Marie looks back at the Best Films of 2023
For various reasons, 2023 has been a slack year film-wise for me. I seem to have spent a lot of time watching films from 2021 and 2022 (probably pandemic catch-ups). I’ve spent time trying – and failing – to watch all the films on the Sight and Sound Greatest Films of All Time (2022 version). I started the year at 58% and made it to 86% by 31st December. And I have not seen as many films in cinema as I would have liked.
But, that doesn’t mean that I haven’t seen any good films. As is always the case, UK release dates don’t always line up with the rest of the world so that hasn’t helped, but here, in alphabetical order are 10 of my favourite films with UK releases (one or two at festivals) in 2023. If I’ve reviewed the film for The Movie Isle, there’ll be a link in the title to the relevant page.
As Bestas / The Beasts (dir Rodrigo Sorogoyen)
A film in French, Spanish, and Galician, which gradually builds tension very cleverly. Best to know as little as possible before going in, but absolutely worth watching. Denis Ménochet is, as ever, magnificent. Currently available to stream in the US on Mubi, and in the UK on BFI Player.
Lakelands (dir Patrick McGivney, Robert Higgins)
A moving film set in the Midlands of Ireland, which reflects on men struggling to find a way to express their emotions in life-changing circumstances. This was a film I saw at the Manchester Film Festival, and it caught me unaware. Currently available to rent on various platforms in the UK.
Leave the World Behind (dir Sam Esmail)
By no means perfect but I rather liked what this was doing, appreciated what it was trying to express, and loved the ending. Mahershala Ali is exquisite, but the dialogue definitely needed a rework. Currently available on Netflix.
Nostalgia (dir Mario Martone)
The problem with nostalgia is that it’s not real. Perhaps you can kid yourself for a while that the past is past – but eventually, the truth will out. Some beautiful scenes between an adult son and his ailing mother and a final 10 or so minutes which are incredibly tense – not in a horror sense, but in the nagging thought that something untoward is about to happen; every Vespa that buzzes past, every open-windowed Fiat slowing down to take a sharp bend in the maze of narrow streets… Currently available to rent on various platforms in the UK and US.
O corno / The Rye Horn (dir Jaione Camborda)
Certain things bind us in adversity. In this film, the tie that binds is being a woman. A compelling tale of female solidarity set in rural Spain and Portugal in the 1970s, the film made history for director Jaione Camborda, who this year became the first Spanish woman to win the top film prize at the San Sebastián International Film Festival.
Past Lives (dir Celine Song)
This was beautiful and wistful all the way through but that last scene just tied everything together in such an emotionally mature and real way. Do we ever properly grieve the childhood we no longer have? Currently available to rent on various platforms in the UK and US.
Retour à Séoul / Return to Seoul (dir Davy Chou)
Another one that’s not necessarily perfect, (something awry with the middle section that I couldn’t quite put my finger on) but was ultimately very moving. Debutante Park Ji-Min is a force to be reckoned with. Currently available to stream in the US on Prime Video, and in the UK on Mubi.
Roter Himmel / Afire (dir Christian Petzold)
You didn’t expect me to not include the year’s Petzold film? I’m not sure it’s his best work, but I do want to revisit to get the nuances I’m sure I missed. So funny that Petzold, who manages to have water feature in most of his films (even this one called ‘Afire’ in English) has one of his characters say disparagingly ‘Water isn’t a theme”. I beg to differ, Christian, I beg to differ. Currently available to stream in the US on The Criterion Channel, and to rent on various platforms in the UK.
That They May Face the Rising Sun (dir Pat Collins)
A sad, gentle look at rural Irish life in the 1970s, a place where being an outsider can take many forms. That They May Face the Rising Sun never attempts to resolve everyone’s issues, but merely acknowledges that farming, the seasons, life, all continue day after day, and we deal with everything the best we can. It’s a beautiful film visually, but also emotionally, and its gentleness hides great sadness.
Vanskabte land / Godland (dir Hlynur Pálmason)
The arrogance of colonisers, particularly those driven by their religious beliefs, meets the might of nature head-on, and there is only ever going to be one victor in the battle. Coming in at 143 minutes long and deliberately slow-paced with dialogue at a minimum (the language barrier between Danish and Icelandic speakers is yet another divisive issue for the protagonists). But it earns this run-time with its contemplation of humanity’s place in the world and the best-looking cinematography this year. Currently available to stream in the US on The Criterion Channel, and in the UK on BFI Player.