FILM 2024 ROUND-UP - Favourites

FILM 2024 ROUND-UP: Favourites 

I started this year as I ended last year: I saw ‘Godzilla Minus One’ at the cinema so solidify my opinion of its greatness. I even found it more and profoundly moving this time, not having to be on my guard (typically, you must make a lot of allowances for a kaiju film).

The following are the releases I have found myself being surprised by, talking about and recommending the most. (And I'll be writing more on what I watched soon, of course.)

FAVOURITES OF 2024

Zone of Interest

Dune: part 2

Red Rooms

Anora

I Saw the TV Glow

In a Violent Nature

Strange Darling

Smile 2

Heretic

Kill

&

Furiosa: A Mad Max Saga

 

‘Zone of Interest’ – there have been arguments that any narrative form is insufficient if not insulting to such a topic; I can’t say I necessarily agree, but Jonathan Glazer mounts a mighty argument with this collage/museum installation that proves as devastating as it is superficially abstract. 

‘Dune: part 2’ – which I watched in a perpetual state of awe.

‘Red Rooms’ – which felt like burrowing deep into the wrong side of modern possibilities.

‘Anora’ – we spend time with the slightly annoying Anora and the appealing goofiness of Ivan – and then it kicks in.

‘I Saw the TV Glow’ – for the vibe and the unexpected emotional punch.

‘In a Violent Nature’ – what a difference just placing the camera and pacing alternatively makes to a slasher; amusingly both deconstructing and delivering the goods.

‘Strange Darling’ – a rollercoaster genre fun ride that justifies its non-chronological conceit with its revelations and great dialogue sequences.

‘Smile 2’ – a total surprise at how good it was at playing with genre – both the mainstream jumpscares and the reality failing horror – and delivering something unexpectedly heartfelt. Horror, don’t forget, is also tragedy, and the worst is the inevitable and inescapable.

‘Heretic’ – a surprising talky funride where the journey is probably more satisfying than the destination, but excelled at the horror of mansplaining. 

‘Kill’ – sometimes the stripped-down aesthetic appeals to me (‘Invader’ was another) and this very Hindi train-bound actioner delivered all its brutality whilst humanising its bad guys and dehumanising its hero, all with Bollywood sentiment distracting. 

 

‘Furiosa: A Mad MaxSaga’ – breathless despite being the opposite of its predecessor; expansive, pretty, excellently plotted and yet pulpy. 

 

Moments of 2024

The main moments I remember hitting me on all cylinders

 

‘The Iron Fist’ – Zac Efron

‘Heretic’ – Hugh Grant

‘Red Rooms’ - Juliette Gariépy

‘Smile 2’ – Naomi Scott

‘Dune: part two’ – worm riding

‘Poor Things’ – Bella and Duncan dance

‘Furiosa: A Mad Max Saga’ – the War Rig assault

‘I Saw the TV Glow’ – Sloppy Jane performs “Claw Machine”

‘The Demon Disorder’ – out the armpit

‘Mads’ – credits

‘Smile 2’ – nightmare dance troupe

‘Red Rooms’ – courtroom cosplay

‘Anora’ – the Armenians come to get Ivan

‘The Substance’ – The Hollywood star

‘In a Violent Nature’ – clifftop kill

'The Beast' - flood in the toy shop

Didi

 

Didi (弟弟)

Writer & Director ~ Sean Wang

2024, US

Stars ~ Izaac Wang, Joan Chen, Shirley Chen

 

Whereas many coming-of-age films centre on the precocious, the artistic, there are those like ‘Didi’ that extrapolate on the lives of unremarkable teens just trying to find themselves and get by. ‘Didi’ is more ‘Mid ‘90s’ or ‘Eight Grade’ than the nihilism of Clarks’ ‘Kids’ or forgotten outsiders of ‘Gummo’, or the sadness and socio-commentary of ‘War Pony’. The eponymous Chris is not necessarily likeable, being somewhat immature and seemingly unable to keep from saying inappropriate slurs from under his breath. He aspires to bro-ness. We laugh at and with his friends in painful recognition of their fumbling male bravado. But Chris’ attempt to ingratiate with girls and older skaters bring about the stress rather than the humour of awkward situations because we don’t know if he’ll be self-aware to do it. There’s not tremendous evidence that he is, that he has the skills.

 

Caught between two cultures and in a house full of women, Chris-Didi is somewhat torn, adrift, confused and clueless. How are you to meant to absorb your crush telling you “You’re pretty cute, for an Asian boy”? And then when watching Chris research and learn how to make new friends and, you know, talk to people, a lot of empathy and relatability is earned. In the adolescent context, every little thing, every little move is big with consequences. And you will be judged. The joy of the film is in seeing Chris take the first tentative baby-steps towards maturity, in learning how to talk to people and deciding what he cares about.

 

There is nothing new here, but that’s partly the point. Isaac Wang’s performance gathers more and more weight, and when the tears-and-speechifying comes, Joan Chen’s unaffectedness, her convincing genuine characterisation undermines any mawkish melodrama. ‘Didi’ is not as flashy or odd as, say, ‘I Saw the TV Glow’, but in its aching recognition of how hard it is to just grow up, ‘Didi’ is quite capable to leaving its mark.