2022 was rich in premieres of both auteur cinema and Hollywood blockbusters and superhero stories. Which films of this year were especially memorable and beloved — film critics, film bloggers, and film professionals tell in an exclusive article on 'A...

Everything new is well-forgotten old. This phrase describes what is happening in modern (at least mainstream) cinema better than ever, given the number of remakes, reboots, and new interpretations of old 'tales'. Nevertheless, there are always directors, screenwriters, and producers who unearth something interesting and extraordinary.

In 2022, there were many premieres of both auteur and mass cinema. Among them were sequels and remakes, winners of various festivals and streaming releases, fictional stories and films based on real events. Which of them have remained in memory, given vivid emotions and inspired bold ideas and reflections — film professionals from various fields, from film criticism to film distribution, told us.

Anastasia, ex-editor of Interview, GQ, author of the Lazy Editor channel

«Thirteen Lives», director Ron Howard (UK)

While various authors criticized capitalism, dissected the golden age of Hollywood, studied cancel culture, and filmed 'amarcords' again, director Ron Howard took on a real story about rescuing child footballers from a flooded cave in Thailand. It happened in 2018; the whole world followed the evacuation of the kids, and later a detailed documentary film The Rescue came out — it seemed the topic was closed. But the artistic adaptation, firstly, did not disappoint, and secondly, came at the perfect time. In the ruthless 2022, there was a great need for a simple statement about the value of human life.

Stars Viggo Mortensen, Colin Farrell, Joel Edgerton act delicately here; the entire focus is on the participants of the tragedy. The technical side is amazing; following the underwater filming is both fascinating and frightening. I recommend it to everyone who has not lost faith in human kindness and mutual assistance.

Artem, author of the 'Remizorro' channel

«Everything Everywhere All at Once», directors Dan Kwan, Daniel Scheinert (USA)

For me, this is the main cinematic revelation of the year. An armor-piercing sourness that, closer to the finale, finds such a strong response from the viewer in these times with its message that it sends shivers down your spine. It's a high-energy film, fast and fleeting, like our lives. But despite this, it manages to help us understand ourselves and start looking around. It helps to realize and love.

Despite such a sharp narrative, seasoned with humor and solid fighting, this film is actually a big drama that can become very personal. The eternal philosophical question about 'my life' is presented here in the format of a multiverse, where, by discovering new strengths and skills within herself, our main character figures out herself and helps others do the same.

I really liked that the main characters here are members of one family. A difficult family, a family that has become alienated from the outside world and from themselves. At the beginning of their journey, they do not see the evil that is called 'indifference' here. But by immersing themselves in new worlds, they not only defeat this evil and in the end come to the most important phrase of the film — 'I will always choose you'. This, for me, is perhaps the most emotional moment of the picture, since I live with the opposite thought (we'll skip the details here, if you'll allow me).

An incredible film that has everything, which is for everyone, and which, alas, is not everywhere.

Lika, film blogger, author of the 'FILMBLOG | li_serials' channel

«Good Luck to You, Leo Grande», director Sophie Hyde (UK, USA)

An hour-and-a-half dialogue that is not afraid to raise important topics. 'Good Luck to You, Leo Grande' (the original title translates as 'Good Luck to You, Leo Grande'), in my opinion, everyone should watch alone. A personal story of self-acceptance, discovering sensuality, physical and emotional openness, about contact and conversation with one's body.

Nancy Stokes (Emma Thompson), a widow and retired teacher who has always suppressed her desires, decides to fulfill her dream — to gain sexual experience and experience pleasure. She books a hotel room and hires an escort, Leo Grande (Daryl McCormack). Each has their own path, their own traumas. Nancy and Leo are completely different, but they help each other fill the gaps. They come to mutual understanding, acceptance, relief through awkward, heartfelt conversations about shame and self-realization.

Exarch-compiler of the 'Hands of Bresson' channel

«The Northman» ('The Varangian'), director Robert Eggers (USA, China)

Choice is a scalpel cutting into the living. And if this is choosing from among hundreds of films of a year drawing to a close, then somewhere Lemarchand's box clicks and the cold of torment blows.

But the main premieres (including many Oscar contenders) stretched into December, so let the choice of Film-2022 be subjective and even, to some extent, illogical.

Robert Eggers' third work was hotly anticipated, warmly received, coolly accepted, and forgotten. But, six months later, the theme of 'The Northman' is more relevant than ever. The main character feels only the pain of loss and the pulse of revenge, he follows, as he believes, his destiny, accepts fate as a given. An eye for an eye, the laws of the ancients — to the ancients, and the path of wrath is rightfully crowned with death. The final scene of 'The Northman' — like a warning: having lost everyone and themselves, two madmen, having crossed swords, are unable to stop, everything is burning around.

Ksenia, editor, film critic, author of the 'What was that' channel

«Everything Everywhere All at Once», directors Dan Kwan, Daniel Scheinert (USA)

A unique film about everything everywhere all at once and at the same time about the main thing, which you want to rewatch immediately!

The complex action on screen works like hypnosis: the dynamics and clip-like editing of the first part are full of a kaleidoscope of cultural references, but by the middle of the runtime, the rhythm slows down, the film, like the universe, contracts, lines converge, and there is time to breathe out, to examine it. Big Idea.

It turns out that behind the excessiveness there was a big statement about love, a reflection on its causelessness and all-encompassing nature. One can only envy the inventiveness of the authors, who managed to pack a deep thought into a colorful package, contenting themselves with a relatively small budget.

I remember how in April I wrote the phrase 'presenting the best film of the year so far' — it turned out to be prophetic. No project has ever topped the film by Dan Kwan and Daniel Scheinert.

Ilya, author of the 'DolenKino' channel

«The Black Phone», director Scott Derrickson (USA)

Perhaps for the first time in my life, I will say that a cleverly made film based on a story by Joe Hill (by the way, Stephen King's son) is better than the story itself. The obsessive childhood memory of the story's author is connected to an old black rotary phone hanging on the wall in his parents' basement, which was not connected to anything. He recalls that in childhood, the worst thing he could imagine was a phone call.

A creepy and masterfully directed film reproduces a delightful 70s atmosphere to the ominous instrumental track On the Run by Pink Floyd, filled with nostalgia and references to Stephen King.

'The Black Phone' is a sweet and tender coming-of-age story, artfully disguised as something much more sinister. At first glance, it's the simplest psychological horror, but its true message is to find the inner strength within yourself to survive in this world. Derrickson managed to make his best film, which manages to create genuine thrills and make you feel fear. It's all so realistic that you will never be able to hang up the phone.

Ksenia, author of the film blog The Film Addiction

«Men», director Alex Garland (UK, USA)

Oh, this wonderful, uncomfortable world of men.
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A film by Alex Garland ('Ex Machina', 'Annihilation') starring Jessie Buckley from studio A24. About a woman who, after tragic events, moves to the English countryside.
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Every time the eye relaxes and contemplates nature along with the main character, a man enters the frame. And it becomes terribly uncomfortable even from his very existence, appearance, look, tone, words, and actions. Uncomfortable men replace one another, but if you look closely, they all have the same face (all played by Rory Kinnear).
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The film is woven from metaphors and images and doesn't have a clear plot. I love such films. Where you need to think, where you catch what the author wants to tell you. The film is strange, uncomfortable, but at the same time mesmerizing and aesthetic. Thank you, Garland, for toxic masculinity and for an excellent provocation of the viewer.

Lida Kravchenko, co-author of the horror channel 'The Cabin in the Woods' and the project about film and books 'Sponsored Material'

«Speak No Evil», director Christian Tafdrup (Denmark, Netherlands)

The most brutal film of the year, clearly showing how public pressure dulls intuition, and the abnormal gradually becomes the norm. A boring Danish married couple meets a family from the Netherlands on vacation in Italy: a jolly doctor, his smiling wife, and their shy son. They are pleasant, positively loud, and the Danes spend their vacation time excellently with them — and a few months later, the new friends invite our heroes to visit them in the Netherlands.

Why is it more important for a person to be convenient than to feel comfortable? How does it happen that someone who wants to defend their boundaries looks like a boring sad sack? Where is the line between politeness and self-respect? 'Speak No Evil' (which in the original is called the laconic 'The Guests') masterfully lulls both the viewer and the characters to sleep, forcing them to neglect their instincts — and to their detriment. The finale, on the one hand, unexpected, on the other, quite predictable, amazes and leaves behind a disgusting feeling of insecurity. An amazing, intimate, and at the same time powerful statement about boundaries and trust in oneself.

Mikhail Borodin, director of the film 'Products 24'

«Nope», director Jordan Peele (USA)

The year turned out, frankly, not for cinema. Nothing specific comes to mind. 'Turning Red' is great, but for some reason I think more about 'Nope' by Jordan Peele. This is a film about cinema, but at the same time about helplessness before a 'something' that hangs overhead. Someone tries to make money on it, someone tries to put on a show, but all attempts are pointless — it will devour you. We can capture it, we can try to reflect on it, but it seems the most correct way is to fight, but how?

The characters are simple folks who run a farm until a 'something' flies from behind the mountain and starts killing them. 'Nope' doesn't set out to tell or explain something; it tries to capture time, a moment. This is the natural property of cinema. Sound, camera, we're all going to die, let's try to do it in a non-violent way. Peele's film strangely intersects with another film this year, 'No Bears' by Iranian Jafar Panahi, who is currently in prison for his statements. There, the director tries to make a film and at the same time stay on his land. How to make films in our time and stay?

'Nope' is a visual attraction for the big screen that leaves you with the question 'what is all this for?'.

Team of the film distribution company A-One

Both films that we include in our list of the best for 2022 were released in 2022. Don't think we want to pedal only our films. It's just that when you work with them, interest/love reaches a new level. But we also treat 'C'mon C'mon' and 'Triangle of Sadness' with special warmth as viewers and cinephiles.

«Triangle of Sadness», director Ruben Östlund (Sweden, France, UK, Germany, Turkey, Greece, USA, Denmark, Switzerland, Mexico)

We fell in love with this film from the first viewing — director Ruben Östlund, the wonderful Woody Harrelson and the equally wonderful Harris Dickinson and Charlbi Dean, an excellent soundtrack (on repeat every day), a Russian oligarch, sharp humor and irony. What more could you need for happiness?

'Triangle of Sadness' is a satire on the world of the rich and high fashion, which won the Palme d'Or in Cannes this year. We fully support the Cannes jury and, if we were in their place, would give all the branches of the world to 'Triangle of Sadness'.

'Triangle of Sadness' is currently showing in all cinemas in Russia. Hurry to see it on the big screen!

«C'mon C'mon», director Mike Mills (USA)

A touching, kind film about relationships between adults and children, starring the beloved Joaquin Phoenix and rising star Woody Norman. Phoenix plays a journalist who travels across America asking children what worries and delights them, how they see the future and happiness. He takes his nephew Johnny (Woody Norman) on the trip. During the time they spend together, each will learn anew to hear the other among the multitude of voices — from the carnival hubbub of New Orleans to the quiet whisper of the Hudson.

Editorial board of the film magazine ORNAMENT

«Triangle of Sadness», director Ruben Östlund (Sweden, France, UK, Germany, Turkey, Greece, USA, Denmark, Switzerland, Mexico)

— I command you: enjoy the moment!

The film by Swede Ruben Östlund won in Cannes this year and in the unofficial ranking of our editorial board: after the premiere screening, we took a couple of days to recover from the finale and discuss what it might mean.

Over two and a half hours, the director mocks white rich people who sail on a white liner and sing about equality, when everything around screams the opposite. Even the words the wife of the Russian oligarch chooses to 'let' the staff go swimming. But the heroes are in for a serious shake-up (prepare paper bags), after which they will have to switch roles with those who listened to speeches about lofty things from the lower deck. 'The Triangle' could have been a boring edification, but instead it makes you laugh and breaks scenes down into memes. Thoughts about the subtexts catch up with you only after watching.

ORNAMENT magazines are a real gift for a cinephile. Each issue is compiled with love, and every detail on every page feels the care and attention of the editorial board. Currently, ORNAMENT is preparing to release a new author's issue dedicated to the work of another talented director — Jim Jarmusch. Pre-order is already open.

Hopes for 2023

Not all films worthy of attention are included in this list, simply because they haven't been released yet. Such a fate befell, for example, Spielberg's 'The Fabelmans' and 'Babylon' by Damien Chazelle. Although few doubt that these films should be on the list of the best for this year. But we can say that 2022 in cinema ends on a beautiful note in the company of Margot Robbie, Brad Pitt, Michelle Williams, and Paul Dano.

The next 2023, thanks to promo campaigns, already gives hope for an interesting cinematic experience with 'Oppenheimer' by Christopher Nolan, promises a farewell to James Gunn's team of heroes in 'Guardians of the Galaxy Vol. 3', prepares a new action film 'Operation Fortune: Ruse de Guerre' from Guy Ritchie and 'Killers of the Flower Moon' by Martin Scorsese, a brooding Keanu Reeves in 'John Wick: Chapter 4', the fearless Tom Cruise in the seventh 'Mission: Impossible' and other films that, even if they are not an original authorial statement, can still please with visuals and action. So, gather our remaining strength and go into the new year with hopes for something exciting, heartfelt, and bright.