Is Las Vegas Closing Again November 2020
50. The Vast of Night
Andrew Patterson, US
A radio operator and a presenter notice a menacing sound on the airwaves in this scintillating retro UFO tale.
We say: "The pandemic may have delayed the release of mega-bucks sci-fi extravaganzas like Denis Villeneuve's Dune, but Andrew Patterson's motion-picture show was an exhilarating discovery for dark lockdown times and farther proof, if you e'er needed information technology, that a small budget (less than $1 million) is no barrier to the sublime. The storyline is textbook 1950s B movie, merely the motion picture'southward innovative sound blueprint and tracking shots, along with the director's dynamite alloy of anxiety and awe, take it far beyond pastiche." (Isabel Stevens)
Where to encounter it: On Amazon Prime
49. The Truth
Koreeda Hirokazu, Japan
Koreeda's naturalistic drama sees Catherine Deneuve play a monstrous movie star and Juliette Binoche the daughter outraged by her euphemistic memoir.
Nosotros said: "Koreeda's French gamble is a substantial success, not least because he's brought a lot of ideas and motifs from his Japanese films to the party. The Truth consolidates the shift in his recent work to looser and more conceptual plotting, but information technology also reaches all the way dorsum to Later on Life (1998) for some wry reflections on summing upwardly life trajectories and the applied uses of artifice." (Tony Rayns)
48. The Invisible Man
Leigh Whannell, U.s.
Elisabeth Moss is tormented by an unseen assailant in a smart, timely update of the horror mainstay.
We said: Whannell's film gives a feminist spin to H.1000. Wells'south archetype, emphasising the fear of existence watched. The voyeurlike camerawork – lingering on every nook and cranny, insisting on empty spaces – gives the picture show a distinctive thrill, and the pacing is characterised by slow build-ups over racing emotions. Equally Covid-prompted lockdowns led to increasing levels of domestic violence, The Invisible Man held a mirror upwards to the routine horrors scarring many everyday lives. (Chrystel Oloukoi)
Where to see information technology: On Blu-ray, Amazon Prime number and other digital platforms
47. Richard Jewell
Clint Eastwood, United states of america
Paul Walter Hauser portrays the security guard who discovered the Atlanta Olympics bomb only to find himself accused of planting information technology, in Eastwood's all-American tale of apostasy.
We said: "Sam Rockwell rediscovers himself every bit a pinnacle straight man and is a small-scale phenomenon. Even more and then is the other half of the double-act: Jewell equally played by Paul Walter Hauser. Ever the unflinching and somewhat dour realist, Eastwood presents us with an American landscape that has largely been denuded of the picturesque. The motion-picture show has a feel for life on the everyman rung of the heart form." (Nick Pinkerton, South&S, February)
46. Commonage
Alexander Nanau, Romania
A thrilling exposé that uncovers a vast trail of corruption following a fatal nightclub burn down in Bucharest.
Nosotros said: "Nanau refuses to regard the uncovering of wrongdoing equally an accomplishment in itself; he constructs his motion-picture show from interwoven strands which offer a broader perspective on the administrative toil involved in effecting lasting change, and the crucial contributions of both individual moral choices and wider democratic movements in enabling such a process." (Trevor Johnston, Southward&South, December)
45. Clemency
Chinonye Chukwu, US
Chukwu'due south spare, unsparing prison drama cuts to the centre of the injustice and inhumanity of America'south death penalty.
We said: "Uncomfortable, emotional and resolutely unflinching in its gaze, Chukwu's picture is a clear-eyed exploration of the contentious contend surrounding America's capital punishment and, peculiarly, the mode in which decease row disproportionately targets African-American men. Alfre Woodard puts in a astounding performance, expressing Bernadine's churning inner turmoil through her resigned expression, downcast eyes and hunched shoulders." (Nikki Baughan, Southward&S, September)
Where to meet information technology: available to buy or stream onBFI Player, iTunes, Amazon Prime and other platforms
44. Borat Subsequent Moviefilm
Jason Woliner, The states
Caustic satirist Sacha Businesswoman Cohen triumphs in his mission to restore Kazakhstan's reputation with a smart evolution of his Borat graphic symbol.
Nosotros said: "If the times are a-changin', thankfully so is Sacha Baron Cohen'due south arroyo. In fearless, scene-stealing newcomer Maria Bakalova, he has found a worthy ally for his carefully planned chaos. Borat Subsequent Moviefilm offers more proof of Baron Cohen's admirably serious comic development, as well equally of Borat's enduring ability to go viral, with several set pieces to bring the firm downwardly." (Leigh Vocalizer)
Where to see it: On Amazon Prime
43. Birds of Casualty
Cathy Yan, United states
A hyper-fierce entry from the DC Extended Universe, with Margot Robbie'south comic villain leading the blood-soaked jamboree.
We said: "Seeing the women scissure skulls and femurs along with the lads has been the chief through-line for the female characters of superhero franchises. Margot Robbie reprises her part from 2016's Suicide Team equally the psychopathic Harley Quinn with a lippy, audacious girlishness and a gnat's attending span. Birds of Casualty is a whole bunch of glittery, satisfying fun – especially the unkempt, cheerful, chaotic energy of its protagonist." (Christina Newland)
Where to encounter it: On DVD, Blu-ray, iTunes, Amazon Prime and other digital platforms
42. Another Circular
Thomas Vinterberg, Denmark
Iv drinking buddies test the theory that a steady claret-booze level is the key to superlative homo functioning.
We said: "Breezy and boozy, blithesome and melancholic, occasionally wild and often wise, Another Round is a exciting cocktail swiftly downed, with a tardily kick like a especially euphoric mule. A drinking movie that presumes to caution about using alcohol every bit a crutch while too daring to advise that sometimes it's a very useful crutch indeed. It's well-nigh male person friendship, midlife crisis and the cruelty of the modernistic man condition." (Jessica Kiang)
Where to encounter it: Postponed due to lockdown, rescheduled for 5 February 2021
41. About Endlessness
Roy Andersson, Sweden
The Swedish master of wan deadpan ratchets upwardly his world-historical gaze in a series of sublime microcosmic tableaux.
Nosotros said: "About Endlessness continues in the mode that Andersson has pursued since his return in 2000. It comprises a cord of vignettes, almost all playing out in a unmarried take, viewed by a locked-down photographic camera with a static frame that holds its human subjects in the philosophical distance of a deep-focus long shot. Andersson is nothing if not consistent in the bittersweet cynicism of his worldview, leavened by brief glints of glimpsed joy." (Nick Pinkerton)
xl. The Personal History of David Copperfield
Armando Iannucci, U.k.
Dev Patel makes for an energetic lead in this inspired and fast-paced adaptation of Charles Dickens'south literary classic.
Nosotros said: "With its ostentatiously colour-blind casting, non only of the energetic and enterprising Dev Patel as Charles Dickens's typically intrepid, buffeted young wayfarer, but in a slew of roles rich and poor peppered throughout, Armando Iannucci'south rollicking accommodation announces itself as a radical reclamation of the heritage 'lit pic' from the off." (Tom Clemency)
Where to see it: On DVD, Blu-ray, BFI Player and other digital platforms
39. The Forty-Year-Old Version
Radha Blank, US
A down-on-her-luck New York playwright, desperate for a breakthrough before she turns 40, reinvents herself as rapper RadhaMUSprime.
We said: "This is a highly personal story nigh being torn between 'making it', selling out, and forging a path as an MC. And there's more than a hint of the metatextual. Shot in black-and-white 35mm, The Forty-Yr-One-time Version paints a loving portrait of parts of New York City that aren't represented with such intendance, if at all, in narrative films of this scale. Blank'southward achievement makes a disarming instance for a new list category: '40 in their 40s'." (Violet Lucca)
Where to see it: On Netflix
38. Tenet
Christopher Nolan, US
Nolan'southward brainteaser builds a rollercoaster spectacle out of temporal spaghetti.
Nosotros said: "Nolan has mentioned that he'd rather similar to direct a Bail movie, and for much of its two-and-a-half-hours Tenet comes beyond every bit a 007 romp that's been force-fed a form in temporal relativity and advanced nuclear physics. (Nobel Prize-winning physicist Kip Thorne, Nolan's consultant on Interstellar, shows up over again here in the credits.) As the picture show's palindromic championship hints, a lot of the activity runs both frontward and backwards, oft simultaneously on screen, making for some impressively virtuosic spectacle." (Philip Kemp)
Where to see it: On DVD, Blu-ray, Amazon Prime number and other digital platforms
37. She Dies Tomorrow
Amy Seimetz, US
Fears of impending mortality haunt writer-managing director Amy Seimetz's existential horror picture, a bleakly satirical exposé of moral emptiness and foreboding.
We said: "It remains an open question whether the status the film posits is a collective madness, or something more supernatural… This moral emptiness, presented as a corollary of our innate bloodshed, is what makes this film so unnerving. Information technology is a horror flick which reduces its central fear to the virtually fundamental course of existential dread." (Anton Bitel)
Where to meet it: On BFI Thespian, Curzon Home Movie theatre and other digital platforms.
36. Relic
Natalie Erika James, Australia
A dread-filled horror of the man condition, starring Emily Mortimer equally one of 3 generations of women afflicted past grandmother Edna's dementia.
Nosotros said: "The real apparition in Relic, far more than terrifying than any genre monster, is the decline and expiry that are office of the human status. As Kay and Sam watch it coming, the dark rot gradually staining the firm and its occupants serves, no less than the family's hand-me-downwardly relics, every bit a macabre memento mori… The result is creepily affective, hit hard anyone who has witnessed a grandparent or parent slowly vanish." (Anton Bitel)
Where to see information technology: On BFI Actor and other digital platforms
35. Mogul Mowgli
Bassam Tariq, UK
Tariq's visceral directorial debut, co-written with Riz Ahmed, follows Zed, a rapper whose life spirals out of control when, on the cusp of success, he succumbs to a debilitating affliction.
We said: "Some moments echo the confrontational, direct to camera stares of Barry Jenkins's Moonlight (2016) and If Beale Street Could Talk (2018) it's focused purely on the dynamics of Zed's family and friends, the cast mostly populated past British-Pakistani actors. Mogul Mowgli is confident and confrontational, exhilarating in its willingness to constantly shift gears betwixt absurdist one-act and vulnerable, introspective narrative." (Kambole Campbell)
34. Mank
David Fincher, US
Fincher's portrait of writer Herman J. Mankiewicz.
Nosotros said: "Mank enshrines the myth of a town total of idiots. Simply myth information technology is. For ane matter, Herman'due south master credit competitor remains Orson Welles, the furthest matter imaginable from an idiot. Richard Meryman said of Herman: "I wanted to find out how, when he was all just finished as a writer, he could turn effectually and write Denizen Kane." Mank'due south reply is that Mankiewicz always had the ability to write something that good; it was Hollywood holding him back. Possibly, but it was likewise Hollywood that gave him immortality." (Farran Smith Nehme)
Where to see it: On Netflix
33. Limbo
Ben Sharrock, UK
This culture-clash chamber piece finds wit besides as heartache in iv migrants' exile to the dampest corner of Europe – Scotland.
We said: "The motion picture reminds us, at a moment when empathy often feels in brusque supply, that the real boats crossing the Due north Ocean are carrying real people. People with families, hobbies, traditions and songs. Information technology's a reminder, without ever being piteous, that when we picket telly news or social media feeds, we're only seeing a fractional story. Look beyond your limited worldview, Limbo says, and come across the bigger, more complicated film." (Rebecca Harrison)
Where to see it: In cinemas and on Mubi in 2021
32. Host
Rob Savage, Uk
A feat of socially distanced production-as-story, Rob Savage's haunted housebound horror, taking identify entirely on the videoconferencing platform Zoom, was the moving picture for our locked-downward, logged-on twelvemonth.
We said: "Host was conceived, bandage, shot and edited in 12 weeks. Because everything was done remotely, the motion-picture show can't help just reflect the dispersed, contingent weather of its production – given its subject thing, a characteristic, non a bug. The sheen of fragmented authenticity, combined with the fraught lockdown context in which it'southward been viewed, has led to Host beingness received every bit a minor DIY archetype – a Blair Witch Projection for the Covid era." (Adam Nayman)
Where to see it: On Shudder
31. Ema
Pablo Larraín, Chile
Larraín's latest unleashes Mariana Di Girólamo as a peroxide pyromaniac dancer involved in a wild plot to reclaim her adopted son.
Nosotros said: "Adding an entirely unexpected new register to the filmography of an already dazzlingly eclectic filmmaker, Larraín'south Ema is almost as lovable equally a genius-level sudoku puzzle, but in it, the cinema of what-the-hell-did-I-justwatch uncategorisability has a new title for its pantheon. There simply are no women – no people – similar Ema. As elastically portrayed in a functioning of event-horizon strangeness and self-possession past newcomer Mariana Di Girólamo, Ema is an unfathomable singularity." (Jessica Kiang)
Where to come across it: On DVD, Blu-ray, Amazon Prime and other platforms
30. Martin Eden
Pietro Marcello, Italian republic
This stylistically dazzling adaptation of Jack London'due south autobiographical novel – about a working-class writer who climbs the ranks of society – transposes the story from the Usa to Naples and mixes drama with annal footage to create a unique fable.
Nosotros said: "Marcello's accommodation is an exercise in streamlining and condensation. Martin's trajectory from broad-eyed proletarian to jaundiced glory is drawn in one fluid stroke, the struggles and successes of his dual pursuit of a writing career and Elena Orsini's hand all integrated within the same inexorable movement. Marcello elaborates the story'south symbolic thrust through an ambiguous treatment of catamenia. The initial impression that the film takes place, like the novel, towards the beginning of the terminal century is contradicted through subtle anachronisms. What is left is a cautionary tale about the corrupting power of wealth and success.
"This is reinforced rather than offset by Marcello's signature use of archival footage. As in his earlier experiments in hybrid storytelling, brusque clips interspersed throughout serve as lyrical counterpoints to the narrative. " (Giovanni Marchini Camia)
Where to run into it: Lockdown postponed its planned November UK release to 2021
29. Little Women
Greta Gerwig, United states
An astute accommodation of Louisa May Alcott's dearest coming-of-age story that liberates its Civil State of war-era sisters without taking liberties.
We said: "Gerwig presents a true-blue adaptation of Alcott's traditional tale, while also taking care to highlight its progressive views. It'due south a commanding blend of the sweetly sentimental and the bitingly political. Gerwig's determination to rework the structure of the novel, bouncing back and along in fourth dimension from the girls being engaged together in the innocent pursuits of childhood to facing the realities of adult life separately – Jo as a writer in New York, Million married with children, Amy on a claustrophobic European tour, Beth facing her ain devastating fate – proves a masterstroke. Gerwig focuses on the novel'south key coming-of-historic period themes rather than individual moments: the loss of babyhood, the importance of forging one'southward own path, tentative steps towards female person emancipation. It is a fresh, dynamic approach that may seem spun from modern feminist thought, but actually makes explicit ideas that Alcott vocally espoused. All 4 leads are first-class, but Florence Pugh quietly steals the prove as Amy." (Nikki Baughan)
Where to see information technology: On DVD, Blu-ray, Amazon Prime number and other digital platforms
28. Les Misérables
Ladj Ly, France
Ly offers an insider's view of how police brutality ripples through a deprived banlieue in the French capital.
We said: "Developed from a 2017 curt of the same title, Ly's debut feature is ostensibly a banlieue motion-picture show (a genre of the life of marginalised suburban, mostly male youth in French housing estates) – but with the difference that Ly himself grew up in Montfermeil. Unlike the directors of before works such equally La Haine (Mathieu Kassovitz, 1995) and Etat des lieux (JeanFrançois Richet, 1995), he offers an insider's view of the social tensions that shape the lives of his characters. The very being of this film – the product of the suburb, of racial and social solidarity – is something to be celebrated: a flower sprung from physical. Its depiction of the means various individuals survive in a society lined with touchpaper is tremendously subtle and accessible. And then information technology's jarring when, in its terminal moments, the film descends all of a sudden and steeply into the abyss, with a shockingly violent and nihilistic coda. Perchance it'due south naive to cling to Les Misérables' early vision of hope. Perhaps the only solution to a corrupt organisation is to burn the whole matter down." (Catherine Wheatley)
Where to see information technology: Available at present on DVD in the Britain
27. His House
Remi Weekes, UK
This canny outset feature from Remi Weekes finds fresh terrors for two Southward Sudanese refugees in the back rooms beyond British social realism.
We said: "First-time director Remi Weekes, working from a story by Felicity Evans and Toby Venables, doesn't have the comparatively standard arroyo of establishing a social-realistic context so letting the supernatural seep in. From the commencement, this manages to inhabit both a Ken Loach-type drab urban infinite and an insidious netherworld. Grounded by nuanced, unhistrionic work from leads Sopé Dìrísù and Wunmi Mosaku as the married Majur couple, His House shifts focus from exterior threat to the cracks in the spousal relationship, exacerbated by disagreements about assimilation – though at the heart of the horror is a particular, personal crime which must be atoned for. Weekes stages a number of stunning moments – a pull-back from Bol sat at an unfamiliar table to show a chunk of the wall of his house floating in a remembered night-sea; and repeated manifestations by the formidable nighttime witch and the skull-masked spectre of the lost daughter. In the end, this makes for a terrifying ride with an ambiguous, unsettling conclusion." (Kim Newman, S&South, Dec)
Where to encounter it: On Netflix in the United kingdom of great britain and northern ireland
26. The Disciple
Chaitanya Tamhane, India
The director of the acclaimed 'Court' (2014) won a Fipresci prize in Venice for this Bombay-set drama near a human (played by real-life musician Aditya Modak) striving to achieve his teachers' creative and spiritual standards as he pursues a career performing classical ragas.
Nosotros said: "The motion picture seems to embody Indian cinema in the wistful tradition of Satyajit Ray or Mani Kaul, just too makes room for the lurid realities of Indian TV talent shows. The hero'southward solitary nocturnal scooter rides make a mesmerising visual thread, and his quest for the ideal in a commercial world makes the film as much a statement almost cinema as nigh music." (Jonathan Romney, S&S online)
Where to see information technology: Awaiting UK release
25. Babyteeth
Shannon Murphy, Australia
Shannon White potato'due south debut feature, an adaptation of Rita Kalnejais's 2012 play, stars Eliza Scanlen and Toby Wallace in a beautifully acted exploration of the pain and absurdity of the immature love between a terminally sick teenager and an older drug dealer.
We said: "Babyteeth is a tough one to categorise and the better for it. Far more than than a 'terminal illness' pic or even a typical coming-of-historic period story, Spud'due south debut captures the humanity of suffering while resisting the need for sentiment or mawkish pandering." (David Opie, S&Southward online)
24. Undine
Christian Petzold, Frg/France
Petzold'south fantastical ode to Berlin concerns an art historian who has a passionate thing with a diver, and appropriates the mythological figure of the undine – a h2o nymph – to way a beloved story that doubles as a myth about the city.
We said: "In an early scene, Undine gives a guided tour to a grouping of tourists. While she outlines Berlin's urban development across the 20th century, the camera glides over miniature models of the capital letter. The undine of lore comes out of the water to find honey and thus obtain a soul. Berlin, a urban center that emerged from a swamp, has embarked on this quest once again and again. Petzold'southward ambiguously hopeful film is a declaration of love." (Giovanni Marchini Camia, S&S online)
Where to run across it: Non yet available in the United kingdom
23. The Inheritance
Ephraim Asili, US
Asili's debut weaves together the histories of the MOVE Organization, the Black Arts Movement and his fourth dimension in a Blackness Marxist collective. It centres on a homo who inherits his grandmother'south house and turns information technology into a Black socialist collective.
Nosotros say: Asili's excellent debut feature is a 'speculative re-enactment' of his time in a West Philadelphia Black socialist experiment in collective living. The bodily space is rendered in vibrant 16mm hues and the human being interactions observed with warmth and playful humour, without ever losing sight of serious political purposes and the potential for poetry therein, nor of the bigger historical picture. This last aspect is beautifully and heartbreakingly articulated through archive and informal talks by former associates of Movement, several of whose members were butchered past the police in 1985. (Kieron Corless)
Where to run across it: Not currently available in the United kingdom of great britain and northern ireland, but available to stream on Vimeo-on-Demand in some territories
22. Possessor
Brandon Cronenberg, Canada/UK
Brandon Cronenberg'southward science fiction film most an assassin (played past Andrea Riseborough) who inhabits people's bodies is a supremely enjoyable and paranoid story of biohacking and psychological turmoil.
We said: "In that location is so much associated with the Cronenberg legacy that can be institute in Possessor – cut-throat corporate skulduggery, weird sci-fi tech, body horror, mannered grapheme names, extreme violence and 'new flesh' (here literalised).
"The biggest influence is Cronenberg Sr's eXistenz (1999), which is similarly concerned with assassins who take a chance losing themselves in the personae that they prefer as their gaming 'skins' – and that picture show's atomic number 82 actress Jennifer Jason Leigh is here cast as Tasya'southward handler Girder, a once skilled Possessor now determined to pass down the drape to the next generation." (Anton Bitel)
Where to come across information technology: On BFI Player, Curzon Dwelling Cinema, Amazon Prime and other platforms from 27 November, and released on Blu-ray and DVD on viii February 2021.
21. The Twelvemonth of the Discovery
Luis López Carrasco, Spain/Switzerland
Mixing videotape shot in a café in the Spanish city of Cartagena with archive footage of news bulletins and commercials, and told through carve up-screen compositions, Luis López Carrasco's characteristic explores the decisive year of 1992 in modern Spanish history.
We said: The title of this fascinating exploration of the disastrous ground-level effects of the neoliberal turn refers to 1992, when Spain hosted the Seville Expo, marking the quincentenary of Columbus's inflow in the Americas, and the Barcelona Olympics. The projected paradigm of a country taking behemothic modernising strides was somewhat at odds with a cruel reality in certain areas, 1 such being the coastal city of Cartagena, which was decimated by deindustrialisation in the 90s. Luis López Carrasco's film is shot in a bustling workers' café-bar in the city middle where it gathers the testimonies of people who lived through the period. As with Carrasco's El futuro (2013), a reconstruction of a party to celebrate the incoming Socialist government in 1982, the lessons of history are never transparent or hands gleaned, a philosophical perspective signalled here by the use of split screen and Hi-8 video, the constructed set-upwards, and a subtle interplay of past and present. At 200 minutes the complexities of the situation are given telescopic to reveal themselves in a manner that feels just and thoroughly invigorating. (Kieron Corless)
Where to see it: On Festival Scope
20. Kajillionaire
Miranda July, U.s.a.
July sets aside her usual kooky style with this piquant story of the Dynes, a breadline grifter family unit.
We said: "The economic realities of the Dynes' daily routine are shot through with comic originality. At one point, Old Dolio tries to stay out of sight of the landlord as she walks past his fence, craning her body sharply backwards rather than squatting; it's a loopy and inspired slice of limbo-esque slapstick which transforms her into one of Robert Crumb's 'Keep on Truckin'' figures. It would be overpraising Kajillionaire to claim that it is the equal of anything by Aki Kaurismäki simply at that place's a similar blend hither of the bleak and the animated. Con-trick movies, from House of Games (1987) and Dingy Rotten Scoundrels (1988) to Matchstick Men (2003), unremarkably end with a last-minute switcheroo, and Kajillionaire is no exception. What has inverse is the emphasis. Loss is reconfigured cleverly as a proceeds, and ii queer women are non so much swindled as left with the blessing of a bare slate, freed from the blueprints for family life that have held them dorsum so far." (Ryan Gilbey)
Where to see it: In U.k. cinemas and coming to Blu-ray and various digital platforms.
19. WolfWalkers
Tomm Moore & Ross Stewart, Ireland/France/Luxembourg
Moore and Stewart'due south playful and stirring animation conjures an interregnum Republic of ireland of 1650, defenseless betwixt pagan spirits and the boot of English invaders.
We said: "WolfWalkers follows the Irish director Tomm Moore's hand-drawn cartoon films The Surreptitious of Kells (2009) and Song of the Body of water (2014). Each has children fatigued into natural wonderlands of myth and magic, into adventures nigh protecting and healing rather than fighting. Similar the adult animation of Nib Plympton or the teen-skewed anime of Shinkai Makoto, Moore's visual style is instantly identifiable. His films' drawings tin can look naive and artless, merely they're wondrously composed with swirls and circles and glorious colours, flattened spaces and playful perspectives. WolfWalkers is more than of an action-adventure than Moore'southward other films, peculiarly in its extended climax. Some set up pieces feel inspired by Miyazaki Hayao's Princess Mononoke (1997). It is hugely successful in engaging u.s. with the enchantingly expressive girls." (Andrew Osmond, South&S, Dec)
Where to see it: Out at present in Uk cinemas and on Apple Television receiver+
18. The Woman Who Ran
Hong Sangsoo, South Korea
A Seoul adult female meets friends and makes conversation while her husband is on a business trip, in Hong's latest characteristically talky, deceptively modest offering.
Nosotros say: Arguably world cinema'southward number one UK-distribution dodger (though gratitude to the film streaming platform Mubi for rectifying this situation of tardily), the Southward Korean maestro of neurotic miscommunication and absurdism Hong Sangsoo resurfaces after a lengthy – by his standards – two-year absence with this somewhat unusual addition to his burgeoning catechism.
The motion-picture show stars his regular muse and partner, Kim Minhee, equally the apparently happily married Kim communicable upward, in plow, with three old female acquaintances over several days when her husband heads off on a business trip – her offset time alone for several years. The principal surprise in a typically episodic and lo-fi narrative – if it can exist called that – is the more or less exclusive focus on women, where previously tensions between the sexes have been the director'southward abiding preoccupation. (Here, the few encounters with men tend to the fleeting and bear witness them broadly as irritating hurdles for the female person protagonists to surmount.) So what we go is a series of chatty, casual, occasionally awkward meetings with, respectively, a contentedly unmarried older woman, a wannabe artist and a career adult female married to a famous man – all rendered in Hong'south patented offhand naturalism and for the near role stripped of the tricksier elements of his customary aesthetic.
It makes for an intimate, perceptive, occasionally humorous snapshot of these women'south lives, the subtle shifts in perspective belying the seeming artlessness. Are we to surmise that these situations reveal what-might-take-been scenarios for Kim; or potential futures for her should she determine to go out her husband (although there'south no real hint of that beingness on the cards)? As always with Hong, and even in the context of one of his more directly and readable works, a pleasurable elusiveness pervades matters. (Kieron Corless)
Where to see it: On Mubi from 20 December, along with two earlier Hong Sangsoo films – Tale of Cinema (2005) and Nobody'south Daughter Haewon (2013)
17. Bacurau
Kleber Mendonça Filho & Juliano Dornelles, Brazil
Brazil's bad blood rises in a small corner of the country'southward northeastern hinterlands as Udo Kier's brigade of gringos besieges Sonia Braga'south pocket-sized-town community, in this way-out western.
We said: "It was always likely that in his 3rd feature Kleber Mendonça Filho was going to take on Jair Bolsonaro. But as in his previous film, Aquarius (2016), fascism works in mysterious means in his WTF western. And Mendonça Filho keeps the real enemy tantalisingly out of focus. Bacurau is a small impoverished town in the arid north-eastern hinterlands of Brazil; but information technology's likewise a utopia of sorts, with its tight-knit community who stand business firm confronting outside threats. And then far, so western as the village increasingly comes nether siege: it bizarrely disappears off the map, mobile bespeak disappears and corpses pile up. Throw in psychotropic drugs, a drone that resembles a 1950s B-movie flying saucer, assassins in neon motorcycle suits and a posse of foreign mercenaries thirsty for claret, and what emerges is a shape-shifting genre yarn with surprises ample but maybe at times besides much on its plate." (Isabel Stevens)
Where to see it: On Blu-ray and to stream on Mubi
sixteen. David Byrne's American Utopia
Spike Lee, US
David Byrne's Broadway evidence is captured in dynamic, exhilarating way in Spike Lee's concert flick.
Nosotros said: Leonie Cooper talked to Byrne for our December issue, and asked him why he went to Spike Lee for the projection: "We've never really worked together, merely we've crossed paths a lot so it was easy, I had his phone number! Also, considering of a lot of the issues that are brought upwards in the testify, I thought, 'He'due south gonna become this.' We get-go met in the 80s. In a sense we were coming up together on parallel paths, me in music, him in film and somehow I got invited to the premiere of Do the Correct Thing…
Like Stop Making Sense, I think this has an arc. There's a outset and a middle and an end. The atomic number 82 character, that would exist me, or whoever I'yard playing, goes on a journey. You get-go in one place and end upwards somewhere quite quite different. I realised that this prove, like that 1, is not simply us performing a series of songs, ending with our biggest hit. It's really synthetic to take the audience somewhere." (Southward&S, December)
Where to see it: On digital platforms from xiv Dec and on disc from 11 January 2021
15. Shirley
Josephine Decker, US
Josephine Decker'southward adaptation of Susan Scarf Merrell's teasingly fantasy-refracted portrait of the supernatural horror writer Shirley Jackson, played here by Elisabeth Moss.
We said: "This fictionalised portrait of the American author Shirley Jackson commences with young helpmate Rose Nemser (Odessa Young) reading Jackson's short story 'The Lottery' while on a train journey with her hubby Fred (Logan Lerman). The film is at its most effective and affecting not when it attempts the high drama of unsolved murders (the 2 women briefly involve themselves in a real-life case presented every bit influential on Jackson'southward 1951 novel Hangsaman), extramarital affairs and suicide attempts, but when it depicts more subtle and intimate forms of betrayal and manipulation. Stanley's superficial charm and shameless self-involvement is depicted with detail insight, and beautifully played by Michael Stuhlbarg. We glimpse an infinite area of historical male entitlement in the brief scene in which Stanley co-opts Rose into taking over Shirley'southward neglected household chores.
"Moss, tasked both with portraying a well-known and visually distinctive existent-life person and with playing multiple scenes that may or may not be occurring just in the realm of fantasy, has the harder job. Though persuasively edgy, aroused and strange – and provided by Sarah Gubbins's fine script with plenty of brutal witticisms and sharp observations – her Shirley is not someone to whom the picture show brings us shut. Rather, she is a catalyst, her strangeness stirring others into anger or action.
"Maybe Shirley does non quite come together hither because such a large part of what forms her has been left out. While openly fictionalised portraits owe negotiable fealty to biographical truth, it's startling for a film concerned with the impact of domestic and reproductive labour on women's intellectual and creative lives to erase the fact that its protagonist'south real-life apotheosis had four children. They're nowadays in Merrell's novel, just vanished here. The omission of her experience of maternity renders this version of Jackson the 'witch' she jokes about being, irrationally angry at abstruse forces, rather than understandably burned out from tending offspring, husband and career." (Hannah McGill)
14. The Assistant
Kitty Green, The states
The post-#MeToo drama stars a superb Julia Garner as an employee whose film producer boss uses his position to abuse women.
We said: "The Assistant provokes a visceral concrete reaction; the churning of the breadbasket, the gritting of the teeth, the white-knuckle gripping of a seat edge. Information technology has malevolent monsters and horrified victims, and hums with a palpable sense of threat. It is, without doubt, a horror movie. Still, while author-director Kitty Green'southward sensitively fabricated yet hard-hit feature debut plays out in a dark, cold world full of secrets, lies and isolation, hers is no nightmarish fantasy landscape. Instead, she deftly – and devastatingly lays blank the fears that come with existence fabricated to feel like a voiceless, helpless, insignificant woman in an aggressively male environment. The greatest strength of The Assistant is that information technology forces united states to understand how easy it is to turn the other way, to become complicit, because it'due south impossible to do anything else. It demands that we pay attention to those who are brave enough to take a stand; that information technology is up to all of us to amplify individual voices that would otherwise go unheard." (Nikki Baughan)
Where to run across it: OnBFI Player, Curzon Home Movie house and other digital platforms.
xiii. Mangrove
Steve McQueen, UK
The centrepiece in McQueen's v-film 'Pocket-sized Axe' anthology depicts the true story of the protests and landmark court example involving the 'Mangrove 9' that followed discriminatory police raids on a Notting Colina restaurant.
Nosotros said: "The scorching Mangrove suggests a return to the kind of distilled, focused storytelling and socially relevant themes that distinguished BBC'due south Play for Today. With 'Powell for PM' graffiti glimpsed on the streets, McQueen and cinematographer Shabier Kirchner immerse usa in the customs in heartfelt, sensuous means. When the characters are out, partying on the street, the camera is right there with them, a joyful participant, fluid and tactile, the music perfectly complementing the images.
The camera is right in there, likewise, in the painful scenes of the raids, and in the central protest sequence – after which the film narrows downward from a community portrait to the courtroom drama of Frank and his associates' trial. Amid the most important films of the year, and certainly one of its filmmaker's finest, Mangrove sets the bar high for the rest of Small Axe. Connecting us to the by, Mangrove enlightens and empowers us in the present. " (Alex Ramon)
Where to meet it: On BBC iPlayer and Amazon Prime
12. Da 5 Bloods
Fasten Lee, US
Lee's bravura, breakneck war drama, about a group of Black Vietnam veterans returning to the country decades after the war to recover the body of a fallen comrade, follows the blood line of America's racial wrongs, from the civil rights era to Black Lives Thing.
Nosotros said: "Da v Bloods fires shots at American revisionism of the Vietnam State of war through the viewfinder of African-American soldiers. Using his now familiar Brechtian storytelling style, Lee continually breaks the fourth wall, mixing archive footage, stills photography and fiction to link past and present and weaving a tale in which a turbulent father-and-son relationship and the murder of civil rights leaders is an allegory for historical American wrongs leading to the Blackness Lives Matter movement. Da v Bloods is quite some undertaking. More often than not Lee succeeds, fifty-fifty if along the mode the story hits some cul-de-sacs with cursory plotting involving Jean Reno's evil trafficker, the work of landmine removal, and a pot of gold taken straight out of John Huston'southward The Treasure of the Sierra Madre (1948). Where the motion picture does chinkle magnificently is in the performance of Delroy Lindo as Paul, and the proffer that past failings undermine present-day relationships. The opening salvo, featuring archive footage from America and Vietnam from the tardily 60s and 70s, including speeches by Muhammad Ali, Kwame Ture and Angela Davis, feels similar it could exist for a Black Lives Affair rally. Hither, Lee asks the audition to make a connection between Paul's failure to come to terms with his by, which has led to him voting for Trump, and the way that America'south failure to deal with its history of slavery has contributed to feelings of white supremacy embodied in the Trump presidency.
"The savvy decision to let the actors to play their younger selves in flashback sequences reinforces the picture's fundamental thesis that by and present are intertwined. Paul's PTSD, which sees him descend into the heart of darkness, is a reflection of America'southward cleaved conscience. By closing with a Martin Luther King Jr voice communication and an end-credit intertitle well-nigh his assassination, Lee – with mixed success – positions the civil rights leader as nowadays-day America's begetter, whose assassination is the country's Rosebud." (Kaleem Aftab)
Where to see it: On Netflix
eleven. Bloody Nose, Empty Pockets
Beak Ross IV & Turner Ross, US
The Ross brothers' poetic portrait of the denizens of a Las Vegas bar mixes documentary and fiction in a heady brew.
We said: "There was much hubbub at Sundance 2020 over the way Bill and Turner Ross fabricated their stellar Encarmine Nose, Empty Pockets, including some pearl-clutching over the fact that it was even programmed in the Usa Documentary Competition at all. The brothers have long embraced the elasticity of the course; the 'realness' of their 2d film Tchoupitoulas was questioned in various corners, and their third documentary Western was a genre film with all the constructedness that implies. They advisedly bandage their new pic, which observes a ragtag group of regulars on the last day of their favourite bar, faked the location and worked closely with their subjects/ stars to create bracingly existent emotion inside a partially synthetic scenario.
"The brothers made Bloody Nose this way for many reasons, including ethical considerations (getting folks drunkard while filming requires a certain level of control and familiarity, for example). During a session at the Based on a True Story (Boats) conference that I co-programme at the Academy of Missouri, which runs concurrently with the Truthful/Faux Film Fest in March, Ross brother Turner talked near searching for the perfect bar on the perfect dark, a desire to conjure a deeply true feeling that couldn't exist 'constitute' similar a news story. The love and hurting shown in Bloody Nose is heartbreakingly real; the insights into human experience alive with value. The brothers evoked Lionel Rogosin's seminal classic On the Bowery (1955), embraced the collaborative, broke any made-upward rules they needed to and used movie house to salvage nonfiction. 'Yous can manufacture an feel,' Turner said at Boats, 'but it doesn't have to exist a manufactured experience.'
"The debates over truthiness that swallowed Encarmine Nose at Sundance felt irrelevant and backwards. What counts as 'documentary' is always expanding, but if nosotros want to brand linear nonfiction films that are relevant, we need to move past these onetime debates. There is, emphatically, no boundary between fiction and documentary, but truth matters more than ever." (Robert Greene)
Where to see information technology: In U.k. cinemas and on Curzon Dwelling house Cinema from 24 December 2020
x. Days
Tsai Ming-liang, Taiwan
Bringing his ailing muse Lee Kang-sheng together with a younger generation in the form of Anong Houngheuangsy, Tsai returns to feature filmmaking with his virtually tender depiction of physical and emotional coupling.
We said: "Poignant and intensely moving, Days gestures towards a reconciliation with themes of want and sexuality that have troubled Tsai'south cinema since the beginning. Following the Venice premiere of Stray Dogs in 2013, Tsai had vaguely announced his retirement, citing burnout with the production model of feature films. What followed was a quick succession of smaller scale, more intimate works in diverse formats, including an excursion into virtual reality. Maintaining a gentle rhythm and well-nigh wholly eschewing dialogue, for its first 60 minutes Days oscillates between depicting Anong's daily life and post-obit Lee every bit he travels to Bangkok to seek acupuncture handling. The two strands eventually converge in a hotel room, where Lee has hired Anong to give him a full body massage, which culminates in sex. This scene, extending across a good half-hour, functions as the moving picture's centrepiece and offers the most tender rendition of sex to be establish in Tsai'south filmography.
"It wouldn't be a stretch to interpret the nature of Lee and Anong'south eventual meeting, and its inherent ability imbalance, as a reflection on the intermingling of the personal and the professional in Tsai's relationship with his actors. In its deliberate pacing and rigorous focus, Tsai'due south deeply compassionate portrait generates the near astute investment in his characters." (Giovanni Marchini Camia)
Where to see it: Yet awaiting U.k. distribution
9. Rocks
Sarah Gavron, UK
A London teenager (Bukky Bakray) grows up fast and is burdened with adult responsibilities when her mother leaves the family home. It'due south a joyous but gritty drama for which director Sarah Gavron and writers Theresa Ikoko and Claire Wilson sought to enable the all-female person crew and cast of teenage girls to tell their story in their own honest way.
We said: "The celebratory, purlieus-pushing story behind Rocks isn't one of liberal goodwill from white gatekeepers who've chosen to decentre themselves. Every bit Ikoko points out, 'That implies that all of the responsibility, therefore all of the kudos, is on them. Actually, it is a squad of a hundred women who took eye-stage, and it wasn't given to us or sacrificed for united states. Nobody stepped aside – nosotros all stepped up.' It's a betoken Gavron says she agrees with entirely.
"It was by design that the flick's young subjects would exist given both the opportunity and the resources to tell their own story, on their own terms. To do this, the squad would need to exercise away with hierarchy so it was established from the beginning of the project that there would be no conventional chain of command.
"Instead of the usual setup, the filmmaking would be organised around the idea of reciprocity, and the girls' individual ideas considered with seriousness. Acquaintance director Anuradha Henriques describes 'a shared value organization' led past the voices of Black and Brown women telling stories as an antitoxin to traditional, top-down filmmaking. 'For me, as a younger filmmaker, that'south ane of the things I can't compromise on now,' she says. This model isn't a kind of feminist utopia – information technology's a necessity.'" (Simran Hans)
Where to meet information technology: On Netflix
8. Nomadland
Chloé Zhao, US
Frances McDormand is magnificent in Zhao'due south powerful motion-picture show nearly the people cast bated by today'southward unforgiving economy, and forced to alive on the road in the American West.
We said: "In a story based on Jessica Bruder's nonfiction book, McDormand plays a Nevada woman who joins the masses of American nomads – the new dispossessed who drift in mobile homes, eking out a living from job to task. Alongside McDormand and David Strathairn are a host of non-professionals, including Bob Wells, a guru of gimmicky American nomadism. McDormand is endlessly watchable in a very open, generous functioning where, with the least rhetoric, it's articulate that she'south channelling the gimmicky experience of multitudes. A sober, moving film about isolation and community." (Jonathan Romney)
Where to encounter it: After lockdown postponed its release, the motion-picture show is at present slated for February 2021.
seven. Never Rarely Sometimes E'er
Eliza Hittman, US
A immature adult female named Autumn (Sidney Flanigan) travels to New York to cease her pregnancy, in Hittman's sensitive drama, which both exposes the inhumanity of the U.s. healthcare organization and offers a paean to female solidarity.
We said: "In steady, sparing takes that often rest on Flanigan's face – brilliant despite its expressionlessness – the story unfolds with procedural curiosity. Hittman's previous films, It Felt like Beloved (2013) and Embankment Rats (2017), were both coming-of-age stories. But her third feature is fully mature: similar Ryder'south lovely, clouded, wise-before-her-years gaze, information technology is informed past an almost ancient weariness at the way nosotros treat young women, and the fashion the resilience and bureau of girlhood is so frequently overlooked or condescended to. Never florid, rarely contrived, sometimes painful, always true, Hittman's film is far more than than the ballgame story it so single-mindedly follows. Information technology is likewise a deeply moving prayer of admiration for girls – the wary, watchful ones who have learned to expect nothing of anybody except one another, from whom they expect, and regularly receive, the world." (Jessica Kiang)
Where to run into it: On DVD, Blu-ray and streaming platforms
six. Dick Johnson Is Dead
Kirsten Johnson, US
Johnson's superbly inventive movie confronts the trauma of her father'due south imminent death with multiple advance stagings of it.
Nosotros said: "If there's any sublimated anger at all in Johnson's desire to symbolically serial-kill her progenitor, it's non delved into here. Johnson's projection is nearly the management not of filial ambivalence, outsized parental legacies or unfinished emotional business organization, just of dearest. As Dick begins to testify signs of confusion, her lament is disarming in its straightforwardness: "He won't be able to follow what I'm saying, and then I won't be able to ask him for any more than advice, and the whole fourth dimension will just be trying to get by." In the confront of this encroaching loss, what is the value of this patricidal tableaux? We undergo at a stranger'southward remove a version of her efforts at mental preparation for the inevitable. We see Dick robbed of animation and of nobility; we feel relief at his revival; we appreciate him anew. What we don't practice is become inured to the thought of his decease; conversely, nosotros attach to his living epitome more than, a procedure that Johnson acknowledges and encourages past keeping u.s.a. guessing until the last 60 minutes about Dick's bodily status." (Hannah McGill)
Where to see it: On Netflix
five. Saint Maud
Rose Drinking glass, UK
After debuting at festivals in 2019, and with its original bound release date pushed dorsum, this strong debut feature from Rose Drinking glass finally emerged into cinemas in the autumn, and became the British horror hit of the year, tackling themes of faith, death and cocky-harm with a remarkably deft touch. It put us into the fervent hands and head of Morfydd Clark's troubled young care worker as she brings her ministrations to Jennifer Ehle'south terminally sick ex-dancer.
We said: "Glass'due south motion-picture show follows the story of a burned-out, self-harming young palliative intendance nurse looking for purpose, forgiveness and someone to save in a dour seaside town, loomed over by a big house on the hill in which Amanda, a middle-aged American dancer with great taste in fine art deco wallpaper, is dying of cancer. Saint Maud is a compelling and impactful film, a remarkable debut, and i of the most man and empathetic horrors of recent times. As such, Drinking glass deserves the attention, and the excitement around her as an important future figure in British film is justified.
A broken health service, a dereliction of duty of care, a desperation for a connexion of whatever kind, an unseen malevolent forcefulness playing tricks with the mind. Maud's horror is our horror. Her time – and that of her creator Rose Glass – is very much now." (Mike Williams)
Where to see information technology: Still playing in selected cinemas across the UK. The film volition be released on DVD, Blu-ray and digital platforms, including Amazon Prime number, in early 2021
4. I'k Thinking of Ending Things
Charlie Kaufman, US
Kaufman's claustrophobic chamber theatre piece-cum-road movie-cum-psychological horror – made for Netflix and released directly to the streaming platform, bypassing cinemas – stars Jessie Buckley as a young woman who travels with her boyfriend (Jesse Plemons) to meet his parents, played by Toni Collette and David Thewlis.
We said: Jonathan Romney spoke to Kaufman about his film, and his new novel Antkind, for our October outcome. In comments that didn't make it into that feature, Kaufman told Romney:
"I'd been looking over the years for something to adapt and I came across this novel. It was very dreamy and somewhat nightmarish, which appealed to me, but it was likewise very contained – it was basically four characters, and information technology takes identify in a machine and in a farmhouse. I thought, "This isn't going to price a lot; maybe somebody will be willing to take a chance." I haven't reread the book since I made the film, but I did change a lot, and I definitely changed the grapheme of the young woman a lot – I wanted something more than for an actress to play but I also wanted to requite her agency, so that it felt more than most things that happen in an actual relationship, rather than the thing that the book is."
When Romney asked Kaufman what place he felt he had in the earth today, Kaufman replied in characteristic fashion: "I don't feel secure at all. I don't know how anyone could feel secure in the earth equally it is right now. Everything is up in the air, and also in some odd way feels irrelevant. Things are so awful, so who cares where my career is? (Laughs)"
Where to see it: On Netflix
3. First Cow
Kelly Reichardt, United states of america
Reichardt gives us a deliciously laconic vision of the pioneer American melting pot with this playful, poignant fable of a couple of furtive cakebakers in 1820s Oregon.
We said: "First Cow has the down-at-heel period authenticity of, say, Robert Altman's McCabe & Mrs. Miller married to the poignancy of Sam Peckinpah's westerns, and it's couched in an always playful anti-macho mood of laconic going-with-the-flow, while subverting the clichés of westerns. Its employ of detail the paraphernalia of pioneer being – is exquisite. What'due south really impressive too is its use of a prelapsarian mood to portray an America built on racial and social diversity." (Nick James)
Where to see it: Yet to be released in the United kingdom
2. Fourth dimension
Garrett Bradley, U.s.a.
Bradley'south diary moving-picture show follows Sibil Play a trick on Richardson, who for well-nigh two decades has been campaigning for the release of her husband, Rob, after he was sentenced in 1999 to 60 years in prison for a robbery.
We said: "The success of Time speaks to the revelatory power of its twinned perspective: its combination of Play a trick on's video diaries with Bradley'due south artfully shot vignettes of the Richardson family's daily lives. As Trick and her sons persevere through limbo narrating their lives to Rob in the home videos, visiting courts, receiving reverse-charge calls, and going nearly their jobs in Bradley's footage – we likewise come across them grow and change.
Fox transforms from a young, vulnerable and defiantly optimistic mother to a jaded, polished but still resolute matriarch; her boys emerge as passionate and resilient young men. Blending autobiographical and observational modes, and interweaving the past and the nowadays, the film offers both an ballsy and an everyday account of incarceration'southward thefts – of fourth dimension; of intimacy.
Stylistically, Time recalls Bradley'southward previous film, America (2019), an archival and speculative monochrome meditation on the gaps in the records of Black American cinema. Where America sought to repossess lost histories, Time endeavours to commit to the screen an obscured, often ungraspable reality: the American prisonindustrial complex.
Time appeals to our most fundamental desires: for love, affection, community – and it makes a more powerful case for the abolition of prisons than whatever polemical argument might." (Devika Girish)
Where to see information technology: On Amazon Prime number
i. Lovers Rock
Steve McQueen, UK
A firm party thrown past young Black Britons in London in the early 1980s becomes a oasis in the rapturous, sublime second flick in Steve McQueen'due south landmark five-picture Small Axe collection. Lovers Rock celebrates the reliefs of kinship and intimacy, every bit it tells the story of the tentative romance between Martha (Amarah-Jae St. Aubyn) and Micheal Ward (Franklyn), while at the same time offering a wonderfully immersive and cornball ode to the musical genre that gives McQueen's moving picture its name.
The broadcaster and renowned historian of Blackness British history David Olusoga spoke to Steve McQueen for the cover feature of our December event, and asked the director about his film:
David Olusoga: The making of the films and the content says: 'Here is Black inventiveness, here'south what we can do, here'southward what we can create.' I loved the corporeality of fourth dimension you gave in Lovers Rock to the conversion of a normal London business firm into a blues party – the getting out of the furniture and the building of the sound organization. Here are Black people making something for themselves, people who aren't wanted somewhere else.
Steve McQueen: For me, it was about ritual. The process is only as important as what it ends up being. To accept yous on that journey where it gets to a bespeak where it transcends, even across the people in the room. Information technology becomes church. Some people say the Holy Spirit or whatsoever, just you lot know, information technology did happen. When I was shooting [the dance scenes in Lovers Rock], that was for existent. I became invited into that situation. It was an honor to be there. As an artist, you wish to exist invited, and that's what happened.
I'd never experienced that before. It was a spiritual experience. Information technology wasn't performative. Something happened in that room, and we happened to have a photographic camera there to record information technology. It was Blackness people seeing other Black people, feeling what they were feeling, and a Blackness manager, a Blackness cinematographer, and the fact they could meet each other and vibe off each other – and exist each other, as you rightly said – that's what happened.
Where to see it: On BBC iPlayer and Amazon Prime
Further reading
The best films of 2020 – all the votes
The best films of 2020 – all the votes
The best television set serial of 2020
By James Bell
The best telly series of 2020
The all-time Blu-rays and DVDs of 2020
The all-time Blu-rays and DVDs of 2020
The best film books of 2020
The all-time film books of 2020
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Source: https://www.bfi.org.uk/best-films-2020
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