After seeing over 200 releases and festival screened films, it was hard to narrow it down the 10 films which were my favorite of 2023. Not only were there many films which came out in 2023, but the quality was on another level. Even with missing some big films over the year, it was still arduous to whittle down my favorites list. 

This year, we also saw the WGA and SAG-AFTRA on strike as studios refused to negotiate in good faith with either union. It’s imperative to note that there are a number of films audiences missed due to the writers and actors not being able to promote their extraordinary work. I hope that as you explore films which came out in 2023, you support those which you may have missed during the historic fights both unions (and the industry as a whole) endured. 

As I look back on the films of 2023, I will remain in awe of the work from veteran filmmakers and outstanding directorial debuts. While films such as Palm Trees and Power Lines and The Unknown Country made my list last year (they had theatrical releases in 2023), films such as Saltburn, You Hurt My Feelings, May December, and Joy Ride were high in my list, but didn’t make the cut. So, to make a short story long, here are my 10 favorite films of 2023! 

10. Every Body (Dir. Julie Cohen)

Following three intersex individuals, documentarian Julie Cohen begins to examine the societal constraints which traumatize intersex people from an early age – even as early as birth, the medical community’s shortcomings, and the perseverance of intersex individuals living in their truth. For a community which has endured some much stigma and felt projected shame, Cohen managed to leave you feeling hopeful about our understanding of what it means to be intersex and the people who are fighting for change. I appreciate Cohen’s work so much and the space she gave to Sean Saifa Wall, Alicia Weigel, and River Gallo to share their experiences and also learn from one another is truly special. Also, if you need a warm hug after the film, stay through the credits. They’re lovely. 

9. Priscilla (Dir. Sofia Coppola)

Sofia Coppola’s work has always focused on dispelling the candy colored facade of fame and fortune. While exploring Priscilla Presley’s life, Coppola does not shy away from the power dynamics, the isolation, and the manipulation of identity she endured throughout her relationship with Elvis. Anchored by Cailee Spaeny’s dynamic performance, Priscilla is a haunting investigation beyond the headlines and PR tales. Coppola’s work has always been striking both visually and intellectually; how she managed to break through the seemingly impenetrable narrative surrounding Elvis remains a remarkable feat to me.

8. The Iron Claw (Dir. Sean Durkin)

As someone who only knows anything about wrestling because of the Netflix series GLOW, it is fair to say I was unfamiliar with the Von Erich family. Yet, what Sean Durkin does with The Iron Claw is allow the Von Erich brothers to have intimate relationships inside and out of the ring. While wrestling is a shared language of the family, the love the brothers share is beyond articulation. I find it so rare that we get to see films where men share tenderness and affection with one another. And it’s so interesting to see those relationships juxtaposed with the hypermasculinity sometimes found in the world of wrestling. The film boasts one of the best ensemble casts of the year, and will leave you a puddle of person by the end of it.

7. All Dirt Roads Taste of Salt (Dir. Raven Jackson)

Since seeing this film back at Sundance, the Gladys Knight & the Pips song, “If I Was Your Woman” has been on repeat. All Dirt Roads Taste of Salt is not only visually striking, but profoundly emotional. While the film does not have extensive dialogue, the emotions which seep through the film are palpable and endlessly moving. Told through a nonlinear lens, I continually struck by how my cold, cold heart found itself overcome with emotion. There is one sequence, of two young girls in the back of a pickup truck, being driven away from their mother’s funeral that I can see so clearly nearly a year after seeing the film. I am in awe that this is Raven Jackson’s feature debut, and I cannot wait to see what she does next.

6. Bottoms (Dir. Emma Seligman)

This film is bonkers from start to finish. When BFFs Josie (Ayo Edebiri) and PJ (Rachel Sennott) start a fight club as a rouse to hook up with cheerleaders, hilarious insanity ensues. Bottoms, Emma Seligman’s sophomore film, elevates the teen comedy to its most raunchy and bold form. So often, teen boys get the horny, outrageous films, while girls are usually relegated to moody dramas. Written by Seligman and Sennott, Bottoms subverts the teen girl comedy without loosing the power and essence of what makes girlhood so special. When you lean into the film’s larger-than-life attitude, you’re guaranteed to enjoy the ride. 

5. Barbie (Dir. Greta Gerwig)

Barbie, both the doll and the film, are asked to be everything. They are supposed to find ways to address commonalities amongst women, while also representing every nuance of womanhood. It makes sense that a film about a doll which has represented the complicated nature of womanhood would be tasked with the same unreasonable expectations of a doll. But co-writer and director Greta Gerwig understood the assignment. She say the constraints of women around her and found ways to make them palatable for beginners of feminism. Barbie is a rare film that spoke to more women that I know than any other film. It may not be perfect, but neither are humans.

4. Past Lives (Dir. Celine Song)

Most romantic stories focus on finding “the one.” Yet, with her directorial debut, Celine Song examines that soulmates might not be just about connection, but a million comic chances which lead us to a moment of connection. Past Lives follows Nora (Greta Lee) and Hae Sung (Teo Yoo) through adolescence, reconnection as young adults, and eventual in-person meeting as adults, after Nora is married. I think any film that highlights the talent of Lee (can you believe this is her first starring role?) automatically understands the power it holds. Song’s writing and Lee’s performance are the secret weapons to this film, and what makes it so heartbreakingly beautiful. 

3. Theater Camp (Dirs. Molly Gordon & Nick Lieberman)

Theater Camp is an easy sell for anyone who was or happened to be surrounded by thespians. As someone who grew up around creative people, it was easy to immediately find familiarity in world of AdirondACTS and the colorful characters which paint the landscape. Even in its mockumentary style, you can tell the earnestness with which it was made. For first time directors, Molly Gordon and Nick Lieberman, both their sense of humor and love for creative spaces are palpable. Theater Camp remains one of my favorite cinema experiences; there’s nothing like being in an almost sold out theater laughing and cheering with a group of strangers.

2. “Sometimes I Think About Dying” (Dir. Rachel Lambert)

So, technically this is cheating. While Sometimes I Think About Dying had its premiere at Sundance in 2023, it is finally getting a theatrical release January 26, 2024. But no film has served as a barometer quite like this film. Ruminative, quiet, and moving, Sometimes I Think About Dying follows Fran (Daisy Ridley), a shy and socially awkward young woman, finds comfort in her mundane existence. Yet, when she’s not focused on her spreadsheets, she finds herself daydreaming about dying. But her thoughts are interrupted after her new co-worker Robert (Dave Merheje) starts taking an interest in her – and Fran in him. This film perfectly captures our draw for connection, and just our simple human desires for purpose and to be wanted. It’s a deeply emotional and powerful film, and I hope people seek out this beautiful film. 

1. Are You There, God? It’s Me, Margaret. (Dir. Kelly Fremon Craig)

When I had the opportunity to speak to writer/director Kelly Fremon Craig about this film, I asked her about her favorite coming of age films. She mentioned that part of why she has made films such as The Edge of Seventeen and Are You There, God? It’s Me, Margaret. is due to not having a coming of age film that spoke to her experience. It struck me because this is likely why this film holds such a special place. It hasn’t been until my late-20s and now early 30s that my adolescent self has found true reflections in cinema. Are You There, God? It’s Me, Margaret. certainly fills that void, all of these years later. Yet, maybe it’s because I’m older now, not only did I understand Margaret (Abby Ryder Fortson) and her journey, but I truly connected with her mom Barbara (Rachel McAdams). It feels so rare and magical to see girls and women depicted so honestly and authentically with the love this film has, that it makes it easy to pick it as my favorite film of the year.