“Pain & Glory” – Lover’s Reunion
As tempting as it was to include the heroin-induced Q&A by speakerphone, it’s hard to deny the gut-punch of the reunion between Antonio Banderas (loosely portraying director Pedro Almodóvar)and the love of his life (Leonardo Sbaraglia). Like “Honey Boy,” you can feel the actor and director reaching a collective catharsis in the scene, playing out the scene with a delicate combination of longing, flirtation and painful acceptance of the past.
“Parasite” – Birthday Party
If you haven’t seen Bong Joon-ho’s masterpiece “Parasite,” stop reading and definitely don’t watch the video below. The most consistently surprising, well-engineered, and timely movie of 2019, examining classicism in a capitalist society better than any film in recent memory. Even on repeat viewings, the third act is a mesmerizing feat of filmmaking and screenwriting.
“Portrait Of A Lady On Fire” – Reunited From A Distance
A devastating ending that coincidentally sits alongside fellow queer cinema masterpiece “Call Me by Your Name” as one of the most gut-wrenching, unforgettable endings imaginable. It goes without saying, but… spoilers below.
“I think something very important is happening and it’s deeply connected to my purpose.”
“Uncut Gems” – The Final Bet
So says Robert Pattinson’s hustler/criminal Connie Nikas in the Josh & Benny Safdie’s breakthrough cult classic in the making “Good Time.” This is also how I felt watching the trailer for “Good Time” when it first debuted. Aesthetically, thematically, aurally… the work of the Safdie Brothers speaks to me on a deeper level than any contemporary American filmmakers. Another thing I connect with a deeper, indescribable level is the desperation and buried rage of Adam Sandler. I grew up on his comedies, adoring him as a kid, allowing his films to inform much of my sense of humor, and only grew fonder of him through his dramatic work in “Punch-Drunk Love” and “The Meyerowitz Stories.” As a self-described insecure, self-loathing white man who experiences unfiltered moments of rage and anxiety, I feel a connection to characters like Barry Egan. The idea of three of my favorite people in the world combining forces was a dream come true. It’s been four months since I first saw “Uncut Gems” and in that time, I’ve seen it four more times. I’m addicted to it. On the surface, it’s relentlessly thrilling and entertaining, insanely funny, and of course, features a God-tier performance from Sandler. But it’s also one of the most morally and spiritually complex films I’ve ever seen, layered with profound ideas about materialism, the endless cycle of violence perpetuated by capitalism and greed, and the intersection between black and Jewish culture. Every scene is pulsating with life and authenticity, populated by an ensemble of working actors like Sandler and Eric Bogosian and first-time performers like Julia Fox and the endless ensemble of incredible faces that enter the mix. “Gems” is the kind of film that opens with chaos in the Ethiopian Welo Mines and transitions through a colorful black opal into the asshole of its protagonist, and somehow manages to up the stakes and surprises for the next two hours. Picking a single is nearly impossible, but really if you consider the entire last act of the film one elongated sequence of nerve-shredding, gloriously acted brilliance, then that would be my pick for the scene of the year.