***PLEASE BE AWARE THAT THIS PIECE IS FULL OF SPOILERS***
Every year I try to reflect on my experience with films and their profound impact on me.
After watching many new films, and rewatching some of my favorite ones, this list will only
reflect those that came out in 2022.
As we all know, movies speak to all of us in so many different ways. Some moviegoers are looking for that escapism. Some are looking for a simple distraction. Some are looking to connect with something, a theme, or a character that they can identify with. Some just want to belong to a community. I can identify with all these because watching movies, it's my favorite hobby.
No matter what your reason is to watch a film, we can all agree that one of the big joys of
it, or going to a movie theatre, is simply to allow them to take us on a journey.
There is so much that can be said about the movie experience, but for me, what resonated this year was the power of some scenes. Moments ended up staying with me for a while.
They invited some reflection or just a simple rewatch. And that probably is the only criteria; Did it stay with me? What was my connection with this scene? How soon did I want to re-watch it?
Those are some of the questions that motivated me to share my list with all of you. It is a tough task to select 10, but I carefully selected those that I kept going back to. It is important for me to highlight that I’m not ranking these scenes. Instead, I will briefly describe them and
comment on what resonated with me. So let’s go!
TÁR: The infamous Juilliard School scene. There are going to be essays about Cate
Blanchett’s performance in TÁR, and particularly this scene. Director Todd Field
masterfully directs this scene as it slowly builds into one of the most crippling and
psychologically dismantling scenes that we have recently seen. The camera movement,
the dialogue, the performances, everything is top-notch here. It is more intense than
any horror or suspenseful scene we have seen this year. And by the way, it is Lydia Tár
(Blanchett) who psychologically dismantles a student. Her ferocious performance is
one for the ages and this scene is a great example that Cate Blanchett’s histrionic skills
have no limits.
Bardo, falsa crónica de unas cuantas verdades: This is not the only movie that will make this list that involves a party and lots of music. However, in the middle of Alejandro González Iñárritu’s excellent semi-biographic film, there is a wonderful part, that serves as a celebration of the main character’s legacy as a documentarian and journalist. While in the film, the director uses characters to switch the songs that are played in the background, including his daughter’s clapping to switch to David Bowie’s "Let’s Dance". The camera work makes this an immersive and memorable sequence. From the popular “Aguanile” to “La Pava
Congona” to “Let’s Dance”, this party scene is an injection of joy, jubilation, and
adrenaline. With more than 1,000 extras paying homage to Mexican music clubs in the
1940’s, Iñárritu flexes all his muscles as a visionary filmmaker, creating a remarkable
experience with this scene. There is a movie before this scene and a movie after this
scene.
Aftersun: No film has left me thinking about it for hours and days as Aftersun did.
Director Charlotte Wells's meditative and pensive semi-biographical story of a father and
daughter vacation in Turkey slowly creates a sense of dread and sorrow in subtle ways. But the way she decided to end it, makes it an exceptional one. This is
one of the rawest and most thoughtful ways to end a film by slowly showing us that “final goodbye”, that “I’ll see you again”, or “this is the end of the line” between father and
daughter. I call it the most heartbreaking sequence of the year. Props to my pals from
For Films’ Sake, whose input on this movie made the impact of this scene more
profound.
Glass Onion: There are great monologues this year in film, but goodness, is Daniel
Craig amazing as Benoit Blanc when he unmasks a murderer. Those who have seen
this absolute riot of a sequel know that in the third act, Benoit Blanc’s monologue is
a testament to two impeccable things: one is the flawless writing of Rian Johnson and
the second is Craig’s sharp delivery and the ability for comedy and line delivery. There are so
many quotable lines when Blanc is describing Miles Bron (an excellent Edward Norton):
“Miles Bron is an idiot!". But the one I keep going back to is “It’s so dumb it’s brilliant”
(Kate Hudson's best performance in years), and Benoit’s response is “No, it’s just
DUMB!”. He is acting in this scene with no one but just himself, and at the same time
while acting as a narrator for the audience and solidifying his status in the Knives Out
series as the World’s Greatest Detective.
RRR: The song "Naatu Naatu" is the perfect example of why RRR is the sensation and surprise of 2022! If you have seen the movie, you know that this scene is
why S.S. Rajamouli is in contention for Best Director during this awards season. The energy
that this scene inserts into an already exciting adventure blockbuster, is what any big-budget film aspires to. The choreography, the set piece, the costumes, the MUSIC, and the
editing are just a few of the accolades that make this a must-watch film. Not only is the
song great but the film itself deserves all the flowers it has been receiving. And I
almost forgot to mention the performers. Let me say that you will not see a better
bromance and great-looking duo of actors in any film this year than Ram
Charan and N. T. Rama Rao Jr. Remember those two names.
Babylon: I know many people are raving about the famous “Hello
College” scene from this mast-, erm, gem (inside joke) of a film, but the one I couldn’t stop
thinking about was the big party sequence at the beginning of the movie. I am not sure
if Damien Chazelle was trying to emulate some of the most energetic and magnetic “all over the place” scenes from Martin Scorsese, but what he gave us here in terms of filmmaking is
precision and a great example of setting the tone for the rest of the film. The adrenaline-pumping opening sequence is all about excesses in a big “fiesta” setting or maybe a
“house party orgy” that shot after shot you are introduced to some of the characters.
This is all injected into the audience while Justin Hurwitz's (composer) bombastic
orchestra is in the background. This is by far my favorite Justin Hurwitz score and
possibly one of the biggest contributing factors to the enjoyment of this scene. What
Chazelle achieved here is truly the work of a man who was given the green light to do
anything he wanted in a film, and he did. Linus Sandgraden's camera adores Margot
Robbie and everything she is doing. If you haven’t seen it, go to a movie theatre. And
yes, go watch it. It is a must-watch. Whether you love it or hate it, there’s a lot to admire,
mainly in those first 90 minutes.
Everything Everywhere All at Once: Choosing a scene from this movie was the
absolute CHALLENGE of this exercise. I connected with this film in so many ways and
the irony is that the scene involves two rocks. Representing a mother and a daughter.
For me, it is the best use of silence and captions I have seen in any movie in recent years.
Maybe as an ode to silent era cinema or maybe just to highlight the importance of
appreciating the physical presence, touch, or sound of the voice of a loved one. There
is a moment within that moment in which there’s a very pronounced silence and I will
never forget how in my theatre you could hear a pin drop because we were all absorbed by that moment. I remember hearing some sniffles from the audience. If this is not one of the best things I have experienced in a movie theatre, then I will never know. This is my number one movie of the year, and this scene is one of the many reasons why.
Avatar: The Way of Water: I know that when we talk about Avatar: The Way of Water we will always highlight the technical achievements and the impactful visuals. But when you connect with a film on an emotional level, all these technical marvels are secondary. At least to me. Maybe one day I’ll talk about how meaningful the Avatar films are in a book or essay, but for now, I will comment on the one scene that stayed with me. When the film is reaching its conclusion, Kiri, one of the new characters of the film and adoptive daughter of Jake Sully and Neytiri, finds her mother with her little sister almost drowning. She comes to the rescue
and gives her these “gulls” or “wings” that help her breathe underwater. While I was watching it, I remembered losing my mom 13 years ago from a long battle with a lung condition. That simple gesture made me reflect on everything that I would have done to give my mother more air, and more oxygen, to enjoy the amazing accomplishments of her children, grandchildren, and her whole family. Making this type of connection might not have been the intent of Cameron’s script, but my connection with it, is what we call "the magic of cinema”. What I took from that scene mostly is the question of, who is that person that gave us that “little help”? Who is that person that gave us a little bit of oxygen in our lives? Maybe a friend or a family member, or a significant other. What Kiri did for her mother, is what we can also do for others too. Cheers James, you did it again.
Argentina, 1985: When we talk about memorable scenes of the year, I must include
another incredible monologue and performance from the ever-relatable and flawless
Ricardo Darín in Argentina, 1985. A movie that has been gaining momentum in the
awards season and if we do a survey, Darín’s monologue in the third act might be a
good reason why this film plays so well. This movie depicts the macabre and horrifying acts of the dictatorship that took place from 1976 to 1983. In Argentina, Darín’s performance as the public prosecutor is a true testament to his legendary career as an actor. His delivery
and the editing of the scene go into a crescendo towards one of the most crowd-
pleasing moments of the year with his 8-minute closing statement in the trial. Although
the story is still a tragic one, his reserved and heartfelt performance is indeed the heart
of this procedural and methodical courtroom drama.
Top Gun: Maverick: There must be something exciting or at least memorable in a
juggernaut blockbuster film, right? When I think of Top Gun: Maverick, I have to echo
what many have been highlighting in that incredible edge-of-your-seat third act. The spectacle that is on display here is an undeniable and jaw-dropping stunt and camera work. This sequel to the 1986 top-grossing film, had no right to be one of the front runners for Best
Picture of the year, but it rightfully deserves that recognition. And one of the
contributing factors is that nail-biting finale that does take your breath away (no pun
intended). In fact, watching this on IMAX is one of those experiences that I would like to
replicate over and over again.
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