Campus picks the best movies of 2023
While it is difficult, impossible even, to mention and discuss all the amazing films that have come out this year, and left us feeling many things, here are a few that have moved us deeply, enough to land as our favourites of the year.
Killers of the Flower Moon
In the press conference that followed the film's screening, director Martin Scorsese, when asked about why he continued to take risks as a filmmaker, said, "I'm 80 years old. What else am I gonna do?"
As a movie, Killers of the Flower Moon stands tall as a testament to the brilliance of his direction. Very rarely have I seen such despondent air hang around the atmosphere of a movie. This movie is bleak and at no point is there a flashy sequence that could be considered a spectacle. And yet, it never suffers when it comes to pacing. Even in its three-and-a-half-hour runtime, the core of this film remains intact. It presents a classic example of racism both subtle and in your face, and how oppressive forces tend to control history.
The ending of the film, one of Scorsese's greatest ever, is a brilliant and melancholic commentary on the warped nature of America's history, and pays homage to the Osage nation – who still endure and celebrate, despite everything.
12th Fail
Based on an incredible true story, 12th Fail is the story of a Union Public Service Commission (UPSC) aspirant Manoj Kumar Sharma and his journey to the Indian Police Service (IPS). Born in Chambal in extreme poverty, Manoj fails in the 12th standard and thus, his journey starts. Years later, adamant about becoming a part of the IPS, he reaches Delhi with absolutely nothing in his hands but his dream and unstoppable dedication.
From cleaning toilets in a library to grinding spices in a factory, Manoj crosses unimaginable bounds to follow his dream. Directed by Vidhu Vinod Chopra, 12th Fail stands out even in the midst of similar content available in the OTT thanks to its brilliant screenplay and performances. 12th Fail is a story of the strength of human willpower and the miracles it can produce.
Barbie
It feels redundant to describe or critically analyse the plot of Barbie. More has been said about it throughout this year than can be imagined. People either loved it because of its subversion and caricature of gender stereotypes. Or, they despised it because of its on-the-nose tone. I, personally, fall into the former category.
However, I liked Barbie not because it was some great commentary on sociocultural issues but because of the sheer joy I experienced while watching the film. The tunes were annoyingly catchy, the jokes landed with near perfection, and the dialogues found a sweet spot that balanced wit and humour. Throughout its 114-minutes runtime, I felt like I was having an out-of-the-body, magenta-hazed experience.
Barbie is, hands-down, the best three and fifty bucks I have ever spent.
Spider-Man: Across the Spider-verse
Spider-Man: Across the Spider-Verse is the most visually dazzling animated movie while also being the most well-written superhero film of this year. This sequel follows Miles Morales' Spider-Man and Gwen Stacy's Spider-Woman as they embark on a multiversal adventure while dealing with relatable personal struggles. Against the backdrop of the vast innumerable realities of Spider-People, the two battle with the very real concept of embracing their own individuality even when the rules dictate that things must go a specific way.
This film manages to break away from the tired tropes and formulas prevalent in the majority of superhero movies and provides a genuinely thought-provoking and compelling story filled to the brim with nuanced character development and emotional stakes. While the film is not perfect, the well-crafted narrative and spectacular animation outweigh the flaws, providing a breathtaking blockbuster experience.
Past Lives
There is very little in cinema that evokes a sense of yearning the way Past Lives has inside of me. Everything from the shot composition, which makes our characters feel separated even when they're in the same place, to the colour grading, which evokes a deep melancholy, works to this film's benefit.
I have watched this film thrice so far, and with each subsequent viewing, I have come to appreciate the many layers the film wraps itself in. On the surface, the story is a beautiful, quiet, and crushing tale of young love being let go. But it is also much, much more in the way it presents the torn emotions of home and comfort that reside in the heart of diasporic people. What is home and where you choose to stay are no longer easy questions to answer, and the film, in all its quietness, explores these ideas beautifully.