In 2024 movies left me with a range of realistic feelings—annoyance, sadness, and connectedness. The best word to describe movies in 2024 is uniqueness, because many films left me reflecting on aspects of my own life. While experiencing an array of personal challenges over the course of the year, various films even played a significant role in making a positive impact on me. They encouraged me to keep my head up and keep pouring my love for cinema into being a critic. These are my top ten films of 2024.

The first film is A Real Pain. This is a sensational feel-good movie filled with emotional challenges presented in a complex yet connected manner. Starring Jesse Eisenberg (who also directed the film) and Kieran Culkin, it is a mammoth achievement. The truth hurts and A Real Pain’s compelling subject matter and serious tone are powerful. Eisenberg’s writing creates a pattern in which his own character must learn to step out of his shell to deal with his cousin when they are both thousands of miles away from home. Culkin is the master of unpredictable behavior in his role as Benji. He knocks his performance out of the ballpark. The revolving door showcasing the family bond and personality clash between Eisenberg and Culkin sends a message to love, accept, and even help when it is possible. Family may be a pain, but life can be a real pain. Eisenberg’s directing dazzles in a way that sets the film apart.

The second film is The Brutalist. Writer and director Brady Corbet is the champion of his craft. This film gives ajolt to cinematic ambience that is mind-boggling and daring. The story is set up chronologically with an overture, separate acts and an epilogue to vividly compel its audiences to want more. At a running time of three hours and thirty-five minutes, there is a fifteen-minute intermission to allow audiences a chance to refuel their bodies and brains. Adrien Brody plays Lazlo Toth, a Holocaust survivor and immigrant.  Post-War America is presented in an audacious fashion and as seen through the eyes of Brody’s character. The Brutalist handlescinematography and scoring perfectly to maintain the emotions of its audience through dark and light moments. Brody’s performance is a monster of grandeur, brutality, and brilliance. 

The third film is Anora. Written and directed by Sean Baker, Anora is his best film yet and is unconventional in the way it combines comedy, drama, and romantic genres. The writing is vivid, and the story leaves audiences breathless.Baker’s Anora brings audiences into a strip club setting where they are introduced to Ani (played by Mikey Madison), a young escort in Brooklyn working many shifts and doing extra deeds to make ends meet. She has a kind-hearted attitude and presents a playful face that draws the attention of men. Out of the blue, a young stud named Ivan comes into her club (played by Mark Eidelstein). Ivan falls in love with Ani at first sight. He has many sessions with her and pays her well. He brings her into his castle-like home. They have so much fun together and are inseparable. Love makes for a dazzling portrait, and it is painted with many layers in Anora. The life of two star-crossed lovers finding each other unconventionally creates an unforgettable landscape where happiness thrives audaciously in early parts of the film. When the dynamics of the family come into play, the emotions make the audience repeatedly jump out of their seats.

The fourth film is Conclave. When it comes to stories of the Vatican and popes, this movie was a profound, deep, and compelling thrill ride. Directed by Edward Berger, the dynamics of political theories combined with religion and faith collide poetically in this film. It is a powerful examination of the moving parts in the quest to find a new pope, with an ensemble cast that includes Ralph Fiennes (as Lawrence), Stanley Tucci (as Bellini), John Lithgow (as Tremblay), and Isabelle Rossellini (as Sister Agnes). The interactions of the cast are relentless and invigorating. Conclave creates a curiosity about where the lines are drawn when selecting one who can lead the Catholic Church. The story reaches a point where established hierarchy and degree of faith challenge this important process.

The fifth film is Nickel Boys. Directed by RaMell Ross, this is a spellbinding literary adaptation that will be remembered for ages. Nickel Boys is based on the Pulitzer winning novel written by Colson Whitehead and is an authentic revelation due to the way it weaves its audience into the journey of its main characters. Revolving around rough times in the 1960s, it is in an in-depth exploration that is remarkable. Ross wrote the screenplay with producer and writer Joslyn Barnes. Together, they incorporate cultural tides fighting to find light in a troubled world.

The sixth film is Nosferatu. This is a frightening and compelling film directed by Robert Eggers which has more terror than audiences might expect. Nosferatu is a dazzling sensation where horror meets its maker. The direction combining a story of both fantasy and horror delivers in Nosferatu. The tones of evil and respect centered around a plague remove typical boundaries. While political factors play a role, there is a layer of frustration where the volume of suspense increases. Eggers develop a characterization of loyalty that may have deadly consequences.

The seventh film is All We Imagine as Light. This is an international film in which love is hard to find, and morals are put to the test. Set in Mumbai, the many emotions caused by difficult choices spiral. All We Imagine as Light is centered on finding the moments in life that count. Written and directed by Payal Kapadia, the writing and continuity display a sense of realism that is unforgettable. The emotional and cultural backgrounds in this film are cohesive and prompt audiences to ponder the ultimate question, “What does the heart want?”

The eight film is My Old Ass. A group of teenagers curious about what life will be like when they grow up is featured in My Old Ass. Written and directed by Megan Park, this unique film begins with a scene in which the teens are doing drugs all night long. Their partying, however, results in revelations due to the side effects of the drugs which bring dramatic elements and unexpected meaning. My Old Ass is one of the quirkiest, yet joyful and artistic adventures of 2024. 

The ninth film is The Substance. After walking out of this screening, I thought to myself that the experience was like a volcanic eruption that does not stop erupting. The eagerness to pursue beauty and fame hit deep in The Substance. Written and directed by Coralie Fargeat, the reality of a dream finding its path to a nightmare is daring. With Demi Moore and Margaret Qualley as the two lead characters, their personalities dwell on the concept of addiction to popularity. Surrounding the film are messages about extreme efforts made to achieve and maintain a Hollywood lifestyle and not be forgotten. This is accomplished through a drug. When the procedure is done incorrectly, however, many unforgettable and treacherous results play out.  

 The tenth film is His Three Daughters. This film spotlights three sisters working to come together during a time of pain and grief. It is about their spiraling emotions of regret, shame, jealousy, and confusion which involve agreements, disagreements, and connections. His Three Daughters takes all these concepts and combines them into one life-changing and complex scenario. It does so with impressive writing that is faithful to human feelings. His Three Daughters’ narrative keeps its focus and keeps the three sisters authentically working together despite their differences.

Fortunately, 2024 was a year where many films made me feel a sense of connection. The selection of these films was not easy, but I chose them because of the way they all leave audiences with the gift of cinematic art waiting to beunwrapped. Overall, 2024 was one of the most artistic years of cinema and I look forward to seeing what 2025 has to offer.