A White, White Day (Hvítur, Hvítur Dagur) is a 2019 Icelandic drama film directed by Hlynur Pálmason. It’s a portrait of grief, toxic masculinity and familial bonds.
The film stars an impeccable cast of Ingvar Eggert Sigurðsson, Ída Mekkín Hlynsdóttir, Hilmir Snær Guðnason and Sara Dögg Ásgeirsdóttir.
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.
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 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
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.
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 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.
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.
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.
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!
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.
Columbus is video essayist Kogonada’s first feature film. It follows two lost people as they find solace in one another and in the modernist architecture of Columbus, Ohio.
This film hit me hard. The mood of it reminds me of Lost in Translation, and to a certain extent, the relationship that blossoms between Jin and Casey mirrors that of Bob and Charlotte. Two lost souls coming together to heal each other.
Jin harbours resentment towards his father a renowned Architecture scholar who never seemed to have the time for him, while Casey feels like she has to stick around and forgo pursuing her dreams as her recovering addict mother may be lost without her if she leaves. Jin is adamant that he doesn’t like architecture, but Casey’s passionate and soulful way of looking at the modernist buildings scattered over Columbus is infectious, and he soon finds himself enjoying it and how powerful architecture can be as a healing visual.
This film is beautiful, the lingering shots of architecture, the use of negative space and the solitude and beauty of modernist structures. There is a soulfulness that permeates every frame, and you find yourself mesmerised by the power of this quiet and thoughtful film.
I myself am a bit of an architecture nerd, and I love how it is discussed that Architecture can be healing, as I find quite often that when I’m feeling down or lonely, looking at beautiful buildings can ease my pain a little. So to say that this film resonated with me would be an understatement; I found it to be a thoroughly cathartic watch, and I will no doubt watch it again and again in the future.
Joanna Hogg’s The Souvenir is a semi-autobiographical film about a young filmmaker who gets caught up in a fraught relationship with a charming older man.
Hogg shoots The Souvenir perfectly. It’s a visual delight of soft dreary colours and a grainy film texture.
Also, Interestingly, the apartment Julie lives in is actually a full reconstruction of Hogg’s apartment, and the views seen through the windows are old photos that Hogg had taken back in the 80s. Filmmaking doesn’t really get much more personal than that.
Furthermore, Hogg represents this with the use of close-ups and mirrors. There is a wall-length mirror that occupies Julie’s apartment, and it acts as a device that reflects the characters back to themselves unflinchingly. Then, when the mirror is broken, it distorts them and splinters their reflections.
On the other hand, to counteract this intimacy with the personal past, Hogg also shoots many moments from afar and in one particularly striking scene in Venice, we see the action from the reflection of a small mirror in a vast room, the complete antithesis of the mirror that occupies Julie’s apartment, yet it tells the same truth.
And while it’s a gorgeous film to behold, I did find The Souvenir to be just a little too slow in its unfolding of the plot; sure, it had a lot to say about class, relationships, gaslighting and art, but it said them all a little too slow for me. Which I was rather surprised about as I do love a slow-burn film where characters and mood take centre stage.
The casting in this film is spot on; Honor Swinton Byrne becomes enmeshed with Julie, and Tom Burke plays Antony with the right balance of pretension and charm that is soon replaced with utter deplorability. Tilda Swinton as Julie’s Mother (who is also Swinton Byrne’s real Mother), who dances on the line between maternal love and being overbearing, and Richard Ayoade’s cameo as a patronising filmmaker and friend of Anthony is rather amusing.
While I struggled with the film due to its pacing I will definitely be watching The Souvenir Part II as I am intrigued to see where Julie’s story is heading. But above all else I loved the cinematography and casting (as I’ve mentioned earlier in this review) and to be honest that is enough for me.
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!!
