2018 has been a wild year for film, from wildly entertaining sequels (see Mamma Mia: Here We Go Again and Paddington 2) to Yorgos Lanthimos’ latest in dry, yet tragic, humor to a horror film featuring tongue clicking, a nut allergy, and dead pigeons. It has been year for powerful women, both in front of and behind the camera, from the women of Annihilation to Crystal Moselle and her look into the world of women skateboarders. It has been a year to interrogate representations of masculinity, from Joe in You Were Never Really Here to Reverend Toller in First Reformed. It has been a year of terror, love, laughter, and exhaustion, both literally and cinematically. The films of 2018 truly captured the strange and turbulent atmosphere that has thrown us all into a state of near-constant anxiety.
The Much Ado team has relished in this anxiety, seeing many of 2018’s best, and worst films with the help of film festivals such as Cannes, NYFF, and BFI, MoviePass (RIP), and AMC Stubs A-List. After much deliberation, Letterboxd rankings, and last-minute trips to the cinema, we present Much Ado’s top 25 films of the year.
Artist-turned-director Steve McQueen has a certain flair for the insightful. His previous works, Hunger (2008), Shame (2011) and 12 Years a Slave (2013) have focused upon singular characters, fixating on the intimate details of an individual’s life and creating a display which feels almost private. With Widows (2018), however, McQueen branches out from this intimate filmmaking, to establish a world which feels colossal in its realism, and painfully current in its observations of today’s racial, sexual and class politics.
The widows in question – Veronica (Viola Davis), Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki) – represent women from across various different social circles and spectrums. Veronica is a teacher’s union delegate and lives a lavish lifestyle, but remains acutely aware of the racism entrenched within her surroundings, especially as a black woman married to a white man. Considerably worse off financially is Linda, who juggles a business and two young children. With lived knowledge of the prison system, Linda is naturally more cautious than her contemporaries, illuminating a class difference that is essential to McQueen’s depiction of an intersectional environment. Alice, on the other hand, works as a high-end escort and experiences the daily struggles of male egocentrism. After suffering abuse at the hands of her husband, her journey is one of rediscovering her own independence – and it just so happens that a $5 million heist is the perfect way to pull this off.
As the dreadful month of August ends, fall begins and with fall comes the most wonderful time of the year: Festival Season! Venice already started, Toronto and Telluride will follow, then comes London and New York. The happiness and the discourse will spread from the sunny seaside of Italy, bringing film lovers together (or apart) until the Awards Season, in which we all will sell our souls to competition. But until then, enjoy a list of some of the films we cannot wait to see from festival season.