2020s

Petite Maman (2021)

There is great value in the parent-child relationship depicted in Petite Maman, but Céline Sciamma also recognises it does not need to be restricted to those rigid roles either, playing out a fantastical wish fulfilment of a young girl meeting her mother at the same age and together revelling in childhood, sharing the joys and pains that come with seeing one’s past and future.

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After Yang (2021)

As a grieving family ponders the recorded recollections of their broken robotic son in After Yang, Koganada forms a poignant commemoration of those complex lives that exist just beyond our periphery, studied and savoured through the refractive lens of memory where old ideas find new life in the present.

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Everything Everywhere All At Once (2022)

The implicit promise made in the title Everything Everywhere All at Once is about as equally ambitious as it is precarious, setting up a maximalist piece of cinema that flits across alternate universes, wildly fires off montages, and deals in absurd, genre-blending humour, pondering the relative value of individuality within the grand scope of existence.

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The Northman (2022)

In the brutal, textured world that Robert Eggers builds around the Norse folktale of Viking prince Amleth, The Northman comes alive, approaching the detailed design of every crude wooden village and animal-skin costume with a visceral authenticity to deliver an awe-inspiring, sensory venture into the heart of obsessive vengeance.

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Apollo 10 1/2: A Space Age Childhood (2022)

For an idealistic filmmaker like Richard Linklater, the future has never looked brighter than it does in the hands of a child, and in blending the fantasy of a young boy becoming the first person to walk on the moon and the mundane details of life in 1960s Texas, Apollo 10 ½: A Space Age Childhood effectively justifies humanity’s own naïve ambition and excitement.

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No Sudden Move (2021)

Within this narrative of a small blackmail job wildly spinning out to a sprawling ensemble caper across 1950s Detroit, Steven Soderbergh’s off-kilter camerawork and sumptuously shady lighting gradually pulls us into a permanent stage of agitation, refusing to let us wander from the tight grip of No Sudden Move’s compelling mystery.

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