This year felt like a once in a lifetime moment for film. Audiences flocked to theaters dressed in every shade of pink, people made plans to spend five hours in a movie theater. For what started as an internet joke, “Barbenheimer” was a wonderful moment when all everyone could talk about was film! Not movies that require you to watch ten other mediocre films from the series. Not live action films that feel stilted and obviously aiming for the billion dollar box office. No– people wanted to ask their friends, family, and coworkers what they thought of a 3-hour political biopic and a film directed by indie auteur Greta Gerwig. That’s something special, and I hope we can experience this explosion of cinematic love again. 

These were my favorites of the 2023, ranging from rom-coms to coming of age stories to courtroom dramas to the biopic. Six of these films are directed by women– I mention this as it’s beautiful the range of topics and genres these six filmmakers took on. It is still a fight, but there are women making thoughtful, heartbreaking, or just plain fun films. They just need the resources to do so. 

Some honorable mentions: Bottoms (a comedy that feels true to Gen Z), The Iron Claw (heartbreaking, to quote Kenzie– “Little Women for boys”), The Boy and the Heron (the best animated film of the year).  

10. Maestro (Dir. Bradley Cooper) 

Ambitious– this is the word I would use to describe Bradley Cooper’s vision as a director. How do you breathe new life into the biopic genre? By refocusing its narrative. Rather than running through events as if filming a Wikipedia page, Cooper looks to what the emotional throughline of this person’s life is. Cooper finds it in the marriage between Lenny and Felicia. Cooper gives Carey Mulligan the spotlight for much of the film, allowing her to give one of her greatest performances to date. A visual feat with some of the best cinematography of the year, I truly feel Matthew Linatique will go down as one of the great cinematographers. 

9. Rye Lane (Dir. Raine Allen-Miller)

Whenever I see people online bemoan that the romcom is dead, I think of this film as an example of the ways the genre is expanding and developing to meet 2023. Fresh, eclectic, and silly– Rye Lane understands that a good rom coms needs to meet both the rom and the com to create an entertaining, lasting film. Rye Lane pays tribute to the greats of previous rom coms, while also forging new ground with its fun cinematography and colorful depiction of London life. 

8. Anatomy of a Fall (Dir. Justine Triet)

Justine Triet dissects true crime and the courtroom drama, and fashions a story that feels new and exciting for the genre. Performances all around are fantastic, with one of the greatest animal performances ever put to screen. By the end of this story, it doesn’t necessarily matter if she did it, but rather what this marriage took out of everyone in this small family. Also, Swann Arlaud became the sexy lawyer and broke Twitter. Fancams will never be the same. 

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

A thoughtful coming-of-age story that is authentic to a pre-teen girl’s actual experiences. An ambitious film for the mere fact that it’s an adaptation of a novel that is so beloved, Kelly Fremon Craig proves she has mastered the coming-of-age genre. A wonderful cast all around, but Rachel McAdams’ performance is the stand-out for her beautiful depiction of motherhood. She makes all the right choice with this performance, and her arch is just as developed as her daughter’s. Watching this with my mom and sisters was a treat, and tears were shed! 

6. Killers of the Flower Moon (Dir. martin Scorsese)

Martin Scorsese is our most important American auteur, and that we continue to be blessed by his films is a miracle. Scorsese’s filmography has gotten slowly more reserved and introspective post-2013’s The Wolf of Wall Street. Scorsese’s prologue to American greed is one of the highlights of this phase of the auteur’s career. Lily Gladstone crafts the performances of the year. Her face holds so much in a single expression. She can deliver entire monologues with just a glance. The moment she breaks down as her family is torn apart is one of the most heart-wrenching moments of the year. Killers of the Flower Moon has one of the best endings of the year. Part meta commentary on Scorsese’s position as a filmmaker, and part an enduring message of hope– it is a daring ending and perfect for the story Scorsese is telling with this film. 

5. Past Lives (Dir. Celine Song)

Greta Lee’s expression explodes into joy and excitement as she approaches New York City for the first time. It’s a shot that has stayed in my mind, and perfectly encapsulates Greta Lee’s wonderful performance. This beautiful love story represents some of the best of this year’s independent film. Full of thoughtful parallel editing, gorgeous film grain, and a contemplative score– it’s incredible that this is a directorial debut. I keep thinking about how much of this story parallels Celine Song’s own journey as an artist. Semi-autobiographical art is always wonderful, allowing the freedom to draw up new narratives but also grounded in very real emotions based on personal experience. It’s why Lady Bird is one of my favorite films, and why Past Lives works so well. 

4.  May December (Dir. Todd Haynes)

A masterclass in balancing tone– an examination of lurid tabloids, a modern melodrama, and above all a tragedy. The performance of the year in Charles Melton’s little boy trapped in a man’s body. His posture, quiet voice, and eventual cracking is perfection, the star-is-born performance of the year. All three of the trio’s performances are assured and detailed, with Julianne Moore’s lisp and Natalie Portman’s hubris. Todd Haynes perspective as a filmmaker is so unique, and the story penned by Samy Burch that will stay on your mind for a long time. 

3. Priscilla (Dir. Sofia Coppola) 

Sofia Coppola returns to her roots for Priscilla. It’s a match made in heaven: a young girl trapped in the gilded cage of a man trapped by fame is a story made for Coppola to adapt. Priscilla is seeped in nuance and always guided by empathy for Priscilla Presley’s story. The genius of Sofia Coppola is her amazing ability when it comes to world-building in her films. You always feel a real sense of place in her films, paired with her choice to lean into subtly rather than drama makes her an assured, mature filmmaker. Cailee Spaney does some of the best aging in film; she plays a teenager and a woman with equal confidence. Beautiful pastels, a perfect recreation of Graceland on an independent film budget, and as always a perfect soundtrack– Priscilla’s images will stay with you after the film ends. Sofia Coppola continues to be one of our greatest working auteurs.

2. Oppenheimer (dir. Christopher Nolan) 

It’s difficult to describe how amazing Oppenheimer is, because on every level of filmmaking it excels. A breath of fresh air for the biopic as a genre, the film avoids the trappings of “one great man” historical narratives by leaving you with such a nuanced portrait of our protagonist. It also always pulls out to look at the ways the choices of this one man will reverberate throughout history. Christopher Nolan also interrogates Oppenheimer’s moral neutrality. Nolan allows Strauss to hash out many valid criticisms of Oppenheimer’s inability to face the consequences of his actions. It’s a stronger depiction of this man’s life by examining these contradictions. It feels like Cillian Murphy was born to play Robert J. Oppenheimer. This role always required a subtle performer, and Cillian’s eyes convey more than any lesser actor’s yelling could. Nolan’s tendency to play with timelines and complex storytelling works well here thanks to Jennifer Lame’s editing talent. The pacing in this film allows a 3 hour film to move along with urgency. The kind of film with layers upon layers of meaning; this is a film that will stand the test of time. And it made almost a billion dollars!  

1. Barbie (dir. Greta Gerwig)

A film that easily could have been a cash grab, a cheap attempt to optimize IP and squeeze as much out as much “content” as the brand could. Yet, Margot Robbie’s insistence that Greta Gerwig write and direct resulted in something meaningful and lasting. With Barbie projects being pitched as far back as the 1990s; it feels like the project never made it out of development hell for a reason. The project was waiting for Margot Robbie’s star to rise. Greta Gerwig adds her always thoughtful and insightful perspective to Barbie, and with her pen we have the word “patriarchy” being used in a billion dollar blockbuster. The genius of Barbie’s feminism is that by the nature of Barbie’s arch, it allows Gerwig to take a step back and explain the fundamentals of feminism to a mass audience. Gorgeous production design, a wardrobe to die for, and a performance from Ryan Gosling that is some of the best of his filmography– Barbie could have been nothing, a blockbuster we all forget within the year. Rather, we have a comedy akin to 2003’s Elf, with the thoughtfulness of Gerwig’s earlier Little Women. A historical moment in the blockbuster, in which a film unabashedly for women makes a billion dollars. The film industry is better for it.