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The best British Christmas films to watch in 2020. ... Set in 1825, Clare, a young Irish convict woman, chases a British officer through the rugged Tasmanian wilderness, bent on revenge for a terrible act of violence he committed against her family. There’s a beginning and a middle and an end. Best Films of 2019-2020. Luis López Carrasco’s film is shot in a bustling workers’ café-bar in the city centre where it gathers the testimonies of people who lived through the period. No one does quintessential British humor better. It changes things.”, Where to see it: Available now on DVD in the UK. Fincher’s portrait of writer Herman J. Mankiewicz. Any title rated 8.1 or above can also be found in My Top 250 Films, along with some of those rated 8.0. Perhaps it’s naive to cling to Les Misérables’ early vision of hope. It was very dreamy and somewhat nightmarish, which appealed to me, but it was also very contained – it was basically four characters, and it takes place in a car and in a farmhouse. Con-trick movies, from House of Games (1987) and Dirty Rotten Scoundrels (1988) to Matchstick Men (2003), usually end with a last-minute switcheroo, and Kajillionaire is no exception. To take you on that journey where it gets to a point where it transcends, even beyond the people in the room. His films’ drawings can look naive and artless, but they’re wondrously composed with swirls and circles and glorious colours, flattened spaces and playful perspectives. July sets aside her usual kooky style with this piquant story of the Dynes, a breadline grifter family. This model isn’t a kind of feminist utopia – it’s a necessity.’” (Simran Hans), Read our review: Rocks follows a London girl growing up fast and letting go slowly, + “We gave them too much power”: how Rocks became a gem by giving its young cast license to shine. Petzold’s fantastical ode to Berlin concerns an art historian who has a passionate affair with a diver, and appropriates the mythological figure of the undine – a water nymph – to fashion a love story that doubles as a myth about the city. 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. Brazil’s bad blood rises in a small corner of the country’s northeastern hinterlands as Udo Kier’s brigade of gringos besieges Sonia Braga’s small-town community, in this way-out western. The real-life horrors of Relic, Mogul Mowgli confronts Riz Ahmed’s rapper’s battle of the soul, Mank prints the legend of Hollywood as a gilded cage, Limbo gives a Scottish welcome to four far-flung refugees, “We did a real séance on Zoom”: Rob Savage on video call horror Host, Ema: Pablo Larraín lights some kind of delirious inferno, Little Women emancipates Louisa May Alcott’s spirited sisters, Les Misérables: 24 hours of violence in the Paris streets, Ladj Ly on Les Misérables: “Film is a tool. 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. 10SHARES / Alastair Sim as Scrooge and Francis De Wolff in the 1951 adaptation of Charles Dickens' Christmas Carol. Marcello elaborates the story’s symbolic thrust through an ambiguous treatment of period. There is, emphatically, no boundary between fiction and documentary, but truth matters more than ever.” (Robert Greene), Read our report: The shape of documentary to come, Where to see it: In UK cinemas and on Curzon Home Cinema from 24 December 2020. Even more so is the other half of the double-act: Jewell as played by Paul Walter Hauser. The British nominations were led by 1917 along with Once Upon a Time in Hollywood, which was co-produced by the United States. We say: “The pandemic may have delayed the release of mega-bucks sci-fi extravaganzas like Denis Villeneuve’s Dune, but Andrew Patterson’s film was an exhilarating discovery for dark lockdown times and further proof, if you ever needed it, that a small budget (less than $1 million) is no barrier to the sublime. I’m a little late in getting this out (time is limited right now with my new job) but here is my round-up of British movies to look forward to in 2020. Among 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. It does not feature short films or television films. Marriage Story and Once Upon a Time in Hollywood, both British-American co-productions, unanimously won the Best Supporting Actress and Actor awards respectively. The biggest movie releases of 2020. Wells’s classic, emphasising the fear of being watched. This stylistically dazzling adaptation of Jack London’s autobiographical novel – about a working-class writer who climbs the ranks of society – transposes the story from the US to Naples and mixes drama with archive footage to create a unique fable. (Here, the few encounters with men tend to the fleeting and show them broadly as irritating hurdles for the female protagonists to surmount.) We said: “Uncomfortable, emotional and resolutely unflinching in its gaze, Chukwu’s film is a clear-eyed exploration of the contentious debate surrounding America’s death penalty and, particularly, the way in which death row disproportionately targets African-American men. We said: “There was much hubbub at Sundance 2020 over the way Bill and Turner Ross made their stellar Bloody Nose, Empty Pockets, including some pearl-clutching over the fact that it was even programmed in the US Documentary Competition at all. The 92nd Academy Awards honoring the best films of 2019 were held on February 9, 2020. “The biggest influence is Cronenberg Sr’s eXistenz (1999), which is similarly concerned with assassins who risk losing themselves in the personae that they adopt as their gaming ‘skins’ – and that film’s lead actress Jennifer Jason Leigh is here cast as Tasya’s handler Girder, a once skilled Possessor now determined to pass down the mantle to the next generation.” (Anton Bitel), Read our review: Possessor sends Andrea Riseborough out of her mind. The brothers have long embraced the elasticity of the form; the ‘realness’ of their second film Tchoupitoulas was questioned in various corners, and their third documentary Western was a genre film with all the constructedness that implies. But this offers more than just big laughs and sharp mockery: it's chiefly a poignant coming-of-age involving a fri… 37 new British TV period drama series you need to see in 2020. We undergo at a stranger’s remove a version of her efforts at mental preparation for the inevitable. “The brothers made Bloody Nose this way for many reasons, including ethical considerations (getting folks drunk while filming requires a certain level of control and familiarity, for example). The British Independent Film Awards work tirelessly to champion the very best in British film. The director of the acclaimed ‘Court’ (2014) won a Fipresci prize in Venice for this Mumbai-set drama about a man (played by real-life musician Aditya Modak) striving to attain his teachers’ artistic and spiritual standards as he pursues a career performing classical ragas. The real-life horrors of Relic, Where to see it: On BFI Player and other digital platforms. We said: Leonie Cooper talked to Byrne for our December issue, and asked him why he went to Spike Lee for the project: “We’ve never really worked together, but we’ve crossed paths a lot so it was easy, I had his phone number! The 92nd Academy Awards honoring the best films of 2019 were held on February 9, 2020. Alfre Woodard puts in a phenomenal performance, expressing Bernadine’s churning inner turmoil through her resigned expression, downcast eyes and hunched shoulders.” (Nikki Baughan, S&S, September), Read our review: In Clemency, death row walls in Alfre Woodard’s warden, Where to see it: available to buy or stream on BFI Player, iTunes, Amazon Prime and other platforms. When I was shooting [the dance scenes in Lovers Rock], that was for real. Stylistically, Time recalls Bradley’s previous film, America (2019), an archival and speculative monochrome meditation on the gaps in the records of Black American cinema. Nolan’s brainteaser builds a rollercoaster spectacle out of temporal spaghetti. As such, Glass deserves the attention, and the excitement around her as an important future figure in British film is justified. From the outset, this manages to inhabit both a Ken Loach-type drab urban space and an insidious netherworld. Nobody stepped aside – we all stepped up.’ It’s a point Gavron says she agrees with entirely. The very existence of this film – the product of the suburb, of racial and social solidarity – is something to be celebrated: a flower sprung from concrete. Here, Lee asks the audience to make a connection between Paul’s failure to come to terms with his past, which has led to him voting for Trump, and the way that America’s failure to deal with its history of slavery has contributed to feelings of white supremacy embodied in the Trump presidency. Asili’s debut weaves together the histories of the MOVE Organization, the Black Arts Movement and his time in a Black Marxist collective. A broken health service, a dereliction of duty of care, a desperation for a connection of any kind, an unseen malevolent force playing tricks with the mind. Director:Taika Waititi Starring:Taika Waititi, Scarlett Johansson, Thomasin McKenzie, Roman, Griffin Davis Only Taika Waititicould get away with reimagining Adolf Hitler as a kid's imaginary friend. We said: “About Endlessness continues in the style that Andersson has pursued since his return in 2000. The 20 Best British Films of The 2000s Posted on November 10, 2014 November 10, 2014 by George Cromack As the new millennium dawned, British Cinema was still benefitting from the ‘cool Britannia’ mood perpetuated by the various Curtis-like romantic comedies popularised in the latter half of the previous decade. Martin’s trajectory from wide-eyed proletarian to jaundiced celebrity 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 motion. Actually, it is a team of a hundred women who took centre-stage, and it wasn’t given to us or sacrificed for us. Yet, while writer-director Kitty Green’s sensitively made yet hard-hitting feature debut plays out in a dark, cold world full of secrets, lies and isolation, hers is no nightmarish fantasy landscape. The love and pain shown in Bloody Nose is heartbreakingly real; the insights into human experience alive with value. It was an honour to be there. Line Drawings| 2018; Moon Fish| 2019; British Films| 2020; CV/ Statment; Contact We said: “If the times are a-changin’, thankfully so is Sacha Baron Cohen’s approach. Four drinking buddies test the theory that a steady blood-alcohol level is the key to peak human performance. British films did, however, notably lose out to Parasite from South Korea. Like the adult animation of Bill Plympton or the teen-skewed anime of Shinkai Makoto, Moore’s visual style is instantly identifiable. It centres on a man who inherits his grandmother’s house and turns it into a Black socialist collective. Birds of Prey is a whole bunch of glittery, satisfying fun – especially the unkempt, cheerful, chaotic energy of its protagonist.” (Christina Newland), Read our review: In Birds of Prey, Harley Quinn lets her hair down, Where to see it: On DVD, Blu-ray, iTunes, Amazon Prime and other digital platforms. Maintaining a gentle rhythm and almost wholly eschewing dialogue, for its first hour Days oscillates between depicting Anong’s daily life and following Lee as he travels to Bangkok to seek acupuncture treatment. Top British movies to watch on Netflix, Hulu, Amazon Prime, Disney+ & other Streaming services, out on DVD/Blu-ray or in cinema's right now. Rating and reviewing films watched and to watch, released in the UK in 2020. Her time – and that of her creator Rose Glass – is very much now.” (Mike Williams), Read our review: Saint Maud: a heady British horror duet, up close and devoted, + “Sometimes the scariest place to get trapped is inside your own mind”: Rose Glass on Saint Maud, Where to see it: Still playing in selected cinemas across the UK. 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 migrate in mobile homes, eking out a living from job to job. Far more than a ‘terminal illness’ movie or even a typical coming-of-age story, Murphy’s debut captures the humanity of suffering while resisting the need for sentiment or mawkish pandering.” (David Opie, S&S online), Read our review: Babyteeth bridges teen romance and terminal illness, Where to see it: On DVD, Blu-ray and digital platforms. We said: “In an early scene, Undine gives a guided tour to a group of tourists. ©2021 British Film Institute. As Kay and Sam watch it coming, the dark rot gradually staining the house and its occupants serves, no less than the family’s hand-me-down relics, as a macabre memento mori… The result is creepily affective, hitting hard anyone who has witnessed a grandparent or parent slowly vanish.” (Anton Bitel), Read our review: Relic finds fear in a labyrinthine house of horrors – and in intergenerational illness, + “There’s heartbreak in someone losing themselves”: Relic director Natalie Erika James on her love of gothic and Asian horror, + Who’s afraid of fear? It is a fresh, dynamic approach that may seem spun from modern feminist thought, but actually makes explicit ideas that Alcott vocally espoused. Read our review: Lovers Rock finds a sanctuary for Black love, + Lovers Rock finds respite and rapture in a Black London house party, + Lovers Rock is a precious hand-me-down of hazy weekends past, Sign up for Sight & Sound’s Weekly Film Bulletin and more. “Instead of the usual setup, the filmmaking would be organised around the idea of reciprocity, and the girls’ individual ideas considered with seriousness. With ‘Powell for PM’ graffiti glimpsed on the streets, McQueen and cinematographer Shabier Kirchner immerse us in the community in heartfelt, sensuous ways. It was Black people seeing other Black people, feeling what they were feeling, and a Black director, a Black cinematographer, and the fact they could see each other and vibe off each other – and be each other, as you rightly said – that’s what happened. Petzold’s ambiguously hopeful film is a declaration of love.” (Giovanni Marchini Camia, S&S online), Read our review: Undine is Christian Petzold’s slippery love song to Berlin, Where to see it: Not yet available in the UK. A young woman named Autumn (Sidney Flanigan) travels to New York to terminate her pregnancy, in Hittman’s sensitive drama, which both exposes the inhumanity of the US healthcare system and offers a paean to female solidarity. As the film’s palindromic title hints, a lot of the action runs both forwards and backwards, often simultaneously on screen, making for some impressively virtuosic spectacle.” (Philip Kemp), Read our review: Tenet: Christopher Nolan throws time for a loop, Where to see it: On DVD, Blu-ray, Amazon Prime and other digital platforms. A dread-filled horror of the human condition, starring Emily Mortimer as one of three generations of women affected by grandmother Edna’s dementia. So what we get is a series of chatty, casual, occasionally awkward meetings with, respectively, a contentedly unmarried older woman, a wannabe artist and a career woman married to a famous man – all rendered in Hong’s patented offhand naturalism and for the most part stripped of the tricksier elements of his customary aesthetic. Perhaps the only solution to a corrupt system is to burn the whole thing down.” (Catherine Wheatley), Read our review: Les Misérables: 24 hours of violence in the Paris streets, + interview: Ladj Ly on Les Misérables: “Film is a tool. We said: “With its ostentatiously colour-blind casting, not 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’s rollicking adaptation announces itself as a radical reclamation of the heritage ‘lit pic’ from the off.” (Tom Charity), Read our review: The Personal History of David Copperfield gives Dickens a radical, rollicking twist, Where to see it: On DVD, Blu-ray, BFI Player and other digital platforms. The post-#MeToo drama stars a superb Julia Garner as an employee whose film producer boss uses his position to abuse women. British films did, however, notably lose out to Parasite from South Korea. Kaufman’s claustrophobic chamber theatre piece-cum-road movie-cum-psychological horror – made for Netflix and released straight 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. Gerwig’s decision to rework the structure of the novel, bouncing back and forth in time 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, Meg married with children, Amy on a claustrophobic European tour, Beth facing her own devastating fate – proves a masterstroke. We said: “If there’s any sublimated anger at all in Johnson’s desire to symbolically serial-kill her progenitor, it’s not delved into here. The actual space is rendered in vibrant 16mm hues and the human 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. The Truth consolidates the shift in his recent work to looser and more conceptual plotting, but it also reaches all the way back to After Life (1998) for some wry reflections on summing up life trajectories and the practical uses of artifice.” (Tony Rayns), Read our review: The Truth: Catherine Deneuve plays a monstrous movie star in Koreeda’s French adventure, Where to see it: On Curzon Home Cinema, Blu-ray and DVD. The story is at least partially set in the United Kingdom. Our biggest-ever issue takes stock of 2020 with our annual polls of the best films and television of the year and surveys of the state of different regions and genres. The British Film Festival will celebrate the finest filmmakers and acting talent British cinema has to offer and the 2020 programme features some highly anticipated material, from true stories and literary adaptations to biographies and documentaries. Registered charity 287780, The Truth: Catherine Deneuve plays a monstrous movie star in Koreeda’s French adventure, Richard Jewell explores how an unlikely hero loses his religion, Collective takes a scalpel to the contagion of corruption, “Incompetence was killing the victims”: Alexander Nanau on his health-service exposé Collective, In Clemency, death row walls in Alfre Woodard’s warden, Borat Subsequent Moviefilm is another dose of superbly executed chaos in America’s heartlands, In Birds of Prey, Harley Quinn lets her hair down, In Another Round, Mads Mikkelsen and pals uncork their spirits, About Endlessness takes Roy Andersson’s sad-sack sketches to the great beyond, “In my pictures you can’t hide”: Roy Andersson on humour and truth, The Personal History of David Copperfield gives Dickens a radical, rollicking twist, In The Forty-Year-Old Version, Radha Blank hoists her own star, Tenet: Christopher Nolan throws time for a loop, She Dies Tomorrow sends Kate Lyn Sheil’s death drive viral, Relic finds fear in a labyrinthine house of horrors – and in intergenerational illness, “There’s heartbreak in someone losing themselves”: Relic director Natalie Erika James on her love of gothic and Asian horror, Who’s afraid of fear? 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