In recent years as “blockbuster” when applied to a film increasingly means “superhero genre” (a genre I’m not particularly interested in), I find myself gravitating more and more towards, well, smaller films. Films that don’t bust the block. Not necessarily low budget films, or films but lesser-known filmmakers, but films that are usually independently produced, and which don’t get widespread distribution for various reasons. There are so many films to keep track of in the lead up to awards season, which inexplicably trends earlier every year. Early December is now the cutoff point to have seen all that a given year has to offer before one’s list of recommendations becomes old news. Being a voting member of a major film society, I find myself pressured to see the “important” films or the ones creating lots of buzz among critics and cinephiles. This often seems like an exercise in snobbery and pretension, as opposed to praising films for their actual appeal or artistry.
So, every year, once the flurry of “for your consideration” insanity is over (and make no mistake, it is usually “over” well before most of the award winners are available for viewing to the general public), I tend to continue watching the year’s films I didn’t have time to get to, or rewatching the ones that were viewed in a screening marathon well into the night when I was nodding off and fighting to remember pertinent details.
2022 was a year of extravagant cinematic riches, many of them gems just out of view, or that must be sought out. Some have only played festivals so far and are awaiting distribution. Some played theatres briefly and went to streaming, but still haven’t received much critical attention. Others are already arthouse darlings, but still not well known. Since Chlotrudis makes it a point to recommend and reward “Buried Treasures” (films that make less than a quarter million dollars at the box office, many of them low-budget films with distribution challenges), it is in that spirit I offer some of my humble undersung film picks for 2022. May you find some of your favorites here, already seen or yet to be discovered.
Palm Trees and Power Lines: A gritty coming of age story and powerful feature debut by Jamie Dack. Seventeen year old Lea (Lily McInnerny) feels trapped in her small town. Her boyfriend treats her like a piece of meat, her friends run a bit wild and her mother (Gretchen Mol) can only do so much to rise above their life of grueling poverty. When a handsome older guy (Jonathan Tucker) comes around and treats Lea with sweetness and respect, it feels like a way out. Subtle red flags multiply and soon Lea is once again feeling trapped. This film has some harrowing scenes made brilliant by a small but excellent cast.
The Quiet Girl: A gentle and rather heartbreaking story of a young girl from a large family who is sent to live with an older couple who lost their only child years before. There she experiences kindness and support unlike anything she knew with her own family. In English and Irish language, this feature debut by Colm Bairéad features fine performances and a realistic setting in a picturesque but struggling Irish village. The Quiet Girl is full of heart but never saccharine or sentimental.
Nanny: This rather haunting and unsettling film hovers between social commentary and domestic thriller. The story of a young African immigrant who works for a wealthy mixed-race couple, Nanny explores issues around socioeconomic inequity and racism with unexpected candor. Aisha (Anna Diop) leaves her own child in the care of relatives while she tries to build a better life in New York City: missing her own son, she also builds a close relationship with her new charge, but finds her employers to be dispassionate and self-centered. Nikyatu Jusu’s feature debut is full of dreamy magic and quiet horror.
Operation Mincemeat: A grand and eloquent World War II thriller from John Madden. Not exactly a “small” film but one that isn’t getting much awards season attention for no good reason. At its heart, this true story of military and government subterfuge was a reckless yet brilliant plan to pull off a major assault by the Allied forces that involved planting a dead body with falsified papers to deceive the Germans. But woven through the plot (which includes colorful characters like Jonny Flynn playing a young Ian Fleming) are threads of human intrigue, including a most vexing love triangle between the two Misters Darcy (Colin Firth and Matthew Macfadyen) and a grieving young war widow (Kelly Macdonald). A romantic, witty, high-stakes and suspenseful period drama.
Nothing Compares: Sinead O’Connor’s supernova rise to fame was followed by a catastrophic fall from grace. The young singer has suffered bouts of mental illness yet remains one of the most beloved and perhaps misunderstood pop stars of the 1980s. This revealing and moving feature documentary debut by Kathryn Ferguson shows what many of us knew to be true all along: O’Connor was an artist light years ahead of her time.
Master: Mariamo Diallo’s impressive debut is a sharp thriller that entwines a number of threads exploring racism in academia. Regina Hall plays the first black professor to be appointed head of a student dorm on a mostly white campus, called a “master” (one of a number of microaggressions she experiences there). Set at a fictional college in Salem, Massachusetts, the arrival of a young black female student draws parallels with the famous witch trials, unleashing subtle horrors, some supernatural and some all too real.
The Princess: Containing only archival footage culled from a variety of sources including news programs, TV specials and amateur video, this stunning documentary follows the life of Diana Spencer from the moment she becomes Princess of Wales until her untimely death. The tragic fairy tale of Diana’s life is irrevocably tied to the unrelenting media coverage she could never escape from, which ultimately led to her demise in a horrific car crash with her partner Dodie Fayed. Intimate, fascinating, shocking and often beautiful, this film provides glimpses into both the private and public life of the princess who was loved and later mourned by the entire world.
Hello, Bookstore: A debut from Emerson alum A. B. Zax, this charming and compelling documentary film follows the efforts of the owner of a small bookstore in Lenox, Massachusetts to remain open during the pandemic. Matthew Tannenbaum is as appealing a hero as any fictional giant seen on the big screen this year. But beyond the tale of survival at its heart, this is a love story about books, literature, blooming in place, right livelihood and what makes a community.
Speak No Evil: Even horror aficionados have commented on how terrifying this film is. Two couples meet on vacation and one couple (Dutch) invites the other (Danish) to visit them at their home. Both couples have small children. The visit starts pleasantly enough, but soon it becomes apparent the Dutch couple have very different ideas from their new Danish friends about what constitutes appropriate social behavior. Tension and fear increase as the visitors realize the depth of danger they may be in. Reminiscent of the dark social terrors of the films of Michael Haneke, Christian Tafdrup’s debut may be the most chilling film of the year.
You Won’t Be Alone: Goran Stolevski’s Macadonian period piece is a gorgeous debut of pastoral folk horror. In Eastern Europe in the 18th century, a mountain witch tries to steal a young mother’s baby. A deal is made for the girl to be raised in a cave until she is 16. Creating her own language and connection to nature, the girl eventually claims her witch heritage, shapeshifting and observing all she can about human life. Dreamy, powerful and often indescribably beautiful, this is my pick for my favorite film of 2022.
