Short guide by Krzysztof Sokół and Misia Kozanecka
The first month of 2025 is almost over, however, we are not yet over last year’s premiers. As the awards season has just started, David Lynch passed away, and it seems like a perfect time to summarize last year in films.
2024, as every year had its ups and downs. Currently, most of our focus is on the films from the last month, but do you even remember that Challengers came out in 2024? Me neither. However, Dune part II, Inside Out II, and many more slipped my mind, and not even mentioning independent films or the ones that have not made it to the red carpets during the awards ceremonies. Do you remember how big of a deal was Beetlejuice Beetlejuice? Which in the end was quite fun to watch on Halloween night, or Gladiator II that I never remember about. Nevertheless, every year I believe has one or two movies that everyone and each of us like to come back to, or the ones you wished you saw in theaters but never did in the end. For me, those films are, for instance, The Outran with a brilliant Sarosie Ronan or The Girl With The Needle. I believe early 2025 is a moment to catch up with those before new premieres arrive. That is why, in this article, we are going to concentrate on what caught our attention [and hearts], and which films are worthy [in our opinion] to watch, and the ones that will stay with us at least for some time.
Starting with some controversial positions that the general public hated, such as
Back to Black
What I liked about this film was not only a chance to get into Amy Winehouse’s music once again but how it played on its visuals. Perhaps it struck me how visually interpreted it was, not in a sense of being by any means “inventive” but simply pleasing. All in all, I believe that no matter how well it depicted the Winehouse’s life, and no matter how close the actress got to becoming this icon, which I reckon she was very close to, I cannot imagine any actor being so-called “the same” as any real character. But, what I liked the most about it was that it did not emphasize how tragic her story was. I think the most tiring aspect of the biopics of artists who had quite a bit of tragedy in their lives is only focusing on tragedy and nothing else.
Talking about biopics, there is a lot of on and about
Completely Unkown
which I also had a chance to see. What I liked about this one was referring to a specific part of Dylan’s life. However, even though you have to admit that Chalamet did a good job once again, if someone wants they for sure will find some flaws in his performance in terms of similarity to actual Bob Dylan. Even though history sometimes can make you feel sleepy, and the titular “Unkown” stays this way till the very end, if you’re a fan of Dylan’s music you will definitely not waste your time. I have to admit, Chalamet’s singing shines the brightest in this film. And in the end, I do not only go back to this movie because I only saw it a couple of weeks ago but it gave me this feeling, that I always look for while watching a film, that life can be good sometimes.
On the other hand, the film I did like and even wrote a whole review on for the Art Hub is a sequel, which came from the Oscars to the Razzies. And yes, I am talking about
Joker: Folie a Deux
I already mentioned in my previous review I couldn’t help but enjoy this comeback, and that the best part of it was that it did not fully repeat itself. In the end, Phillips showed us this fever dream of madness that brought back some of music’s great classics. No matter what is said I think it was in some ways more realistic than the first one, and I deeply believe that what upset many people was taking away their hero and showing a real, mentally ill loner. Eventually, if you’re afraid to watch it I’d say you should give it a try, at least do it for Phoenix who has outdone himself as always.
The three last films, that I had a chance to watch in January were titles that we all – film maniacs dream of at night, and by that I mean Anora, The Substance, and Conclave. Starting with
The Substance
I was positively surprised. After such a huge surge in popularity, I thought it was going to be a pretentious so-called “bold” film. But, ultimately I fully understand why so many people liked it. Apart from, Moore and Qualley pushing their boundaries, there are a lot of layers to look into. I reckon what was most interesting about it is obviously how it was made, however, my only problem was the end that kind of threw at us all the references to classic horrors, and in my opinion lost itself in it. At last, no matter if such a cinema is your jam or not, I truly recommend it to watch it as it brings perhaps an obvious but important description of the world we live in.
However, the best is left for the last, in other words –
Anora
Which fully immersed me in Ani’s reality. As much as I love the 90s/early 00s rom-coms, I really can’t stand Pretty Woman, and I was happy to watch a “real version” of it. I laughed, I almost cried, Anora gave me everything one needs. It simply felt real – funny, and painful at times. As much as I also hated the Florida Project, that was a pleasant surprise from Baker.
Nevertheless, the film I can recommend without any doubt, the film that I do not have any negative thoughts on is
Conclave
Similarly to Anora, it was very close to reality, even though it told a completely different story. It was an ultimate acting showcase, with a plot that keeps you wondering how it is going to end. Funny, witty with a great, bit silly but very needed ending. Quite utopian I could say. From the start I should emphasise that I haven’t read a book it was based on but this film definitely made me want to read it straight ahead.
That way we’re going to move backwards (again) to some recommendations of films that had their premier a bit earlier in the year, such as
Civil War
Alex Garland’s latest, and according to the man himself, final feature is a vision of the near future in which the US is consumed by a new Civil War. The film tells the story of a group of journalists who are trying to reach the president, who is on the losing side of the war, to conduct one last interview with him. The clock is ticking, and they must make it in time before the front reaches the White House and the president is executed.
This production is first and foremost the vision of a frustrated Englishman, who shows his commentary on the polarization of the population in the US in a visceral way. The artist here does not play with half-measures. He is showing the horrors of war and what some people are capable of at full brutality. This is helped by the perspective of third parties – journalists. At no point the film shows us the “good side of the conflict.” We won’t find heroic soldiers here. War is hell and chaos that consumes everything in its path.
Civil War is first and foremost a road cinema. Garland takes full advantage of this genre. The heroes travel between locations. Each of these is a sequence – a directorial masterpiece. All of them are done extremely artfully and are brilliantly planned. They keep us in incredible tension throughout the whole film.
Longlegs
Oz Perkins is the son of Anthony Perkins, who played the lead role in “Psycho.” He inherited his father’s flair for horror films and talent for generating fear on screen which he now uses in his directing.
Longlegs is a story that combines occult horror and crime fiction. We follow the story of an FBI agent who follows the trail of the titular murderer – Longlegs. The places of his crimes are distinguished by the fact that there are no traces of burglaries, assaults or any kind of fight. In all of them, it seems as if the victims let the murderer into their homes, after which he himself persuaded them to murder each other. As time goes by, the main character discovers more and more horrifying facts that begin to connect with memories from her childhood.
The investigation is engaging. It’s a great story and a mystery that stimulates the neurons. The director has already proven his ability to create horror in his previous projects. Here he gives it a show off and as a result we get his best work. The film is not loaded with jumpscares. It is a horror film in the classic style. The scares here are more about atmosphere, suspense and anxiety. Perkins perfectly understands that we are most afraid of what we can’t see. For this he uses shots of long corridors, dark alleys and moments when the heroine glances over her shoulder. This suggests that our protagonist is being watched or that someone is lurking around the corner of the picture visible in the frame. Also not to be forgotten is the performance of Nicolas Cage, who in the title role is extremely disturbing and frightening in his behavior. It all adds up to a modern horror classic.
Twisters
The standalone sequel to the 1990s hit is a blockbuster in the old style. It is a true cinematic spectacle offering well-written characters, emotions and stunning viusals. You can see in the film a strong inspiration from the cinema of Steven Spielberg, which is not surprising, since he was a producer and served with guidance and support to the director.
What makes this production stand out is the person behind the camera – Lee Isaac Chung. He is a director known for more intimate, artistic cinema. This is his first approach to a blockbuster and he immediately did an excellent job. The film is unloaded with breathtaking sequences. Each one is unique, brilliantly planned and masterfully designed. Whenever possible, the director uses practical effects. As a result, it offers an uninterrupted immersion in the presented story.
With all the great spectacle, the filmmaker does not forget about his artistic roots. The film places a strong emphasis on the personal problems of the characters and deals with their emotionality in a mature way. Lee Isaac Chung uses the theme taken up and the struggle against the elements as part of the symbolism of the heroine’s problems and compares being in the center of a tornado to experiencing a panic attack.
The film also doesn’t lose its artistic flair on the visual side and pleases the viewer with little winks. For example, in the sequence when the tornado tears out the wall of the cinema hall, on which the picture is projected, pulling the audience towards the silver screen.
The return of Tornado catchers to theaters not only did not disappoint, but also significantly surpassed the original becoming the best blockbuster of the summer.
Strange Darling
This is probably, for me, the best film of last year. Strange Darling is a creation that is highly original, bold and creative on every inch of the film tape.
It tells the story of a date of two strangers, which turns into a bloody chase and… I won’t reveal anything more, because this is the kind of film where it’s best not to know anything about the plot before the screening. The entire structure of the film’s script is based on mystery. This makes the first screening an unusual experience. The story is divided into chapters set non-chronologically. It begins with the third one where we see a woman running away from an armed man. Each successive part of the story reveals more pieces of the puzzle and gives us new insights into the story we are following.
The visual layer of the film is amazing. Each shot is beautifully lit which does a great job of highlighting the hues and adding intensity. The colors are vivid, vibrant and pouring out off the screen in every frame. Their intensity attacks the viewer and fits perfectly with the brutal story that is a rollercoaster of tension and emotion. Each frame is a small composition that is its own work of art.
The director – J.T. Mollner – skillfully uses the convoluted arrangement of his story and plays with the viewer. At times he leads our emotions astray and shows through this how appearances can be deceiving. The director skillfully juggles witj the story and our expectations, at the same time, despite the lack of chronology, the narrative seems dense, does not lose momentum and engages from beginning to end.
Megalopolis
At the very end, the most controversial choice on this list. The return of a legend of cinema – Francis Ford Coppola – received an extremely polarized reception. Some call the film a masterpiece, while others describe it as the worst screening of their lives.
I, personally, felt enchanted by it. Does this film have flaws? Yes. There are weird pace swings and some ideas are questionable. Many of themes are corny or don’t fit together at all. Sometimes even, Coppola, goes completely against the art of filmmaking by breaking all the rules.
This film takes place in New Rome – a variation on the New York, which, in this version, is filled with references to ancient Rome. The architecture features columns and is finished with antique ornaments. Suits are decorated with sheets of cloth resembling the robes of the patricians and the city’s residents occasionally meet for events in arenas reminiscent of the colosseum.
This picture shows the story of Cesar – an architect who wants to push people into a new era with his design. He is opposed by the conservative mayor of the city, who fears the consequences of these changes. So begins Coppola’s fun in creating a sci-fi fairy tale
And I love this “fun”. It’s a full-fledged work of an artist, unfettered, over whom no producer had control. This is a precedent, previously unheard of in cinema on this scale. Every mistake and campy effect seems to have been introduced with full awareness and intention. These add to the whole and create a final effect with a unique atmosphere. They enrich the world presented and fuel the message of the work. And the cast is filled with award-winning actors. It seems as if they are racing to see who will overact more in their roles.
But for me, the production is first and foremost Coppola’s magnum opus, which encapsulates his entire sensibility and worldview. This film does not make compromises and the director completely lets go of his creativity. It is a portrait of an artist in which he speaks about his view of humanity. Through the story of the main character, Coppola talks about his relationship with art and visually manifests what creative blockage or the need to chase something that matters looks like.
In summary
It was a year full of emotions. Some precious ones, and some disappointments as well. In conclusion, this was our year in films in a nutshell, and what you should, at least we think you should, follow up on if you haven’t seen some of those positions yet. Now, the only thing that is left for us is to see how the award season goes, and what 2025 keeps for us.
ART HUB 
Leave a comment