This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.
Kris Tapley, formerly of Variety and In Contention, now working with Netflix, tweeted: “I’m realizing I haven’t been truly levitated since The Irishman/Parasite/1917.”
Notice, all three of those films are from 2019 and, although I wouldn’t choose this particular trio as my last truly levitating cinematic experiences, I can safely say I haven’t been blown away by a film since 2019. That, Tapley got absolutely right.
The currently decade has, obviously, been hampered down by a pandemic and a very dry creative output by studios. These are dire times for the cinematic experience, and I truly don’t know when we’ll get back on track, but, for now, there will always be 2019.
The 2019 movie year had a boatload of critically-acclaimed fare, including “Parasite”, “Uncut Gems”, “The Irishman”, “Once Upon a Time in Hollywood”, “Marriage Story”, “Portrait of a Lady on Fire”, “Pain and Glory” …
There is also plenty of spread around love for “Atlantics,” “Midsommar,” “Ford v Ferrari,” “A Hidden Life,” “Richard Jewell,” “Knives Out,” “Joker,” “Little Women,” “The Souvenir,” “Transit,” “The Lighthouse,” “1917.”
“Parasite” won Best Picture and consequently kick-started a major South Korean interest with US audiences. Its effects can even be found on Netflix’s ultra-popular TV series “Squid Game,” not to mention an innumerable amount of people seeking out and getting acquainted with the filmographies of Bong Joon-ho, Chan Wook-park, Lee Chang-dong, and Hong Sang-soo.
I’m almost tempted to make a poll about this on the sidebar (and maybe I will). My question for readers is which 2019 film has stood the test of time and is the absolute best of that year? I hate to choose just one, but I’ll have to go with the Safdies’ “Uncut Gems.” A mesmerizing and visceral work that has influenced many filmmakers in the short 3 years since its initial October 2019 release.
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