The Year in Review – 2020 releases from Marie.
I’ll be honest. Halfway through 2020 I wasn’t at all sure that I would bother with a year-end review because my usual cinema-going had been disrupted so much.
To put things into context, I have not been inside a cinema since March this year. The UK went into its first complete lockdown on March 23rd and cinemas closed their doors, but in fact I’d been feeling uncomfortable even the week before that and decided to give cinema a break for a while. I’d been right in the middle of Manchester International Film Festival too, but I just couldn’t convince myself that it was worth the risk to continue going, so my last visit to see a film on the big screen was March 12th. There was then a brief period in the summer where cinemas reopened and Tenet appeared – but I wasn’t up for it and then, not long after, the area I live in went into a regional lockdown which meant that cinemas closed yet again, and they haven’t opened since.
So that’s the scene set for me. There’s been no Tenet¸ no Bill & Ted, no WW84, no Birds of Prey. If I couldn’t see it easily from the comfort of my own sofa, then it hasn’t happened.
But I have managed to get what I think is a respectable Top Ten for a year that has been challenging to say the least, even if I’ve had to take a few tiny liberties!
Number 10 The Reason I Jump (dir Jerry Rothwell)
The only documentary on my list, I saw The Reason I Jump as part of London Film Festival which was virtual this year. Based on the 2007 best-selling book of the same name by 13-year-old Naoki Higashida, director Jerry Rothwell tries to explain something which is almost impossible – how a nonspeaking autistic person experiences the world, how that differs from a neurotypical person, and how that knowledge can be used to help the autistic person express their thoughts. The revelations in this documentary as to how some of the young people communicate and what they have to say are truly astounding.
Number 9 Hamilton (dir Thomas Kail)
Yes I know, you can argue that this is not a film at all, but it is not the only thing this year that has been the centre of a similar discourse. In a year such as this though, I think it can be counted. It’s feature length, highly entertaining, very clever, and lifted the spirits during a very strange summer.
Number 8 One Night in Miami (dir Regina King)
I had an opportunity to see this as part of London Film Festival at the last minute, and it stuck with me for ages afterwards. It’s true that it retains some of the staginess of the play on which it is based, but director Regina King has corralled her excellent cast to create an ensemble piece that highlights differences, strengthens bonds, ask questions, and is also highly entertaining to watch.
Number 7 Mangrove (dir Steve McQueen)
Another London Film Festival viewing, and another treat. While it may have a touch of the BBC drama about it and slightly less of the cinematic, it is absolutely a must-watch. The first of Steve McQueen’s five-part anthology Small Axe is compelling, and contains some extremely strong performances. The other four films in the series are also strong and it’s hard to single out one, but Mangrove took top slot for me.
Number 6 Beanpole (dir Kantemir Balagov)
One of the first films I saw in 2020 and it haunts still. Two women in post-war Leningrad try to rebuild their lives while experiencing the effects of PTSD and a terrible trauma. Beanpole feels gentle yet is brutal; it looks beautiful yet depicts savagery; it’s fascinating and yet basic on a very human level.
Number 5 A Hidden Life (dir Terrence Malick)
As ever, Terrence Malick took his time in bringing this to audiences, but it was worth it. It’s long, yes, coming in at just under three hours, but it is beautiful, profound and sad. Although religion or spirituality is present in the decision-making of the characters, Malick’s true question is about the philosophy of right and wrong which, 75 years after the events depicted were set, is sadly still a pertinent one.
Number 4 So Long My Son (dir Wang Xiaoshuai)
Another lengthy film, but this too rewards the viewer’s patience. From Chinese director Wang Xiaoshuai, So Long My Son follows the lives of two families over decades, set against the backdrop of a changing China. It’s a sad, uplifting, heart-breaking, heart-warming tale told in broken narrative and jumping time frames; every performance is a gem and the changes in China over the decades are fascinating. Make time for it.
Number 3 The Long Goodbye (dir Aneil Karia)
A film written and performed by the extremely talented Riz Ahmed, I’ve included a short film on my list for the first time ever because of the impact this had on first viewing. It’s probably better watched with no prior knowledge, but the message it sends is powerful. You can watch the whole film here.
Numbers 1 & 2 (interchangeable depending on mood)
The idiosyncrasies of UK cinema release dates mean that my two favourite films of 2020 were released in 2019 in most other regions. So although this may feel like cheating for some, I got to see both in a cinema on their UK release here in February 2020 and so they count for my annual stats. Both were outstanding and it’s really impossible to choose which to put at number 1 – and given what 2020 has thrown at us, I really don’t think that matters anymore!
Parasite (dir Bong Joon-ho)
Deserved all the awards it received and then more. First time around, I was able to avoid any spoilers before viewing and so was bewildered, shocked, and entranced as it unfolded. Everyone’s a parasite, at all points in the class system, and the ending is perfection. Second time around I thought it was even better, and I particularly noticed plot pointers and shot framing which mean more, knowing where things are headed. Bong Joon-ho has orchestrated a masterpiece.
Portrait of a Lady on Fire (dir Céline Sciamma)
Mysteriously ignored by The Academy for Oscar nominations, writer and director Céline Sciamma’s screenplay is a thing of beauty. With long, silent moments on screen, the actor’s faces do all of the work. Then come scenes of deep conversation on topics such as female freedom to choose, marriage, love, duty. The two central performances are crucial and are pitch-perfect. Watching these two characters fall in love with each other is never intrusive and is a joy to behold, without being at all frivolous. It is visually stunning and the use of music, in a scene partway through and then at the end, is devastating.