Back at it again.
It feels so good to be back at a festival. For about 5 years or so – pretty much since I started college – I’ve been attending the Philadelphia Film Festival in some form or another; a small blip occurred in 2017 for the 26th edition because of my co-op schedule. And of course, the 29th edition was remote thanks to COVID, while I missed the 30th because I had moved back home temporarily.
But finally, things have come back to some semblance of normality and looking back, it was a pretty great festival. I didn’t really find any new or off-the-radar picks, and there wasn’t a Tremors or a Thoroughbreds – aka, something that really knocked my socks off – but the established greats were still pretty great. Like every year previously, I’ve probably seen enough to formulate my end of year list but that of course will be held off until the other heavy hitters see fit to come to this city. At least one – Nanny – I missed due to technical issues on my first screening, and then the second and third overlapping with ones I’d bought tickets to (Women Talking) or decided to prioritize due to unsure distribution (Huesera).
For now, here’s a rough ranking of the best films I saw at the fest. Some of these are coming out imminently, other the next year. All of them are my definite recommendations.
1. How To Blow Up A Pipeline – dir. Daniel Goldhaber
The second film from Goldhaber (technically a film by Goldhaber, Ariel Barrer, Jordan Sjol, and Daniel Garber) makes good on his promise from Cam to marvelously entertaining effect. Their adaptation of Andreas Malm’s 2021 nonfiction expands it into a heist movie while still retaining the core message of direct action. Like all good heist movies, the cast is distinct and filled out. And Garber’s editing keeps things moving at a steady clip while deftly inserting flashbacks in often thrilling ways. But most importantly, it’s just a damn good film, adaptation or no.
2. Aftersun – dir. Charlotte Wells
One of those films that’s so deceptively simple yet powerful that trying to capture what makes it special in words feels futile. In short: it follows a father and daughter (Paul Mescal and Frankie Corio) on a vacation to Turkey, as filtered through the eyes of the daughter looking back on old camcorder footage. Wells mixes those camcorder segments along with slow-motion footage of the father at an otherworldly rave to capture the feeling of peering through memories trying desperately to understand one’s parents. Mescal is simply stunning, while Corio makes a promising debut, nailing that edge between adolescent and teen. This is a film of deep, emotional power, and when it connects, it hits like a hurricane.
3. Glass Onion – dir. Rian Johnson
While the novelty may have worn off a little bit compared to the first (and – admittedly – some of the satire can be a little cringe), Johnson’s much-anticipated sequel proves to be every bit as good. Riffing off the locked-room mystery, it’s suspenseful but much more of a comedy, and thankfully the hits are high. Most importantly, I’m thankful Janelle Monae finally has a role worthy of the talent she showed off in Moonlight, while Daniel Craig confirms he’s having an absolute blast as Benoit Blanc.
4. All The Beauty And The Bloodshed – dir. Laura Poitras
What could’ve been a standard (yet righteously angry) advocacy doc about the Sackler family’s art world reputation laundering becomes a devastating memoir when combined with Nan Goldin’s own photoslides and voice over. Goldin’s activisim itself is wonderful to see, but it’s this added context – this merging of past and present, of the things she’s lived through and fought against – that give her crusade its overwhelming power. It’s also a marvelous work of queer history, giving a personal look at one person while remembering everyone lost along the way.
5. The Banshees of Inesherin – dir. Martin McDonough
As if McDonough saw the doubts scattered in the wake of Three Billboards Outside Ebbing, Missouri and decided to remind everyone that, no: he is, in fact, the real deal. Returning to his playwright roots and to his home country of Ireland proves a much needed reset, as does the reunion of Colin Farrell and Brenden Gleeson (the former giving what might be a career best). This deeply allegorical tale of a disintegrated friendship is emotional, yes; but it’s also by far one of the funniest films of the year, padded out by wonderful supporting performances from Kerry Condon and Barry Keoghan.
6. Return To Seoul – dir. Davy Chou
Kim Jee-Min is an absolute force as a Korean-born Frenchwoman reconnecting with her biological family in Davy Chou’s second film (inspired by a real life anecdote). She communicates so much with her face alone and flips on a dime while remaining intensely charismatic and watchable throughout the various timejumps of the film. Wanna know what’s crazy? This is her debut performance. Chou’s script – with it’s mix of awkward comedy, luscious nightlife, and split cultures – ain’t too bad either.
7. All That Breaths – dir. Shaunak Sen
Sen’s documentary follows a group of brothers in India who run a makeshift hospital for New Delhi’s black kite population. Frequently lyrical and poetic, with lots of shots of birds flying, garbage strewn around the streets, mosquitos floating above water, it’s as much a sensory experience as it is a portrait of dedication. More that that, it connects India’s political struggles to environmental damage to give a grander picture of a nation itself at odds. Worth it alone for that magnificent bird footage.
8. Burning Days – dir. Emin Alper
Slow burn Turkish political thriller following a prosecutor assigned to a remote village in the midst of a trial over a water crisis. It takes its time setting up the dominoes but once in motion it’s gripping and morally complex, diving into aspects of corruption and toxic masculinity as scandals emerge and the pressure on him increases. A complicated film for sure, with an enticing thread of ambiguity running throughout.
9. Holy Spider – dir. Ali Abbas
I seem to be a bit of an outlier in liking this serial killer/jounrnalism movie so much; which is just as good, considering that I was a bit of an outlier in disliking Abbas’ last movie, the troll fable Border. This one is based off a real life Iranian serial killer and follows a journalist (Zar Amir Ebrahami) as she investigates along with the killer himself, proclaiming he is on a holy mission. It’s blunt about the misogyny at play, but perhaps even more potent is the idea that for the journalist, every man could be just as dangerous as the killer, especially in a society that largely believes he’s done nothing wrong since he’s killing prostitutes. It’s damning, but in more places than some would like to believe.
10. Next Exit – dir. Mali Elfman
My favorite part of film festivals is getting to discover those hidden gems, especially in the genre space. So in lieu of Decision To Leave (Park doesn’t need any help from me), I wanted to spotlight Mali Elfman’s debut feature. Opening a few months after the ghosts are proven – in a similar logline to Charlie McDowell’s The Discovery – the film follows a mismatched pair (Katie Parker and Rahul Kholi) traveling from New York to San Diego to take part in an experiment that will allow them to peacefully commit suicide. There’s a small bit of indie quirk to the proceedings, and it’s a little predictable at times. I was caught off guard by how deeply I’d become invested into the characters by the end, and before you know it, it’s become a slow burn romance that earns it. Can’t say I wouldn’t have liked a more philosophical film, or scenes like one reminiscent of The Leftovers, but it’s a rather promising debut. If anything, see it for Kholi to prove his range.
Life of the Mind 