Last year was a rich and beautiful vintage, taking advantage of the delay in releases from 2020 releases due to COVID. Everything could suggest that 2022 would be calmer. Nay, it’s quite the opposite. Whether you are fond of blockbusters or intimate dramas, there were some very good proposals. Something to satisfy everyone, therefore. The best films of 2021 according to the editorial staff of Konbini Also to be seen on Konbini After hours and hours in dark rooms or in front of our television screens, the journalists of the cinema editorial staff, accompanied by members of other services, deliver their top 10 of the best feature films of 2022. Manon Marcillat It is French cinema that gave us our most beautiful emotions on the big screen in 2022. Rebecca Zlotowski’s film, the most successful and sensitive of her filmography, in which she films the intimate questions of Rachel (masterful Virginie Efira) up close to question the notion of family, maternal desire and the cruelty of passing time two-speed for men and women. These are other tears, of laughter and joy, that we shed in front of L’innocent by Louis Garrel which re-enchanted our Cannes festival with its welcome simplicity and humility as well as its unsuspected comic revelations.Three first films very successful also marked our retinas this year, led by Charlotte Le Bon’s Falcon Lake, a modest teen movie on the edge of fantasy and a magnificent learning story that takes the form of a love story and a ghost story too poetic than tragic. Still on the Croisette, it was Lise Akoka and Romane Gueret who most directly questioned cinema and its responsibility in Les Pires, a fiction film immersed in filming in the heart of a city of Boulogne-sur-Mer which transforms into actors “the worst” children in the neighborhood, under the circumspect gaze of its inhabitants. The ardor of the first times also filled Between the Waves, Anaïs Volpé’s first film and her heartbreaking story of friendship between two superb actresses, Souheila Yacoub and Déborah Lukumuena, friends on screen as well as in the city. Three documentaries also won our hearts this year. Allons enfants and Qui à part nous, an incredible generational fresco of almost 4 hours, chose to celebrate youth, its ardor, its passion and its melancholy while Fire of Love documented – between superb archive images, animation and interviews — the astonishing love triangle that united the couple of French volcanologists Maurice and Katia Krafft and their incandescent passion for volcanoes.Finally, make-up tutorial, Facetime call and Instagram stories punctuate the story of two independent nuggets of American and Swedish cinema. Through the prism of seemingly trivial subjects — the daily life of a sports influence in Sweat and the end-of-year evening at an art school in The African Desperate — these two surprising feature films have chronicled a very cloudier with a remarkable formal originality. The Children of Others, by Rebecca Zlotowski Falcon Lake, by Charlotte Le Bon L’innocent, by Louis Garrel Fire of Love, by Sara Dosa The African Desperate, by Martine Syms Qui à part nous, by Jonás Trueba Les Pires, by Lise Akoka and Romane Gueret Between the waves, by Anaïs Volpé Allons enfants, by Thierry Demaizière and Alban Teurlai Sweat, by Magnus von Horn Arthur CiosI was already in love with the 2021 vintage, but the 2022 vintage has nothing to envy — far from the. Led by two biopics of women massacred by patriarchy and the weight of an industry/monarchy immobilizing them. On the one hand, the very aesthetic, suffocating and impressive Spencer by Pablo Larraín (who had already signed the superb Jackie). On the other, the brilliant, although contested, Blonde by Andrew Dominik — an author specializing in the story of these fallen figures. will have lived up to the projects — which is rare enough to be underlined. We are of course thinking of Everything Everywhere all at Once, a juggernaut of SF resourcefulness with rare intelligence and originality, which was a real event in the United States, and rightly so. The same goes for The Green Knight, David Lowery’s dazzling over-aesthetic Arthurian epic (A Ghost Story), which deserved all this hubbub online as the slap was immense. Or even, in a way, for the famous The Souvenir (in this case plus its second part), by Joanna Hogg. All A24 productions (or distributed by the “coolest” American box). But the hype is not limited to A24, a little more indie than the blockbusters. The pressure was enormous on the shoulders of Matt Reeves and Robert Pattinson to propose a new Batman far from Ben Affleck and other more sickening DCEUs. A puzzle exercise but absolutely successful, without a shadow of a doubt. Likewise, to a completely different extent, for Nope, so far the most ambitious film by the great Jordan Peele. Cannes (in a Festival still as beautiful in its selection), namely the most powerful of Rodrigo Sorogoyen’s films, As Bestas, and the three hours of Benoît Magimel as the great curator of Tahiti who rolls over us without warning in Pacifiction : Torments on the islands — no thanks Albert Serra. But the nugget that really took us by surprise, that we didn’t see coming at all, is this documentary by Sara Dosa, Fire of Love, on the Krafts, couple of French volcanologists among the most important in their profession. A film which reminds us that fiction will never be able to reproduce the beauty of nature and reality, and which, under the pretext of talking about a volcano, talks about a love of unnamed splendor. Don’t listen to the haters who don’t talk than Top Gun or Avatar, as good as these two blockbusters are: 2022 was a great year for cinema; once again. Spencer, by Pablo Larraín Blonde, by Andrew Dominik Everything Everywhere All at Once, by Daniel Scheinert and Daniel Kwan As Bestas, by Rodrigo Sorogoyen Fire of Love, by Sara Dosa The Green Knight, by David Lowery The Souvenir Pt. 2, by Joanna Hogg The Batman, by Matt Reeves Nope, by Jordan Peele Pacifiction: Torment on the Islands, by Albert Serra Adrien DelageLike 2022, this top is quite dark and made up of heroes and heroines who symbolize the period that we go through: the tyranny of patriarchy, social confinement and even total despair. Even a smile becomes a sign of horror and suffering in Parker Finn’s film. But there is a light at the end of the tunnel, as Bruce Wayne remarks at the end of Matt Reeves’ Batman, a stunning new foray into the world of the Dark Knight, where a grimy and gloomy Gotham has conquered us. The notion of confinement returns also regularly, such as Olivia Wilde’s Don’t Worry Darling, recognized more for Chris Pine’s memes around backstage divisiveness than for his goodness. However, we remain hypnotized by the performance of Florence Pugh, who has climbed the Hollywood ladder at breakneck speed in recent years. We also think of the Menu troupe stuck in the stainless steel claws of the chilling chef played by Ralph Fiennes, a dark humor thriller who literally wants to atone for the sins of overconsumption and humanity. Succulent, if you like vice and a very theatrical staging. a stunning horror film, which explores the sexuality of seniors. Finally, we still wanted to salute animated cinema with Red Alert, the best Pixar film of this year (no offense to Buzz Lightyear fans). A benevolent, intelligent and sunny story of coming of age, which brings a few bits of sunshine in a year as dark as Dominik Moll’s La Nuit du 12, a poignant and important Franco-Belgian thriller on feminicides. Don’t Worry Darling, by Olivia Wilde The Batman, by Matt Reeves X, by Ti West La Nuit du 12, by Dominik Moll The Northman, by Robert Eggers Top Gun: Maverick, by Joseph Kosinski Le Menu, by Mark Mylod Black Phone, by Scott Derrickson Alerte rouge, by Domee Shi Smile, by Parker Finn Donnia Ghezlane-LalaIn a self-respecting even year, 2022 was generally disappointing in dark rooms, in my humble opinion. However, the year started with a bang, thanks to C’mon, C’mon (from its French title Our souls of children) and Licorice Pizza, two overwhelming stories of love and filiation, before falling like a bellows .The expected films barely met my painful expectations, despite a few surprises along the way such as the funny Innocent, the unbearable Triangle of Sadness, the fascinating Nope, the icy Saint Omer and the mesmerizing Moonage Daydream. RMN, a social work on the rise of the extreme right in a Romanian village, and As Bestas, a peasant thriller, also made a deep impression on me, and I still think about it. But if these two films are not on this list, it’s simply because I preferred, selfishly, to celebrate films around childhood, identity, motherhood, family and above all, friendship – themes that have marked my year , and surely a little yours too. Memory Box would also be in last place if I had been able to make a top 11, but the boss of the cinema did not want to, despite my negotiations. The order is quite simple: the amount of tears spilled is my only indicator. Ninjababy, by Yngvild Sve Flikke Our Childhood, by Mike Mills Between the Waves, by Anaïs Volpé Close, by Lukas Dhont Licorice Pizza, by Paul Thomas Anderson Allons enfants, by Thierry Demaizière and Alban Teurlai Armageddon Time, by James Gray After Yang, by Kogonada Babysitter, by Monia Chokri The African Desperate, by Martine Syms Aurélien Chapuis (unrated)As every year, I have seen a lot of films from all possible periods and quite a few from the current year in the end . The big favorite because a nice surprise and a crazy technical challenge, it is necessarily (again) Tom Cruise and the rebirth of the Top Gun franchise, against all odds. A nice snub to the passage of time and once again to the mantra: age is just a number. this Kimi from Soderbergh, whose crazy creative output I love in recent years. It’s brutal, direct, full of discoveries, a Rear Window paranoid version of the current pandemic, very beautiful. Very beautiful also the crazy and brilliant action of Everything Everywhere All at Once, that more agreed but very satisfying of Bullet Train (Leitch, I adore) or even that electric and dripping of Elvis. All these films are imperfect, but it’s in their cracks that I find what I like the most: cinema. of the soldier’s life and his implacable destiny. Implacable too The Menu or this Glass Onion can be better than the first, reshuffling the cards of the thriller for one and the whodunit for the other. Finally, we fell in love with two films that everyone will forget in 2023: Adam Sandler’s passionate Top of the Basket as a somewhat clueless basketball player’s agent looking for the changing winds and Kid Cudi’s magnificent Entergalactic which does not tells absolutely nothing but in the most beautiful way. 2022, an aesthetic year with panache. Because that’s the only thing that matters. Top Gun: Maverick, by Joseph Kosinski Kimi, by Steven Soderbergh Nothing New in the West, by Edward Berger The Top of the Basket, by Jeremiah Zagar Bullet Train, by David Leitch Elvis, by Baz Luhrmann Everything Everywhere All at Once , by Daniel Scheinert and Daniel Kwan Entergalactic, by Fletcher Moules Glass Onion: A story at loggerheads, by Rian Johnson Le Menu, by Mark Mylod An article co-written by Aurélien Chapuis, Arthur Cios, Adrien Delage, Donnia Ghezlane-Lala and Manon Marcillat .
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