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Heretic: I was glad the trailer for the latest Scott Beck and Bryan Woods only gave you a little Red Riding Hood/Big Bad Wolf idea while concealing some of the greater twists in a film where Hugh Grant delivers a career-standout performance.

Jane Austin Wrecked My Life: This was the TIFF film that I told everyone about who asked what I loved there. It’s a great rom-com as it builds on a love of the history of rom-coms.

Twisters: This was probably the most fun I had in a cinema this year, and I’m still upset I could not take advantage of a 4DX screening even when they brought it back. Even in a regular cinema, the sound mix was so effective it felt like you were in the storm that I was shocked when the Oscar shortlists came out and it missed in the sound category.

The Beast: This near-fi feature surprised me, partially because I went in blind like I often do if it’s not a film I’m bombarded with trailers for at the AMC, but also because I don’t even know if a trailer could have properly prepared me for this film that now having sat on it for almost a year reminds me of some of my favourite Black Mirror episodes, which is probably why I was so drawn to it.

Wicked: I’ve been a fan of the show for most of my life. It was my first Broadway musical; I have a poster signed by the Original Broadway Cast. I have been skeptical about the film existing since forever as its release date got pushed and pushed again with no casting announced, and then it’s split into two parts. I went into the film unsure if I would leave wanting to see part two, the fact that I’m waiting for November to come around again to see the finale means they were making good.

Universal Language: I am still thinking about the set design in this film, of the Kleenex Repository, and of the Tim Horton’s made up as Tehran Tea House. Others are taken with the film too as it made the Oscar shortlist for International Feature Film.

Conclave: Good actors, good dialogue, and a lot of backstabbing by people who claim to be pious, what’s not to enjoy?

Thelma: This is such a funny movie full of heart, and while Thelma may not always be tech-savvy, she’s not shown to be incapable, which is why you are more than ready to ride with her as she goes to get back the money that was conned from her.

Dìdi: I love coming-of-age films, and while I think every narrative can be looked through the lens of coming-of-age because characters transform/evolve, the genre is more defined by films like Dìdi, but within that landscape, you rarely get films centering the male experience or the Asian-American one making Dìdi unique as it deals with themes universally relatable in the awkwardness of growing up.

Nickel Boys: I have never seen another film like it. I think we’ll see other filmmakers try the same or similar style with similarly interior/internal characters, and they say imitation is the sincerest form of flattery, but I hope RaMell Ross is flattered in other ways this award season.

© 2020-2025. UniversalCinema Mag.

As one year gives way the next, cinephiles of all stripes play that familiar game of identifying the cream of the crop. From quiet film festival gems to sprawling effects-laden extravaganzas, this year was chock full of memorable cinematic moments, and it is with pleasure that I bring you this unapologetically subjective selection for the best of 2024:

PERFECT DAYS (Wim Wenders)

Without reservation, Perfect Days was my favourite film of the year. Koji Yakusho is flawless as Hirayama, a toilet cleaner in Central Tokyo living a modest life full of quiet joys and punctuated with oddly joyful surprises. Deceptively simple in its construction, the film gently implores you to contemplate the deeper meaning of each of life’s precious moments.

LA CHIMERA (Alice Rohrwacher)

This lyrical tale from Italian director Alice Rohrwacher builds a layered and beautiful world in which to lose yourself. The grieving Arthur (Josh O’Connor, heartbreaking), a British archaeologist, takes up with a colourful group of grave-robbers stealing ancient Etruscan artifacts in 1980s Tuscany as he attempts, in vain, to come to terms with the loss of his beloved Beniamina.

CHALLENGERS (Luca Guadagnino)

Not everyone will agree, but for pure pulpy pleasure, no other film this year tickled me quite the same way. From the pulsating score to the sizzling chemistry of its central love triangle (okay… mainly Josh O’Connor and Mike Faist, though Zendaya is pitch perfect as the ice queen torn between them), you’ll never watch tennis the same way again.

THE SUBSTANCE (Coralie Fargeat)

Starring Demi Moore in a career-best performance opposite the consistently impressive Margaret Qualley, this sophomore effort from up-and-coming director Coralie Fargeat plumbs the depths of the feminine psyche to deliver a twistedly entertaining fable on the fine line between self-obsession and self-hatred.

POOR THINGS (Yorgos Lanthimos)

While admittedly divisive – and about thirty minutes too long – Poor Things is a wildly innovative visual spectacle, and quite honestly deserves a spot on this list for Emma Stone’s performance alone. Impressively committed to her portrayal of a young woman resurrected by unorthodox means, she is unforgettable as the anchor of this post-modern take on the legend of Frankenstein.

DAHOMEY (Mati Diop)

With her first documentary feature, Diop proves herself a cinematic force to be reckoned with, taking home the Golden Bear at this year’s Berlinale. Documenting the repatriation of twenty-six royal treasures from the Kingdom of Dahomey, Diop reckons with the persisting legacy of colonialism in Africa, interrogating the very meaning of cultural heritage and restorative justice with poetry and grace.

SUPERBOYS OF MALEGAON (Reema Kagti)

 While Bollywood dominates the popular imagination when it comes to Indian cinema, the subcontinent is home to a rich tapestry of cinematic traditions largely unknown outside its borders. Shining a light into one tiny corner of that universe, Kagti puts the delightfully quirky Mollywood on the map with this uplifting tale about the joys of filmmaking and the enduring bonds of friendship.

ONE OF THOSE DAYS WHEN HEMME DIES (Murat Firatoğlu)

 One of the greatest experiences for the avid film festival goer is to see a film with absolutely no expectations, and to be blown away by the results. Delivering one of the most engaging films I had the pleasure of viewing at the Venice Film Festival this year, Firatoğlu has crafted a politically layered and tragicomic look at one man’s very bad day.

BESTIARI, ERBARI, LAPIDARI (Martina Parenti & Massimo D’Anolfi)

 This supersized documentary, clocking in at an impressive 206 minutes, requires a serious commitment from its viewers but has ample rewards in store for those who stick it out. Dividing itself into three meticulously realized sections (Animals, Plants, and Stones), the film aims a microscopic lens at a macroscopic subject: the insignificance of humanity in the grand scheme of terrestrial history.

DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD (Radu Jude)

One of the most unique and fascinating films released this year, this latest effort from bad boy Romanian director Radu Jude defies description. Following overworked production assistant Angela on a fascinating and profane existential road trip through modern day Bucharest, the film takes on everyone from Prince Charles to Nicolae Ceausescu in its sprawling takedown of late-stage global capitalism.

© 2020-2025. UniversalCinema Mag.

It is time to contemplate the cinematic gems that defined the past year as we send farewell to 2024 and embrace the exciting possibilities of the new year. The passing year provided us with an extraordinary selection of films that have captivated our hearts and ignited our imaginations, demonstrating the extraordinary talent and creativity of filmmakers from around the globe. The top 10 films of 2024 not only entertained us but also offered new perspectives and shared unforgettable experiences, thanks to their stunning visuals and compelling storytelling. Celebrate these exceptional films that have significantly influenced the cinematic landscape and influenced the year in cinema. Join us in this celebration.

10. Outrun

German director and screenwriter Nora Fingscheidt brings out the narrative of Rona’s life in which she suffers from alcohol addiction. Saoirse Ronan’s brilliant performance and the excellent cinematography take us on a journey into the heart of trouble, nestled in the wild beauty of Scotland’s Orkney Islands. The film premiered at the Sundance Film Festival on 19 January 2024.

9. Small Things Like This

Claire Keegan’s 2021 novel served as the inspiration for Tim Mielants’ 2024 historical drama. The film gradually develops, showcasing breathtaking scenes of life in Ireland during the late 1970s. Meanwhile, the Magdalene Laundries controversy, where women suffered abuse in the name of redemption, confronts the audience. Cillian Murphy, with his masterclass performance, turns a slow-paced narration into an impressive cinematic experience.

8. My Favourite Cake

Seventy-year-old Mahin, who has been living alone until now, has decided to revive her romantic life. A fortuitous encounter transforms into an unforgettable evening. Maryam Moghadam and Behtash Sanaeiha, the film’s writers and directors, reveal the repressed love and regret that underpin Iranian society. The international co-production between Iran, France, Sweden, and Germany had its world premiere on 16 February 2024 at the main competition for the Golden Bear at the 74th Berlin International Film Festival.

7. Poor Things

Yorgos Lanthimos, the Greek director, offers a feminist reinterpretation of the creation narrative, with Willem Dafoe as the creator of Bella Baxter (Emma Stone). Released on 12 January 2024, the film captivates audiences with its lavish cinematography and exceptional performances that seamlessly blend visual forms with their associated meanings. The National Board of Review and the American Film Institute named Poor Things among the top ten films of 2023, and it garnered various accolades, such as four wins at the 96th Academy Award, two at the 81st Golden Globe Awards, and five at the 77th British Academy Film Awards, with Stone winning best actress at each ceremony.

6. Green Border

Green Border is a 2023 drama that portrays a family of Syrian refugees, an English instructor from Afghanistan, and a border guard who converge at the Polish-Belarusian border amid the latest humanitarian crisis in Belarus. Directed by Agnieszka Holland, the film portrays the harrowing existence of refugees stuck between the borderlines without any future. The film competed for the Golden Lion at the 80th Venice International Film Festival, where it won the special jury prize.

5. Black Dog

Upon his release from incarceration, Lang returns to his village in Northwest China. While participating in a canine patrol assigned to eliminate stray dogs before the 2008 Olympics, he forms a connection with a black stray. The two solitary individuals begin a fresh expedition together. Guan Hu, the director of the Chinese film, presents an unconventional plot rarely seen in film storytelling. Starring Eddie Peng and Tong Liya, the film had its world premiere at the 77th Cannes Film Festival on 18 May 2024, where it won the Un Certain Regard prize.

4. Crossing

Levan Akin, a Swedish director, depicts Lia, a retired teacher who has cast her vote to locate her long-lost niece, Telka. He escorts her to Istanbul, where she encounters the lawyer Evrim. Akin’s most recent play is a magnificent tribute to human goodness, with a nuanced message of acceptance. The film leaves an exquisite impression thanks to its outstanding cinematography, brilliant performances, and solid narrative. The 74th Berlin International Film Festival selected Crossing for the Panorama section, where it made its world premiere on 15 February 2024.

3. Bird

Andrea Arnold portrays Bailey, a 12-year-old girl grappling with her single father Bug, performed by Barry Keoghan, in a poignant drama that captivates the audience by revealing the harsh realities of life within a fascinating cinematic framework. Franz Rogowski’s exceptional performance reminds us to look to the sky when life becomes entrenched in desolation. Andrea Arnold, the English filmmaker and former actress, crafts a radiant moment amidst gloom. Bird debuted internationally at the 77th Cannes Film Festival on May 16, 2024, and premiered in cinemas in the United States and the United Kingdom by Mubi on November 8, 2024.

2. The Zone of Interest

Jonathan Glazer authored and directed The Zone of Interest, a 2023 historical drama film that the United Kingdom, the United States, and Poland co-produced. The film, a loose adaptation of Martin Amis’s 2014 novel, revolves around the lives of German Auschwitz commandant Rudolf Höss and his wife Hedwig, who live with their family in a house near the “Zone of Interest” concentration camp. Jonathan Glazer, drawing on his theatrical experience, illustrates the intricacies of human nature, showcasing both cruelty and charity within the same context. On 19 May 2023, The Zone of Interest made its premiere at the 76th Cannes, followed by its theatrical release in the United States on 15 December 2023.

1. Perfect Days

German filmmaker, writer, author, and photographer Wim Wenders takes viewers on an existential odyssey in Perfect Days by tracing the feelings of freedom, loneliness, death, and emptiness that accompany our highs and lows in life. Hirayama, a lavatory sanitation worker residing in Tokyo, expresses satisfaction with his life. Satisfaction is a sentiment that humanity has lost in the hectic pace of life’s competitive struggles. The film encourages you to halt your actions and reflect on life’s tranquillity, appreciate existence as it is, and navigate the passage of time, as illustrated in Zen philosophy. Perfect Days debuted on 23 May 2023 at the 76th Cannes Film Festival, competing for the Palme d’Or and securing the Prize of the Ecumenical Jury as well as the Best Actor Award for Koji Yakusho. The 96th Academy Awards nominated Perfect Days for Best International Feature Film, making it the first time Japan’s submission by a non-Japanese director received such a nomination.

© 2020-2025. UniversalCinema Mag.

The end of another calendar year brings the captivating game of selecting the best of the best. These are my picks from over 500 films I watched at international festivals around the world and in cinemas in 2024 (listed in no particular order):

The Brutalist (Brady Corbet)

A stark portrayal of the violence of life through the story of a migrant architect fleeing the Holocaust. The film is in no rush to tell its story—in fact, it’s remarkably long (215 minutes). However, the filmmaker takes us on an Odyssean journey with the protagonist, weaving the threads of history (the Holocaust) with the concept of the American Dream, while delving into the inner world of an artist surviving in a brutal society. Here, survival itself demands a heavy toll.

Beetlejuice, Beetlejuice (Tim Burton)

Tim Burton’s best work in the past two decades is a stunning return to his favourite worlds and atmospheres—a quintessentially “Burtonian” film that elevates fantasy and imagination to their zenith. In its vividly narrative space, the film makes all the incredible creatures and events wholly believable, offering a visual feast. Strangely, it didn’t receive much acclaim and was largely ignored during awards season.

The Substance (Coralie Fargeat)

An unusual and thought-provoking film exploring beauty and womanhood, unflinchingly challenging social norms. It examines the worlds of fashion and entertainment (and their relentless demand for beauty and youth) while delving into the inner life of a woman determined to remain youthful, beautiful, and adored. The filmmaker confronts her protagonist with the harsh realities of life through the clash of youth and old age (and beauty and ugliness). The film’s shocking twists captivate viewers, though the gratuitous violence in its closing scenes feels unnecessary.

April (Dea Kulumbegashvili)

A compact, raw, brutal, and gripping film from Georgia about abortion, delving deeply into the feminine world of its protagonist, who stands in opposition to the masculine ethics and beliefs of her surroundings. With an observant camera that refrains from dramatizing the events, the film features a deceptively simple yet meticulously crafted scene of an abortion that lingers indelibly in the viewer’s mind.

Anora (Sean Baker)

This year’s Palme d’Or winner at Cannes is a haunting exploration of a sex worker’s life; a bitter, impactful film that refrains from judging or condemning its protagonist. Instead, it offers a deeply human portrait of a young woman and her dreams. As the story unfolds, her profession becomes secondary, and her emotions and inner world take canter stage. The film crescendos to an extraordinary climax, with tears that had remained unspilled throughout finally breaking free.

Joker 2: Folie à Deux (Todd Phillips)

Todd Phillips’s daring and ambitious approach to this film is enviable. He knew it wouldn’t be warmly received at the box office or by critics (as it’s entirely disconnected from its predecessor, building an entirely different world that defies audience expectations). Yet, he boldly crafts a deeply personal vision, pulling his protagonist into an intense and unique narrative. Defying Hollywood conventions, he delivers a dark, audacious, and compelling film that remains underappreciated.

Memoirs of a Snail (Adam Elliot)

An adult animation that delves into the bitterness and struggles of life, drawing viewers into the sorrows of Grace, a young girl, and her many tribulations. The story unfolds with captivating precision, beginning with death and transitioning to life. Without lapsing into preachiness, the film ultimately celebrates life, cinema, and art, delivering a deeply personal ode to cinema itself.

Emilia Perez (Jacques Audiard)

A well-crafted and engaging narrative with a unique storyline, departing from Audiard’s previous works and exploring a completely different (and non-French) world. The story revolves around a Mexican criminal who transforms himself into a woman to survive. This marks the beginning of an unpretentious exploration of gender concepts and the erasure of boundaries between men and women, told within a vibrant and tumultuous tale that invites viewers into a strange yet emotionally resonant world.

The Room Next Door (Pedro Almodóvar)

One of Almodóvar’s most visually compelling films—unfortunately one of his most underrated. Stepping away from his melodramatic tendencies, this film emerges as a poetic meditation on death. In an anti-narrative space, it examines two women’s confrontation with mortality, achieving fascinating conclusions: death becomes a natural continuation of life, not an obstacle to it.

The Seed of the Sacred Fig (Mohammad Rasoulof)

Continuing Rasoulof’s unflinching exploration of Iran’s socio-political realities, the film boldly portrays the current state of the nation without succumbing to censorship constraints. Aligning with the “Woman, Life, Freedom” movement, it portrays women as they rise against religious patriarchy. The climactic scene, reminiscent of the iconic image of Qasem Soleimani’s hand, buries the regime’s tyranny and oppression under layers of earth.

© 2020-2025. UniversalCinema Mag.