Photo-Illustration: Vulture; Photos Courtesy of the Studios Ask a film critic to list their Top 10 best movies of the year, and they will give you a Top 20 list with runners-up and several annotations. This is true any year, but it was especially true at the end of 2021, which Vulture’s Alison Willmore describes simply as “overwhelming.
January Saint Maud Maud, the hospice nurse played with electric conviction by Morfydd Clark, is either possessed by the Holy Spirit or something darker. What’s so cunning about writer-director Rose Glass’s debut is how little that matters, because Maud’s newfound religious fervor has an intensity that’s terrifying either way.
The World to Come The first time Abigail kisses Tallie , she blurts out, with the astonishment of someone whose universe has just tilted on its axis, “You smell like a biscuit.” Mona Fastvold’s film is the latest in what’s become a trend of lesbian period romances, but it’s unique in being set in the 1800s in the wilds of New York state, where Abigail and Tallie are unhappily married to neighboring farmers — the stolid Dyer and the controlling Finney , respectively.
March Come True There are only a couple of jump scares in Canadian writer-director-cinematographer-editor-composer-visual-effects-artist Anthony Scott Burns’s Come True — mild ones at that — but the movie’s elusive sense of menace lingers for days, weeks, possibly forever. It’s about a troubled 18-year-old insomniac who signs up for a sleep study and winds up getting pulled further into her nightmares.
Stray A kind of companion to Kedi, that 2016 documentary about Istanbul’s street cats, Elizabeth Lo’s film is a tender look into the lives of some of the city’s free-roaming dogs. It’s also, inevitably, a dog’s-eye view portrait of the Turkish metropolis, with Lo setting her camera on the level of her four-legged subjects but also catching the human dynamics happening around them.
Street Gang: How We Got to Sesame Street There are vintage Sesame Street clips in this documentary from Marilyn Agrelo that provide a rush of recognition heady enough to dilate the eyes, Requiem for a Dream-montage-style. But the film, which is based on a book by Michael Davis, isn’t interested in just wallowing in nostalgia.
Gunda Viktor Kossakovsky’s mesmerizing, gorgeous documentary about the life of a mother pig and her babies on an unnamed farm somewhere in the world serves as a bracing corrective to the way animals are usually portrayed on film. The director wants to establish a connection between us and these creatures that we think of primarily as food, but he doesn’t want to do it at the expense of truth.
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