This year has seen me cramming three films in a last-minute effort to catch most of the Oscar nominees. With five nominations apiece, we have Anatomy of a Fall and The Holdovers, then with a whopping 11 nominations is Poor Things. All three films are nominated for best picture and have been making waves through awards season. There are more I could have seen, including a few of the animated features, but these were at the top of my list, so let’s get stuck into them.
Anatomy of a Fall
When a husband falls to his death, his wife is suspected of murder, spawning an investigation into whether the death was accidental, premeditated or a suicide. Anatomy of a Fall is intelligently written and deeply captivating from beginning to end – a brilliant piece of cinema that must be seen.
From Oppenheimer to The Holdovers, 2023 gave us many well-written films to enjoy, but none exhibit writing on the level of perfection as this. This film is a stroke of genius when it comes to the narrative and dialogue – utterly mesmerising in every single moment. The dialogue across the board is deliberate, poignant and powerful – it feels authentic to the situation and what the characters are going through. There’s no glorified events and no exaggerated caricatures – it’s all beautifully grounded, making every character feel as real as possible. Not only do the characters feel real, but it gives off the vibe of a true crime documentary, which is one of the highest praises a fictional crime drama can receive. The narrative is also phenomenally well paced, keeping you locked in and making its 2.5-hour runtime fly by. Refreshingly, it doesn’t waste time with unnecessary winding subplots, it sticks to its main arc and follows it across every minute.
Another area in which this film excels beyond everything else in 2023 – the editing and camera work. The way it’s shot and cut together is immaculate. It plays into the true crime vibe I mentioned early, adding another layer of realism and authenticity to every scene, especially in the courtroom. There’s one scene in which a character is being questioned and rather than cutting between those questioning them, the camera stays unbroken on the individual, panning left and right and allowing us to soak up their reactions. It works wonders in enhancing the emotional impact of the scene and gaining a deeper understanding of the character’s feelings.
Leading the film as Sandra Voyter is Sandra Hüller, an exceptional actor who puts in a beautifully subtle and nuanced performance. Much like the writing, her performance is grounded and real, humanising the character to where you can equally see her every flaw and earnest quality. There’s so much raw, layered emotion she injects into every scene that it enhances the impact of the already exceptional story. One flashback is so well acted on her part that it instantly became my favourite scene – so flawless that I had to remind myself none of this is real.
In the end, Anatomy of a Fall is one of the year’s best films, and it’s down to director Justine Triet’s phenomenal screenplay and her ability to bring this multi-layered narrative to life. The writing is hands down the best of 2023, along with the editing and perhaps even Sandra Hüller’s performance. I have no doubt it will win for original screenplay and should win for editing, plus I believe Hüller has an outside shot to rise above Lily Gladstone in the best lead actress category. Oscars aside, this is a must-have for anyone after a tense crime drama that’s better than any true crime doc you watched in the last year.
9.5/10
The Holdovers
I’ve not seen all the 2024 Best Picture nominees, though I doubt any other entry is more heartwarming than The Holdovers. This brilliant dramedy follows a cranky teacher and troubled student, forced to spend the holidays on campus alongside the school’s grieving cook.
Having known nothing about the story prior to watching, I had set myself up for a journey that would no doubt surprise me. The first surprise came in the first 30-40 minutes, where I had no clue what the crux of the narrative was. Things were happening and characters were being fleshed out, but as for the outlook of where the story was heading, there was nothing to really latch onto. This first act could be tighter – the characters, jaded personalities and their impending situation could have been set up in less time, but it isn’t a total waste. The time spent setting up these oddly likeable characters adds to the impact once everything comes full circle.
At the 40 minute mark, the big narrative hook kicks in, and from there it’s a wholesome, heartfelt and immensely entertaining ride. In a real “ohhhh right” moment, the end goal immediately becomes clear, which could be a sign of a predictable narrative, but not in this case. This story is about the interpersonal journey of two clashing personalities, and while the destination may be clear, it’s the path taken that keeps you locked in. Every step of the way, these characters face pivotal choices that shape how they see the world around them and reveal who they really are on the inside. It’s deeply engaging, aptly hilarious and occasionally very emotional, all the signs of a high-quality, well-written dramedy.
Being a character-focused film, the two leads have to be very strong in carrying and dictating the tone. Whether we’re talking about veteran actor Paul Giamatti or the acting debut of Dominic Sessa, both leads feed off each other and bring a thrilling energy to every scene. Giamatti is rightfully exceptional – he plays the role of ‘jaded douchebag teacher’ really well, tugging on the heartstrings when he needs to and injecting some nice pockets of quick-witted comedy. There’s some one-liners he hits right after some serious, emotional moments that are perfectly timed and garner big laughs. In a year where Cillian Murphy isn’t nominated for Oppenheimer, Giamatti most likely wins Best Actor for this gem of a performance. Sessa’s very exaggerated performance can be quite intense as you get to know the character. It comes across like a bit of a caricature at first, before mellowing with time and getting stronger with every scene. It’s not a perfect first outing, but he shows some great acting chops, especially towards the film’s climax. Da’Vine Joy Randolph also puts in a strong, emotionally-charged performance, despite the fact that her character’s arc feels isolated and not entirely integrated to the film.
In the end, Alexander Payne’s The Holdovers is a well-written character study that nails both sides of its dramedy subgenre. Despite a decent first act that could have been condensed, the meat of the story is gripping, hilarious, emotional and deeply engaging. It’s packed full of heart and boasts an exceptional Paul Giamatti performance with a lazy eye that’s a character in and of itself. If it’s a wholesome night in you’re after, this will tick that box.
8.4/10
Poor Things
When you see “Directed by Yorgos Lanthimos“, you can be certain that what you’re about to see will range anywhere from slightly bonkers to batshit insane. Poor Things is at the upper end of that spectrum with a wild narrative about Bella Baxter (Emma Stone), a woman who is reanimated by an unorthodox scientist. We follow her as she explores the world, evolves her mind and finds her purpose in life.
Much like Dr. Goodwin Baxter’s (Willem Dafoe) experiments, this is an unconventional fantasy/dark comedy that puts a twisted spin on Frankenstein’s monster. Firstly, the world this is set in is like a surrealist’s dreamscape, made up of an array of colours, fantastical buildings and backdrops that look like whimsical matte paintings. The production design and costume design are both wonderfully exquisite, showcasing wild and unique environments that are both tangible and otherworldly. It’s like the film is set inside a Salvador Dali painting with a hint of that steampunk aesthetic, and it’s exquisite. It’s occasionally shot through distorted lenses like a fish eye, which adds to the the beauty of the cinematography and chaotic nature of the story.
That being said, the narrative inside this world is good, but not exceptional. It starts off well – there’s sparks of mystery, dark comedy and horror as it introduces a compelling story with a solid hook. From there, it moves quickly and sharply through its main plot beats, maintaining a good pace and remaining engaging. It’s fascinating watching Bella’s innocent mind explore the world, learn from bizarre and harrowing experiences and come out of it stronger. That is until the brothel arc kicks off. This arc is essential to her growth as a character, but it’s stretched too long. It drags the story progression to a halt and very quickly began to wear me down. It’s a shame, because what came before it is good, and what comes after is great. The climax is tense, intriguing and well-orchestrated, effectively conveying the film’s core messages and themes.
One thing is clear as day – Emma Stone is clearly having the time of her life in this role, and she’s exceptional. She makes a strong claim for the Best Actress Oscar with a deep, layered performance in which she expresses countless contrasting emotions, many times in the one scene. She carries the film on her back, commanding the screen in every scene. Meanwhile, Willem Dafoe is also great, doing a lot with very few scenes, and Mark Ruffalo is pretty good as the very emotionally eccentric and bizarre Duncan Wedderburn. Sometimes the over-exaggerated nature of Ruffalo’s performance can be too much, but that’s a minor gripe.
In the end, Poor Things is absolutely not everyone’s cup of tea – it’s beautiful from a production standpoint and exhibits some very uniquely stunning cinematography, but is a tough pill to swallow. The twisted fantasy vibes, strange bouts of dark comedy and wacky story may be too unconventional for most. I admired most of the story, especially the thematic connotations, although even I found myself dropping in and out of some slower arcs. It’s not without its narrative faults, but it’s a good ride with a climax that encapsulates the overall vision well and makes the journey worth it.
6.9/10
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