Despite the odd flash of visual inspiration and dissection of cinema’s raw power, The Fabelmans is not so interested in pushing formal boundaries than offering a pure insight into the youth of its own director, Steven Spielberg, whose memories, fears, and passions eloquently flow through what is his most personal film yet.
Whether it through deathly omens or visceral threats, violence in The Banshees of Inisherin never comes without warning, as Martin McDonagh powerfully settles an air of dread over a rural Irish community on the outskirts of civil war where his darkly comical fable of petty feuds and broken brotherhood unfurls.
The sentimental heart of Avatar: The Way of Water is not lost in Cameron’s ingenious, visual invention, but rather melds with its spectacle to sweep us away on waves of transcendent wonder, spectacularly building the world of Pandora out into alien islands and sentient reefs where we are left to marvel at the remarkable abnormality of life.
Guillermo del Toro’s foray into gorgeous stop-motion animation is perfectly suited the Italian fable of Pinocchio, though true to his darkly monstrous obsessions, this interpretation is haunted by a tragic existentialism, using the historical setting of fascist Italy to frame questions around fatherhood, blind obedience, and the value of fleeting mortality.
Alejandro Iñárritu’s sprawling abstraction of one Mexican filmmaker’s existential musings may be absurdly funny at points, but in Bardo’s surreal, stream-of-consciousness dive into his lucid dreams, it is also a deeply spiritual work, building a mountain of rich visual metaphors to deliver one of the most formally complex and cinematically ambitious films of the past few years.
Haunted by cannibalistic urges ever since she was young, Maren sets out on a nomadic journey of self-discovery across America with fellow ‘eater’ Lee in Bones and All, and through Luca Guadagnino’s morbidly nuanced characterisations, he tenderly transforms this horror-tinged premise into a coming-of-age tale, a sweet romance, and a sensitive, queer allegory.
She Said wisely does not dip into the familiar aftermath of Harvey Weinstein’s sexual abuse allegations, but rather centres on the painstaking investigations that toppled over dominoes towards the earth-shattering exposé, building an ensemble of affecting performances atop a sensitive screenplay that carries us through stretches of otherwise uninspired visual direction.
Through The Menu’s gradual descent to gastronomical madness, Mark Mylod crafts a biting horror satire of up-class foodie culture full of all its recognisably niche archetypes, plunging one group of wealthy restaurant goers into the twisted mind of a resentful chef determined to inflict upon them the disturbing consequences of their arrogant, commercialised pretension.
In his light sepia filter and lavish retro design of 1980s New York, James Gray infuses Armageddon Time with a nostalgia that could only exist in the eyes of a child as innocent as him, thoughtfully examining a survivor’s guilt that echoes across generations of inherited privilege, prejudice, and the cultural weight of Jewish history.
The outpouring of grief felt in Black Panther: Wakanda Forever is a refreshingly sincere change of pace for Marvel Studios, as Ryan Coogler’s heartfelt eulogising for his late friend underscores new political tensions in Wakanda and the sophisticated world-building of a hidden, underwater kingdom, delivering a visual majesty that sensitively reflects on what has been lost.
