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Page 2 December 30, 2021
Entertainment
Cinemacy’s Favorite Films of the Year
By Morgan and Ryan Rojas
for cinemacy.com
Licorice Pizza
Writer/director Paul Thomas Anderson’s ninth
feature film is as funny and heartfelt a film as
he’s ever made. Licorice Pizza is a comingof
age story centered around young love set
in the 70s-era San Fernando Valley. And its
cinematic bliss that will overjoy movie lovers.
Beyond its all-around enjoyability, Licorice
Pizza advances Paul Thomas Anderson’s filmmaking
style and voice as a director. And
that’s entirely exciting to see at this stage
‘Spencer’ (Neon) / ‘Summer of Soul’ (Hulu) / ‘The French Dispatch’ (Searchlight Pictures)
of his career. The film is quite simply one
of the best-looking films of the year as well
(Anderson again hops behind the camera as
cinematographer).
I saw the film projected on 70mm film at
Westwood’s The Regent theater, and it was one
of my very favorite big-screen experiences I’ve
had at the movies this year. I can’t recommend
seeking out this heartfelt and incredible film
for everyone I know.
Spencer
Based on the factual accounting of a stay
that Princess Diana spent with the Royal family
during a Christmas weekend, Spencer imagines
the conversations, events, and episodes that the
Princess of Wales may have secretly suffered.
Kristen Stewart might not be the first
person you’d think of to play the late figure
(perhaps because she isn’t British), but
when you look at her career of playing anguished,
grief-stricken women–along with
her own history of being fixated upon by
the media and public alike-the elements
all come together. They make for an experience
that feels spiritually connected (credit
the costume and makeup department too, for
masterfully capturing the alluring, misunderstood
royal).
The genius of Spencer is its ability to build
hallucinatory anxiety, specifically when portraying
Diana’s lack of control over her own life,
which Stewart channels with such vulnerability.
Memoria
Palme d’Or winning Thai director Apichatpong
Weerasethakul is a master of his craft.
Paying attention to the finest of details and the
most delicate of sounds, his films all share a
common thread of acute sensory exploration.
His canon is that of a true auteur. That said, it’s
not surprising that Memoria is a continuation
of his legacy. Winner of the Grand Jury prize
at the 2021 Cannes Film Festival, Memoria is
Weerasethakul’s first dive into English-language
filmmaking; the only deviant from his otherwise
stereotypical “slow cinema” outputs. Tilda
Swinton plays Jessica, a woman who experiences
a mysterious sensory syndrome as she
attempts to locate and quiet a growing sonic
sensation in her head. Swinton’s performance
is transfixing, to be expected, and an integral
part of what makes Memoria an unforgettable,
spellbinding watch.
Summer of Soul
Summer Of Soul (…Or, When The Revolution
Could Not Be Televised) is a feature documentary
about the legendary 1969 Harlem Cultural
Festival which celebrated African American
music and culture, and promoted Black pride
and unity.
I first saw this film make its premiere
at the 2021 Sundance Film Festival, and it
was rightfully awarded the Festival Winner
Documentary. Director Questlove knows that
music is always accompanied by stories, and
the stories here–along with never-before-seen
archival footage–make this one of the most
powerful films of the year.
The French Dispatch
Where Wes Anderson’s previous eight films
have all adhered to a single plot-driven storyline,
the writer/director breaks from that convention
only slightly in creatively making The French
Dispatch an anthology series of short stories.
That larger backdrop is a fictional magazine
(the Liberty Kansas Evening Sun) and its press,
which he clearly loves the history of both. It’s
actually obvious to see how The New Yorker
magazine–which he was fascinated with as a
child (can’t you just picture it?)–inspired his
particular and creative writing style that evokes
high-society intelligentsia. The French Dispatch
is an homage to the institution and people that
shaped that early artistic vision. •
Film Review
Morgan Rojas Ryan Rojas
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