“Annette” (Léos Carax), “The Disciple” (Chaitanya Tamhane), “To flee” (Jonas Poher Rasmussen), “The Green Knight” (David Lowery), ” God’s hand “ (Paul Sorrentino), “King Richard” (Reinaldo Marcus Vert), “Mogul Mowgli” (Bassam Tariq), “Parallel mothers” (Pedro Almodovar), “Who passed” (Rebecca Room), “El Planet” (Amalia Ulman), “The Remembrance Part II” (Joanna Hogg), “Spencer” (Pablo Larrain), “The Tragedy of Macbeth” (Joël Coen).
The best film was that of a theater
In July, I watched one of the poorest movies I’ve seen this year – and it was glorious. After over 16 months of home streaming, I went to the movies to watch Matt Damon sing the white dude blues in “Stillwater”. The movie was picky and mundane and irritating, and I reviewed it accordingly. And as much as I wished it was better, I was still grateful because it sent me back to theaters, big screens, and other moviegoers.
These other people certainly made me think. They were masked, well, most were, sort of, but could I be safe and comfortable with these people for about two hours? I was bathed and masked, but I was still sailing back to the world. But the room was great, the screen huge, and I decided I could – even if I had to tell a guy next to me first that, yes, he had to wear the mask he had parked on his. chin. He put it on. I settled in, back to the place that makes me supremely happy: I was at the cinema.
Since then, I’ve watched a lot more new stuff in person, including at two festivals where I gorged myself like a hungry person (thanks to both the Toronto International Film Festival and the New York Film Festival). I had spent the first half of the year on reading break, and although I had released a lot of new and old movies at the time (hello Marie Dressler!), I missed the releases (all over). I missed some really, really big bright pictures and missed the rituals, including the quick search for the most perfect seat and the early wait for the movie to start, for someone to turn on the lights, and to start the show. .