Cinema is dead! Or at least, that’s how many casual movie-goers view the current landscape. I’m no stranger to similar sentiments myself, what with theatres being too afraid to release anything other than a simple popcorn flick of little substance. We often beg for something more distinct and less repetitious. Have you ever caught yourself lamenting for the past, when films were varied and packed full of depth? What if I told you that these films are still out there? That there are still pieces of art circulating theatres and other services that people simply aren’t looking at.
My fellow film buffs will know of these films. It certainly pays to have an eye on the independent market. My own outrage at how major cinemas like Cineworld and Odeon refuse to diversify their selection of films led me to seeking out those unique outliers. To an extent, I can understand their choice not to release such films. With the prices of tickets rising more and more, and streaming services dominating peoples’ lives, the audience wants know what they’re buying into. But then these same people can often complain that cinemas aren’t what they used to be. I wanted to use this article to give my more causal readers some bits of insight into what you’re missing out on.
I have picked a selection of independent and/or foreign language films from the last few years that I feel are sure to enlighten your movie-watching experience. We’re sitting on the precipice of cinemas collapsing. But one day, we’ll see a resurgence of theatre culture rising back into the stratosphere. Perhaps what these companies need is a revaluation of what audiences are looking for. These are the films that defy the sameness of studio-made movies and speak to the individuals’ voices. Allow me retrace my own steps so I can open you up to a world of studio-defying art. Open your minds and open your hearts.
The Banshees of Inisherin
I’m starting off with a film you’ve most likely heard of. Since it’s now under Disney’s umbrella after the Fox purchase along with their independent studio, Fox Searchlight, this film has been splayed along the front pages of Disney+ for a short period of time. I almost wasn’t going to include this one for that very reason, but a couple of conversations with co-workers brought to my attentions a lack of awareness for the film. Releasing only last year, quite frankly, I was perplexed. Banshees of Inisherin is a film like no other, and it’s snub for Best Picture at the Oscars still hurts.
It primarily centres on two (former) friends, Colm (Brendan Gleeson) and Padriac (Colin Farrell) on an obscure little island in Ireland, we see Padriac absolutely shattered and confused over the sudden coldness of Colm. Colm has decided that he no longer has time for Padriac’s blandness, questioning his purpose in life. He decides he wants to refine his fiddle playing, leaving Padriac to wane in sadness in the comfort of his sister and oddball, Dominic. But even with a clear, threatening message of distancing himself from Colm, Padriac can’t help but try his hardest to sway his former friend.
The director of this film is Martin McDonagh, known for cult favourites like Seven Psychopaths and In Bruges. Known for his darker, twisted sense of humour in the midst of genuine drama, you very much get the same results here. What makes this one stand out however is it’s kempt emotional authenticity. There are few films in this world that I feel have accurately portrayed the sadness of losing friends over the years. It’s not a thing to be generalised. The way Padriac desperately clings to one of his only true friends and can do nothing to convince him to stay with him is heart-breaking. You understand why Colm wants to seperate himself, as Padriac doesn’t offer much in the way of constructive existence, but with how extremely he fends him off: it’s painful.
If you’ve ever had friends walk away from you with little explanation, or have had to do the same thing yourself in fear of being dragged down by those people, it’s never an easy thing to deal with. I’ve lost friends over the years and have made poor choices in my own social life, so I can fully relate to both characters. If you’ve ever been driven to succeed but feel that there’s someone in your life holding you back, you know the conflict of deciding what you value most. It’s not an easy question to answer, and the film presents that in the most open way possible.
It’s a film that induced me to tears at several intervals, but it also provides many moments of dark humour to keep your spirits up. Add a very poignantly Irish atmosphere and you have a film that stands out from many others. This has slowly risen from being my favourite film of last year to be one of my favourite films in general.
Tar
2022 really was a year for independent films. I have to be a bit more choosey over which ones are worth talking about, but I knew for sure I wanted Todd Field’s Tar to get a spotlight. I had the pleasure of seeing this film in the Barbican Theatre in London, surrounded by like-minded film enthusiasts. One thing that movie-goers will complain about with theatres today is the conditions of the screens and lack of etiquette from other audience members. If you’re looking for a more immersive experience, I encourage you to really explore other theatres (you probably won’t have a choice in the matter). Tar was a perfect film to choose for this very reason.
Cate Blanchett steps into the role of composer, Lydia Tar. Driven by her own talents and success, she’s truly an expert in her craft. And while on the surface she appears a deeply admirable figure, her personal life and personality present a far more despicable figure. Willing to shut people out of her life for the sake of her own success, she steps on people, tells others they are wrong for having a difference of opinion and even drives a former student of hers to suicide due to some alleged sexual manipulation. A talented person with a terrible ethic? Sounds familiar.
It’s important to note how monumental this is in the current cultural landscape. The film addresses the argument over whether we should seperate the art from the artist. With the more relevant controversies surrounding people in the entertainment industry being labelled as predators or the infamous transphobia of J.K. Rowling, it’s very difficult to justify seeing their artforms in a more objective way. Field throws in his two cents as he tells the audience quite plainly that terrible people should not be given credit just because they’ve made something with artistic merit.
EO
2022 can be cemented as a year for great creatives. I wanted to highlight the other corners of the world that many in our British and American subsections don’t pay attention to. Foreign films are often overshadowed by the titans of the film industry, but with the success of Asian cinema being more recognised thanks to the surprise Best Picture win of Parasite in 2019 I think it’s time casual audiences turn their attention to our nearer relatives. Polish director, Jerzy Skolimowski gives us a small-scale tale of the animal cruelty that still pervades the world.
A simple title for an adventurous donkey, EO centres on a circus donkey (played by various different donkeys) that is sold and traded off to various owners. Leaving behind the owner that once dedicated her life to it, EO finds itself in the midst of farmers, drunken sports fans, abusive drunks and bares witness to the nuances of life.
EO almost feels like something Disney would spin into a charming little animated tale about a talking donkey, with an important message attached to it. But Skolimowski’s view of the situation and how it places and animal into the lead doesn’t mince viewpoints. There is a sort of twisted charm to it with how likeable and downright wholesome certain moments with EO are. It presents a viewpoint of human life through the ideas of animal and eliminates this belief that animals are emotionless, let alone apathetic. It’s not an easy watch for those who truly love animals, but that’s the point. It’s encouraging us to get out there and go that extra step for what we believe in.
EO is nothing short of an invocative piece that isn’t afraid to put those who disregard animals on a stand. It’s absent of any unnecessary CGI, preferring to utilise actual donkeys to really personify the problem. If you’re looking for a challenging look at a very consistent problem society has dealt with for years, EO is quit the emotional trip.
Marcel the Shell with Shoes On
For those who adore independent cinema, no studio today is more synonymous with that label than A24. I could probably write an entire list on this magnificent voice for the smaller creative alone, but I wanted to showcase so many other films out there. But the film I’m talking about here is so different from what we’ve come to expect from the studio. released in 2021, Marcel the Shell with Shoes On (a title longer than the runtime) is an animation/live action hybrid targeted at just about everybody. This is a studio known for producing mature films, especially Horror. And despite how far out from its comfort zone it appears, it’s unbelievably fresh.
Filmed in a Mockumentary style, film maker, Dean (Dean Fleischer Camp) takes us into the hidden world of Marcel (Jenny Slate), a living seashell who lives with his grandma, Connie (Isabella Rossellini). Living in the little crevices of a house once owned by a couple, they have long lost their family upon their split. Marcel desperately wants to find his family, but we also get little slices of Marcel’s life and his care for his ailing grandmother. Small bits of introspection into Dean’s life also emerge. Perhaps the two will find comfort in each other.
It’s a sad reality that this type of medium is rarely explored these days. I’m not talking about the general animation/live action hybrid, but rather stop-motion and its place in the medium. In the classic days of cinema, before CGI, stop-motion was considered a suitable substitute for bringing ungodly creations to life. Marcel is a film that brings back the medium, refusing to rely on technical achievements and showcase how far the medium has come when we haven’t been looking. Marcel feels like a very real, organic character. The Mockumentary style certainly helps this, with the director taking his own lead as one of the central characters. It’s charming and reminds us of how important human connection is. Even outside of the novelty of having something different from A24, it’s just so vehemently unique that it earns its audience.
This is probably the most accessible movie I’ll attach to this list. It’s so very charming and heartfelt, and it carries a message that both kids and adults can appreciate. I found myself wanting to live in this world that Camp has created, even though it’s essentially the same one with a little fantasy sprinkled in.
Parallel Mothers
Hollywood has been in a cynical mood for the last few years. With major studios trying to push this idea that they are very inclusive by forcing a female to the forefront, touting them as nothing more than blank slates for representation, it leaves the mind wondering if this can be done in a far more natural way. Perhaps I can provide you with a film from the more exotic Spain. I turn your investigative minds towards Pedro Almodovar’s 2021 film, Parallel Mothers. The story of female strength in the midst of a male-dominated world, the infamous director has managed to show us he still has a knack for telling tales of strong female characters.
Two mothers give birth at the same time: Janis (Penelope Cruz), an older woman with strong ambition, and Ana (Milena Smit), a younger woman left with an accidental pregnancy. The two bond over their shared time together, and eventually go their seperate lives. But a tragedy happens that brings these two women back into each other’s trajectory. A shocking revelation leads Janis to question her morality, and her bond with Ana grows into something more.
Not short of the type of melodrama one would expect from the country that gave us the telenovela, this is one that will leave you in a classic, visceral state of shock at every turn. Almodovar has been making films since the eighties, many of which focused on women, but he always manages to explore different avenues. This film delves into a unity only women can understand. It’s hard for me to speak about the psychologiical implications of this film without absolutely spoiling this film. It’s one of the more exciting entries in my list, but that’s not to say it’s without its artistic merits. The way these characters feel is so genuine, and gets the mind racing over how you would react if you were placed in the same situations.
Even if you’re like me, a man, there’s still much you can take away from it. Without even trying, Almodovar has given us a film that explores a very real pain that women have to go through, albeit in a way that is very worst-case scenario. To feel such raw sadness is always an accomplishment and should be spoken as a testament to the director’s outlook on life.
What’s the Outcome?
If I could list every single film in the last few years I thought was worth watching, this article would never end. I did consider putting the controversial Horror film, Men on here, but the reaction has been very negative, contradicting my personal exception. Japanese Drama, Drive My Car was also heavily considered, but I wanted to stray away from Asian cinema, as I feel it’s gained a bit of a following. I think the films I have chosen are well worth the time out of your day.
My greatest hope is not for major cinemas to die; I still very much enjoy the odd popcorn flick. What I want is for people to see the films that are out there. To silence the naysayers who claim that there aren’t any good films out there anymore or there aren’t any great actors anymore. Film is such a beautiful spectrum of colour, emotion, language and can be viewed in infinite ways. These films are merely a taste of what you can expect. So go out there and broaden your minds.