is always a pleasure to watch.

Directors I Admire Part I

It’s no secret that I love films. I think everyone I have ever encountered in my life knows this, I love watching them and I love talking about them. I would even love to be a director myself one day. So who are the filmmakers that fuel my fervent desire to consume movie after movie? I’ll break it down for you…

Stanley Kubrick

It all started with 2001: A Space Odyssey, I watched it one night, many nights ago on my 13 inch laptop screen (not ideal conditions, but it was either that or an equally tiny HD ready tv) and I was blown away. I love Science Fiction, but Kubrick made this film more than just a genre piece, its an epic tale of human ambition that highlights our desperate need for knowledge to affirm our place in the universe.

Since then I have watched many more of Kubrick’s films and I have to attest that he may just be the greatest filmmaker of all time. What do you think?

Park Chan Wook

Everyone has heard of Oldboy (I think? If not, are you even alive?) it is probably the most famous Korean movie due to its ultra violence and oedipal twist (sorry for the spoiler, you should have watched it already!). But I actually started my Park Chan Wook journey with Stoker (his first and only (to this date) English language film) and then I’m a Cyborg But That’s OK , a quirky comedy set in a mental institution. Since those two movies I have watched the rest of his films (that have been released here in England anyway) and I am utterly obsessed with his style. I think he is a master of cinematography, just look at The Handmaiden for example, I mean even the trailer for the film made me gush at how beautiful it looks!

Denis Villeneuve

Villeneuve is a wizard and one of the only directors making solid smart sci-fi films in Hollywood right now! I first came across his work with his film Enemy starring Jake Gyllenhaal as a man who discovers he has a Doppelgänger, what transpires is a Kafkaesque psychological thriller. It’s a very intriguing watch.

But for me Arrival and Blade Runner 2049 have cemented his status as one of the most formidable directors of the moment and I’m sure his re-imaging of the cult classic film and book Dune is only going to confirm that status.

Wes Anderson

Quirky indie director Anderson may have the most iconic film aesthetics in the industry, you can spot his films in an instant due to the colour palettes, symmetrical framing, attention to detail and many other things that this video does a great job of pinpointing. I discovered Rushmore on TV one afternoon many many years ago and lets just say I have never looked back. In terms of his entire filmography I would have to say that my favourites have to be The Royal Tenenbaums and The Grand Budapest Hotel.

Lars Von Trier

Von Trier has to be one of the most notorious filmmakers in the world, his films are shocking and often polarise audiences. I discovered Von Trier through Melancholia, a gem of a film that I feel not enough people have watched. It’s rather depressing seeing as it concerns the end of the world but the execution is simply wonderful and Kirsten Dunst and Charlotte Gainsbourg are phenomenal in the film. It’s a must see, as is the highly controversial Nymphomanic Part I & II, which once again stars Gainsbourg who plays a self-diagnosed Nymphomanic who retells her sexual odyssey to a random stranger after he finds her beaten up on a street one night. It’s weird, it hilarious, a little (ok very) graphic but ultimately its an intriguing portrait of human sexuality at its extreme.

Sofia Coppola

Natural light, muted colour palettes, lost melancholic characters, complex female stories - this is what makes Coppola’s work so distinctive and compelling. Lost in Translation was one of the first movies I remember watching and obsessing over, before that I was just your casual movie watcher aged 10, afterwards I emerged enlightened in the art of cinematography and subtle storytelling.

Another one of Coppola’s films that I adore is Marie Antoinette, it was progressive, post punk music in a period piece? Converses in the Palais de Versailles? The film is ultimately a Candy coloured aesthetic dream and I am all for it. But behind the seemingly sugar sweet and vapid visuals lies a story about a young girl coming to terms with womanhood and the responsibility that comes with it. A universal theme that unites all women together. And that’s where the power of the film lies, that and its unapologetic stance on the seeking of beauty for beauty’s sake (as a Libra this speaks to my soul).

Spike Jonze

Full disclosure I have only ever watched one of Spike Jonze’s films and that film would be, Her. But I feel like I still have enough reasons to include him as one of the many directors that I admire. I just find everything about this film inspiring, the visuals, the story, the music, the acting. I't’s perfect. I feel like it is one of my favourite movies of all time and it will continue to be for a very very long time. Her feels like such a timely film as it deals with dating and isolation in a technology focused society. Although to be honest I wouldn’t mind inhabiting this soft pastel coloured world where the world is seemingly not sinister.

Jean-Luc Godard

Godard and his films will always go down in History as some of the most influential pieces of Cinema. Breathless is a masterpiece, but my favourite Godard movie has to be Une Femme est Une Femme. Anna Karina as Angela is iconic: the makeup, the fashion, the hair. The scene where they insult each other using book titles is genius and I just love the quirkiness of the direction.

Terrence Malick

Malick is a poetic filmmaker, the visuals are never not sumptuous and beautiful and its particularly (but not limited to) his work with cinematographer Emmanuel Lubezki that I am in awe of. I feel so inspired watching his movies, they make me want to make art and understand human nature on an even deeper level. I can’t wait to check out his newest film A Hidden Life which debuted and won two prizes at Cannes this year!

Hong Sang Soo

Hong Sang Soo is a master of realism. His films bring you into the everyday lives of his complex and philosophical characters in such a way that you feel what they feel. You feel the hope, the heartbreak and the aimlessness. He has been heralded as the Korean Woody Allen, which I tend to agree and disagree with. Nonetheless I fell in love with his movies recently thanks to a Selectrospective of his work on MUBI.

Quentin Tarantino

Tarantino is the patron saint of ultra violent cinema. His films are hilarious and stylish and he has made quite a number of iconic female characters. The dialogue and how he shoots it in his films is always fascinating to me, one example that I am still fascinated by is the opening scene of Inglorious Basterds and the dialogue between Christoph Waltz’s Hans Landa and the dairy farmer who is harbouring jews. The way Tarantino builds tension is masterful.

Bong Joon Ho

Another South Korean director raising the bar for western filmmakers is Bong Joon Ho. He has quite the eclectic filmography with movies like Okja, Memories of Murder, Snowpiercer, The Host and many more including his new Palme D’Or Winning film Parasite. Snowpiercer like many other film watchers blew me away with its study on social classes and of course any film that has Song Kang Ho in it is going to be phenomenal.

Let me know in the comments section what Director’s work inspires you and also let me know if you like these film posts and want more reviews and recommendations!

Korean Cinema – 누구의 딸도 아닌 해원 (Nobody’s Daughter Haewon) Review

Poignant, thought provoking and subtly charming. Hong Sang-soo blends reality and whimsy in this snapshot of life.

Haewon is a young woman still trying to find her place in the world when she finds herself abandoned by her mother who has suddenly decided to emigrate to Canada. And to make matters worse soon after her affair with a melancholy married professor comes to light, she is thus ostracised by her classmates and feels utterly alone. 

I loved the simple direction in this film which made it feel really real, like I was simply observing a moment in someone else’s life. This effect was also helped by the natural and conversational dialogue and the lack of a soundtrack (except for a key recurring song). This style of filmmaking is to me simply wonderful, it’s perhaps the closest you can get to reading a book which makes it an utterly charming experience to watch.

Another key factor that makes Nobody’s daughter Haewon such an interesting watch is the abundance of recurring motives throughout the film. And for the sake of not spoiling what that alludes to I’m just going to leave it there. So if you haven’t watched the film yet keep your eyes peeled for them and if you have seen this indie gem then you know exactly what I’m talking about.

You can catch this film and 5 more of Hong Sang-soo’s films as part of the Mubi “selectrospective” of the prolific directors filmography titled Solving Puzzles: The Cinema of Hong Sang-soo. If you don’t want to miss this movie Mubi works is a little different to Netflix or other online streaming platforms so you do have to watch the films within 30 days before they disappear from the library making way for new content!

P.S. I have started a little film club over on Instagram on my Film Account so if you fancy joining head over there and get involved!!! This film was my first pick as I was super excited to find out about Mubi showcasing Hong Sang-soo’s work as most of his films have never been released here in the UK!!