I didn’t anticipate watching enough in the way of new release cinema to create a Top 10 for 2023 but, as it turns out, my list magically manifested. And here it is, with films listed in no particular order:
LATE NIGHT WITH THE DEVIL (dirs. Colin Cairnes & Cameron Cairnes)
2023 marks the ‘Year of the Australian horror renaissance’ with this one leading the charge – a highly original take on the genre as seen through a 1970’s US late-night variety show lens. Features a transformative performance by David Dastmalchian from his previous creepoid roles to all-American TV show host. Pitch perfect in every way.
TRIANGLE OF SADNESS (dir. Ruben Ostlund)
Officially a 2022 release, but a repeat watch for me as part of its theatrical run at the start of the year. Simultaneously gross, terrifying and so very funny (because it’s true). The most astute and penetrating socio-political commentary in recent memory. Machiavelli would be proud.
TÁR (dir. Todd Field)
A singular and fascinating film, despite its flaws and Cate Blanchett’s overacting (and over-conducting). I came out with many reservations but, to its credit, it’s lingered with me across the year. Full marks. Also, full of conversations and exchanges that held me transfixed despite its lengthy running time.
POOR THINGS (dir. Yorgos Lanthimos)
Everything that makes the cinema of Yorgos Lanthimos so scintillating – weirdness, uncomfortable sex, magical realities, astute gender observations, etc. Throw in some Frankenstein, Dr Jekyll & Mr Hyde and Island of Dr Moreau themes and this recipe could have been custom-cooked for the likes of me.
TALK TO ME (dirs. Danny Philippou & Michael Philippou)
Another Australian-brother-director-duo-horror-bonanza. High-octane, visceral take on the ‘teen shenanigans gone wrong’ genre trope, tightly realised in an Australian setting with solid performances. Notable for its strength across first, second and third acts, especially the third where horror films so often unravel.
THE KILLER (dir. David Fincher)
A satisfying propagation of Fincher’s admirable career in thrillers that doesn’t over-reach – right up there with ZODIAC (2007) and THE GAME (1997), inching close to SE7EN (1995). See it for Michael Fassbender’s super-solid central performance, opening ‘How Soon Is Now’ sequence and a string of TV-character aliases.
PAST LIVES (dir. Celine Song)
Just when you thought I only like brutality on screen, enter Celine’s Song ode to unrequited love. A film that holds you by the heartstrings from start to finish, riveting while hardly doing a thing. Mines the depth of romantic attachment in a deep and extremely affecting way.
ALL OF US STRANGERS (dir. Andrew Haigh)
The second of the sloppy sentimental pics on my list this year. An unexpected queer ghost story of the sad and sorry, rather than ghoulish, kind. Initial thoughts: too devastating to see again. But now I’m ready to dive back in and unpick its tapestry of timelines and realities. Stunning.
FEMME (dirs. Sam H. Freeman & Ng Choon Ping)
Another queer stunner – this time, in the form of a gay-bashing-revenge film where the revenge act takes an unpredictable shape. Not necessarily an uplifting viewing experience but a taut, nail-biting one that doesn’t let up until its devastating conclusion.
THE ROYAL HOTEL (dir. Kitty Green)
Draw a line from WAKE IN FRIGHT (1971) through SHAME (1987) to this film. A searing depiction of toxic masculinity in outback ‘Orstraya’ that recalls another Kitty Green classic, THE ASSISTANT (2019). Double screen it with the documentary that inspired its making, HOTEL COOLGARDIE (2016).
Emma Westwood 