Top Films of 2021 BY SCARLET CHENG
What a year, and what a year for films—many of them delayed in production or distribution due to COVID, but roaring back as the theaters reopened. Below is my list of top theatrically released films of 2021; films I have had a chance to see thus far. I’m struck by how many were directed by women—a group which usually represents less than 10% of directors in the top 250 grossing films in the US, according to the long-running “Celluloid Ceiling” study. In my list, they are more than half. It’s also interesting that several super-hero/sci-fi films made my list—it’s not a genre I’m fond of, because they usually rely heavily on traditional and very tired tropes with white guys saving the world—but the ones below are not typical.
Drive My Car Directed by Ryusuke Hamaguchi
Black Widow Directed by Cate Shortland
Dune Directed by Denis Villeneuve
More blow-’em-up action from the Marvel franchise, but the backstory to Black Widow (Scarlett Johansson) and her foster sister (Florence Pugh) makes this a better than average superhero saga. You see, both were raised to be spies and assassins by the nasty Patriarch to serve his nefarious ends.
True, this film is ponderous and bloated, but wow, is it epic! In adapting the sci-fi classic by Frank Herbert, auteur Denis Villeneuve creates a good ripping yarn about a hero’s journey on a faraway planet patrolled by giant worms. Young Paul Atreides (Timothée Chalamet) has to protect his family and save the enslaved people of this strange new world. The casting of hypnotic Rebecca Ferguson as his sorceress mother is brilliant.
CODA Directed by Sian Heder A coming-of-age film about Ruby, a 17-year-old living with her deaf, working-class family in Gloucester, MA. She’s discovered music, and yearns to leave and continue her studies, yet wants to remain part of that family. The film is anchored by a most winning performance by Emilia Jones as Ruby.
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This quiet masterpiece takes its time unpeeling layers of the characters’ complicated and unhappy pasts. Trying to forget his wife’s untimely death, a stage director (Hidetoshi Nishijima) goes to Hiroshima, casting for and rehearsing a multi-lingual version of Chekhov’s “Uncle Vanya,” while being chauffeured around by a young woman (Toko Miura) with an unexpected past of her own. Miura is mesmerizing, playing someone numbed by tragedy, and who survives by keeping a close watch on the world around her and filtering the truth from lies.
