2021 has not been an easy year for anyone and it is during these difficult times that finding a source of comfort is incredibly important. For me, this was through watching films and despite the pandemic, there have been many quality films released this year with a lot of directors and filmmakers using the pandemic to their advantage. I had aimed to watch 100 films before the end of this year and have managed to watch 93 films so far with just under a week to go and have been keeping track using Letterboxd and ranking the films on there. Bear in mind that this list includes films made in 2020 but released in the UK in 2021.
As well as aiming to watch 100 films, I wanted to make sure that I watched as many films directed by women as possible. In an industry that is dominated by the male gaze and male perception, it is now more important than ever to include different voices into this narrative and films such as Titane and The Power of the Dog have proven that not only is the female perspective just as important but proving how women can push the boundaries of filmmaking and elevate the filmmaking and viewing experience.
Here are my top 10 films of 2021 according to my Letterboxd with links to my reviews:
As you can see, half of my top ten were directed by women and in a year that has seen a woman win the Palme d’Or (Julia Ducournau for Titane) and Jane Campion as the favourite to win the Best Director Oscar for The Power of the Dog (which would mark the first time women have won the award consecutively after Chloe Zhao’s win for Nomadland at the last ceremony), 2021 has been a year of many breakthroughs and stellar filmmaking.
What were your top films of the year? Let me know in the comments below!
Florian Zeller’s directorial feature debut The Father was undoubtedly subject to a lot of critical and commercial praise and emerged as a favourite among many critic’s Best Film lists going into the Oscars. Starring Anthony Hopkins as Anthony, a father who is suffering with dementia, the film follows his deterioration into memory loss and despair as other characters begin to change actors and the setting begins to change. It is a deeply harrowing film that weaves feelings of thriller into the dramatic elements of the film. With great performances all round, especially from Hopkins and Olivia Colman who plays his daughter, Anne, The Father was a regular mainstay on the awards circuit this year, receiving six Academy Award nominations and winning two with Zeller and Christopher Hampton winning Best Adapted Screenplay and Hopkins receiving the Best Actor gong in a shock win.
Zeller has been a prominent playwright winning many prestigious awards in France. The Father marks his directorial debut and its script is based on his play. What makes the film so effective is how well Zeller’s direction allows the flat to become a character in itself. As we become familiarised with every room and corridor in the flat, we begin to see the changes that Anthony notices to the point where the film plays as a thriller. Although The Father is not a horror in the traditional sense of the genre, there is something deeply horrific and disturbing about watching Anthony’s world and sense of self crumble as everything becomes more distorted and confused. The way that the script is paced and structured allows for this confusion and deterioration to be carried off successfully as scenes appear to overlap and the same dialogue occurs in different flats with different actors playing the same role. The only consistent aspect of the whole film is Hopkins playing Anthony. Everything else from the plot to the characters and the setting is subject to changes to highlight the spiral into confusion.
Hopkins’ win at the Academy Awards this year was one of the most shocking results as it had seemed that the late Chadwick Boseman was the favourite to win for his performance in Ma Rainey’s Black Bottom. However, the competition in the Best Actor race was incredibly strong and both Hopkins and Boseman gave fantastic performances. Although seeing Boseman win would have been a lovely tribute on what was a life cut tragically short, Hopkins’ achievement in The Father shouldn’t be dismissed or overlooked. There is a reason why Hopkins is often referred to as the best actor working today and it is his ability to truly become the character and his fearless approach. The character of Anthony is extremely confident in himself at the beginning but we see his many layers begin to peel away as his struggles come to light and his concept of time and self begin to dissipate. Hopkins’ ability to shift the mood with the slight change of voice or a minor physical action carries the film and lifts it from being a play performed onscreen to a cinematic experience. It’s testament to Hopkins’ career that his role in The Father is being deemed one of his best considering the calibre of his actor.
In support, we have the extremely lovable Olivia Colman playing Anthony’s daughter, Anne. Colman is always a welcome presence in any film and The Father is no exception. If you’re going to have an actor playing with someone like Anthony Hopkins, you need to make sure they can match his calibre and Colman is one of the best actresses working today and is perfect casting. Coming off her Oscar winning turn in The Favourite, Colman is phenomenal as Anne, the tortured second daughter who lives in the shadow of her deceased sister, Lucy (Imogen Poots) and having to listen to her father talk to people about how Lucy is his favourite daughter. Where Anthony is seemingly happy and content at the start of the film, Anne is the opposite. Having sacrificed the happiness of her life to look after her father, Anne’s partner, Paul receives a job offer in Paris and wants her to join him. This is the perfect opportunity for Anne to begin to live her life and step out of the shadow of her family. Colman received a slew of award nominations including an Academy Award for Best Supporting Actress nomination which was great to see because she really holds her own and proves to be a stellar screen partner against Hopkins.
Composer Ludovico Einaudi has had a brilliant year as he helped bring life to Chloe Zhao’s beautiful Best Picture winner, Nomadland as well as The Father. It’s incredible how different the scores are and yet are full of Einaudi signatures that help to bring his mark to the film. The score for The Father is gentle and intense at the same time and feels like a perfect mesh between drama and thriller without being over the top or overwhelming the scenes. It’s the subtly that makes the music a perfect undercurrent that propels the scenes forward and brings those confusions to light. The music in the final scene, particularly, is stunning and it is a real shame that Einaudi didn’t receive any nomination for his efforts for either film at the Academy Awards as that would have been well deserved.
What The Father does so well in this cinematic adaptation is its ability to elevate itself from a stage production onscreen thanks to the use of the direction and performances. With a stellar script that bends all of the rules, The Father is not an easy watch by any means but it is by far one of the best films to come out of this awards season. Boasting fantastic performances by Hopkins and Colman, it may not have all of the bells and whistles that come with a lot of big blockbuster films but like Nomadland, The Father thrives in its simplicity and allows the script and characters to help bring the drama to life.
What did you think of The Father? Let me know in the comments below!
Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.
Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.
Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.
It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.
Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.
What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.
What did you think of Nomadland? Let me know in the comments below!
One of my most anticipated films of 2020 that was delayed due to the pandemic was Promising Young Woman. Directed and written by Emerald Fennell in her directorial debut and starring Carey Mulligan as Cassie, a woman who pretends to be intoxicated and then confronts the men who try to take advantage of her. Proving to be one of the best original films to come into the 2021 awards season, this is a shining moment for Mulligan and Fennell, putting films made by and starring women at the forefront. In a year that has seen Nomadland and FirstCow be recognised among the Best Picture categories at various festivals, there has been a real breakthrough in mainstream frontrunners that are made by women. This could be a year that sees more than one woman nominated for Best Director.
Reading the initial plot and seeing the trailer is enough to cause a lot of hype and controversy because of the subject matter. However, this is a necessary film during a time where women are often ignored or not believed and are left feeling like they are the guilty party. Surprisingly, what stands out about Promising Young Woman is that it is truly made from the female gaze perspective and Fennell’s direction is hugely impressive. Her distinct and aggressive vision works so well when building up the moments of tension as we try to figure out what is going on in Cassie’s mind. This is very much a character driven film in which we dive into Cassie’s psyche and her unpredictability makes this one of the most original thrillers of recent years.
Mulligan brings a career best in her role as Cassie which is incredible considering the calibre of her previous performances. I don’t doubt that she will be receiving many nominations for Best Actress at all of the major awards shows, with many critics saying she should actually win. Mulligan’s range is showcased from the first scene as she transitions from intoxicated and vulnerable to fearless and confrontational. Noting down the names of the men she confronts, Cassie leads a double life albeit unsuccessfully. As her underground mission thrives, her personal and professional life suffers. She turns 30 but lives at her parents with no longterm plan in place. As everything begins to settle with Ryan, Cassie is at an inner conflict with herself and what she should do moving forward. It would have been so easy for many actors to overly do this role but Mulligan has the perfect subtly and restraint needed to provide a performance that is perfectly well-rounded. At the end of it all, Cassie is a flawed individual with a strong motive that has kept her anchored to the past and she’s come to the point where she has to move on with the film chronicling this struggle.
In support, Bo Burnham plays Ryan, Cassie’s love interest. Having been a pupil at medical school with Cassie before she dropped out, Ryan is sweet and good-natured. On the surface, he is everything that the men who encounter Cassie aren’t and this is alien to Cassie who doesn’t know how to emotional open herself up to him. What is great about Burnham is how subtle his performance is. Whereas Cassie is calculating and cold, he is warm and light, the perfect opposite for Cassie. Naturally, Ryan isn’t aware of Cassie’s antics which makes for a differing perspective when he sees her out and about with another man who she is luring into her trap. As the audience is aware of the act, it is easy to forget that it is something that no one else knows. Seeing his bewildered and disappointed reaction as he believes she isn’t interested in him at all is heartbreaking. It’s this naivity that makes his dark past seem all the more shocking during the start of the third act.
The score by Anthony Willis is phenomenal. Bringing tones from old-school horror with screeching violins and combining it with a modern beat that meshes together to bring a unique sound that works perfectly with the film. There are also a lot of romantic string pieces that would fit into any period drama such as the piece that plays when Ryan forgives Cassie and asks her out on another date. Alongside the pop inspired soundtrack that includes tracks from the Spice Girls and Paris Hilton which are more uplifting. Music is integral to the film, especially Hilton’s “Stars Are Blind” which makes for the backing track for an emotional montage that tracks Cassie and Ryan’s relationship.
Promising Young Woman has proven itself to be a hugely impressive film and will probably be one of my strong favourites going into awards season. Fennell has knocked it out of the park in her directorial debut and I hope she gets recognition for her script, particularly and Mulligan is bound to receive a slew of award nominations and wins. It’s a film that I will be thinking about and wanting to rewatch when it is released. With so many themes and complex characters, there is so much to discuss and I am sure it is a film that will be referenced a lot in the future, especially when discussing feminist films and films made through the female gaze.
What did you think of Promising Young Woman? Let me know what you think in the comments below!
It goes without saying that the pandemic has certainly flipped every sector of life upside down. In terms of films, we have seen the industry reach a point where the fate of cinemas will now be in the hands of 2021. In the meantime, we have seen the majority of award frontrunners released on streaming websites, particularly Netflix who have a huge chunk of award worthy films this time around. The topic of streaming service films being up for major awards has been subject of much debate. I personally think that a film that can transfer the emotion and grandeur from the big screen to small screen and still keep its impact is a hugely difficult challenge and commend filmmakers who are able to do so.
Bearing this in mind, in the 13 years I have actively followed awards season, watching films for this awards season is turning out to be a unique experience. I love the fact that I can revisit the films for multiple views whenever I want. That being said, I cannot wait for cinemas to reopen and experience the full magic of the movies again.
I’ll be discussing my award season predictions in a week or so when I have watched a few more but for now, I’ll be leaving the links to the reviews I have written thus far and add to them as my film list grows.
There are so many more films for me to see and I am very excited. I’ll be posting links to those reviews in this article as well so you can follow any updates here.
Which film has been your favourite so far? Any potential Oscar winners on your list? Let me know in the comments below!
