Compiling the list of the 10 best films of the first half of 2020 was difficult but fascinating.

In the new reality, six months passed unnoticed. At the same time, the first 6 months gave us a mass of fascinating projects, from spirited debuts to films by true masters of Hollywood and European cinema.

From the huge variety of films we watched, we selected for you the 10 best films of the first half of 2020. For more intrigue, we ranked the works. Can you guess who is on the first step of the podium?

10th place — A Hidden Life

In mid-March, before cinemas closed for quarantine, a new work by Terrence Malick managed to debut. Surprisingly, after a series of airy and largely incoherent films, the director of 'The Thin Red Line' returned to the realm of narrative and audience-friendly cinema, if you will. Well, almost returned.

'A Hidden Life' tells the story of an Austrian shepherd who, during World War II, refused to swear allegiance to Hitler. Despite the threat of the death penalty and possible hardships for his family, Franz Jägerstätter does not waver from his principles, refusing to side with the Nazis.

This film is distinguished by the same ethereal cinematography that characterized Malick's recent projects, but along with the impressive beauties of Austria, the creative team of 'A Hidden Life' did not forget about the main thing — the story. The simple and clear idea embedded in the plot allows you to empathize with the characters, fear for Franz's future, immerse yourself in the rural lifestyle of ordinary people, and draw obvious conclusions. Malick didn't quite reach a masterpiece; the conflict was too simple, and the messages were straightforward to the extreme, but this is clearly a step towards the viewer from the iconic director.

9th place — The King of Staten Island

After 5 years, Judd Apatow returned to big cinema to tell a unique biography of comedian Pete Davidson ('Saturday Night Live'), who also plays the lead role in the film 'The King of Staten Island'.

In the plot, a 24-year-old slacker named Scott tries to occupy himself with all sorts of nonsense, from dreaming of opening his own tattoo restaurant to smoking weed with his short-sighted friends. The death of his father, who served as a firefighter, left a noticeable mark on his life. Nevertheless, Scott needs to grow up, because his little sister is going to college, and his mother is finding new love; symbolically, the suitor is also a firefighter.

The guy played by Davidson seems to be a reflection of Staten Island, an unattractive area of New York, known mainly for its huge landfill. He is on the outskirts of real life, which he tries in every way to avoid approaching.

The actor on screen essentially portrays himself; he's covered in strange tattoos, grew up on Staten Island, lost his firefighter father during the 9/11 attacks, is on antidepressants, lives with his mother, but despite all this, he doesn't lose his optimism.

Apatow's sad comedy is not like classic inspiring films about self-acceptance, growing up, or finding one's place in life, but in a peculiar form, it still raises all these questions and examines them through the prism of one specific person. And it does so masterfully.

8th place — Pinocchio

Italian director Matteo Garrone is known for uncompromising films, and it doesn't matter what genre they are made in. It was all the more interesting to look at his vision of the classic fairy tale that many remember from childhood.

At the center of the plot of 'Pinocchio' is the old master Geppetto (Roberto Benigni), who crafts a real boy from a log and names him Pinocchio. The youngster is yet to get to know the world and the amazing characters that inhabit it, learn what is good and what is bad, encounter lies and deception, awe and care.

What's surprising is that Garrone made perhaps the most faithful film to the source material, without forgetting to add a pinch of his own gloomy style. Stunning sets and makeup combined with magical music allow the viewer to immerse themselves in a real fairy tale and forget about the surrounding reality for 2 hours. However, you won't be able to completely forget about reality, as the author, through the words and actions of the characters, wittily projects a reflection of the real world. A truly magical and amazing film.

7th place — The Fairy

Anna Melikyan can rightly be considered one of the most successful directors in Russian cinema and a master of working at the intersection of mainstream and auteur cinema. In her new project, she aimed for something bigger, and it can't be said that she fully realized the potential, but even what eventually came out is worthy of the audience's attention.

'The Fairy' tells several intricately intertwined stories at once. At the center of this tangle is the game 'Kolovrat', developed by the ambitious and cynical Evgeny Voigin, played by the charismatic Konstantin Khabensky. The game designer accidentally encounters a young activist, Tanya, who almost immediately begins to whisper to him about his resemblance to the great artist Andrei Rublev. Parallel to this, a group of neo-Nazis, inspired by 'Kolovrat', 'cleanses' Moscow of representatives of non-traditional sexual orientation and undesirable nationality.

In 'The Fairy', Anna Melikyan discusses topics of cruelty and art, self-identification and urban romance, religion and virtual reality. The director did not forget about the technical side of the issue, immersing viewers in a stylish urban setting, interspersed with trips to rural churches and scenes from game reality. A superbly acted, well-composed, and very bold film that will not leave you indifferent, whatever emotions it evokes in you.

6th place — An Officer and a Spy (J'accuse)

Perhaps the most scandalous film in our list today is the new work of the great and terrible Roman Polanski. This film is usually either loved for its highest artistic value, which was recognized at the César Awards, or hated for the director's attempts at self-justification using artistic means. You can kill us, but we do not see in 'An Officer and a Spy' a playing out of Polanski's own biography; instead, we can note the filigree production of capital-C cinema.

The core of the film 'An Officer and a Spy' is the famous Dreyfus affair, a trial that subsequently spawned social conflict and stirred up not only France but all of Europe. The main character of the film, however, is not Alfred Dreyfus himself (Louis Garrel), but Georges Picquart (Jean Dujardin), who tries to get to the truth on his own.

Polanski deliberately chose not to make a pompous and sprawling film, preferring strict intimacy and a focus on details. For this reason, the film is full of elegant dialogues, graceful sets, and nuances that do not harm the work but make it more cohesive and appealing. Even the deliberate dryness of emotion in the frame looks natural and organic. A brilliant work by the controversial master.

5th place — The Lighthouse

Practice shows that a director's second major film serves as a litmus test of their talents and capabilities. After the amazing and warmly received 'The Witch', Robert Eggers had to prove his independence and ambition. And in 'The Lighthouse', he fully succeeded.

Young Ephraim (Robert Pattinson) arrives on a remote island for work to become the assistant to the lighthouse keeper Thomas Wake (Willem Dafoe). In the bleak surroundings, and in the company of an unpleasant man, Ephraim gradually takes to alcohol, which soon leads him to see all sorts of things. But what is real, and what is the delirium of a drunken mind?

'The Lighthouse' became a real sensation and was seriously considered by many as a contender for the Academy Awards (at least in the acting categories and for the brilliant cinematography), but in the end, it was ignored by the film academy. This circumstance should not confuse you in any way, because 'The Lighthouse' is a highly notable spectacle that stands out against the background of many horrors.

The combination of Dafoe's infernal performance, the impressionistic visuals, the ambiguous plot, and the absolutely stunning work of the cinematographer makes this film a must-see for all connoisseurs of the art of cinema. Bravo, Eggers!

4th place — 1917

Sam Mendes is an outstanding director. His track record includes hits such as 'American Beauty', 'Road to Perdition', and 'Skyfall'. This means that from a director of this caliber, we are always entitled to expect a masterpiece and just very good cinema. And this time, Mendes gave us the latter.

Two young British soldiers during World War I are tasked with delivering a message to cancel an attack, which could save the lives of an entire battalion. Along the way, they must cross enemy lines and deliver the general's order at all costs.

'1917' is a pure adrenaline ride with an unpretentious plot about the characters moving from point A to point B. There is no deep drama or significant subtext here. At the same time, there is pure adrenaline here, which the viewer, along with the characters George MacKay and Dean-Charles Chapman, gets as they advance to their destination. The filigree work of cinematographer Roger Deakins gives the feeling of a single shot throughout the entire film, which only serves as an additional way to immerse oneself in the center of events. A very good film that should be watched on the largest possible screen with adequate sound.

3rd place — Horse Girl

The Netflix platform is an excellent place to showcase witty and complex films that would not receive due attention and recognition in wide theatrical release. 'Horse Girl' is exactly such a case.

A reclusive girl named Sarah (Alison Brie) is into handicrafts, regularly visits her former horse that has found new owners, and is a fan of TV shows about supernatural things. At some point, Sarah begins to notice that she is having strange dreams, and then she meets people from her dreams in reality. She feels that everything that is happening has some explanation and tries to find it by all means.

'Horse Girl' has several references, like 'Donnie Darko', but at the same time, it is a quite original work that skillfully manipulates the viewer's mind. The film masquerades as a twisted science fiction, then a dark conspiracy thriller, then a typical indie about a quirky girl. All these elements are needed more for the entertainment component, while the true thought is hidden a little deeper. The authors of the work, in an unusual manner, discuss the topic of mental disorders and illnesses and their impact on a person and their social adaptation. These are important and non-trivial subjects for discussion, so watching 'Horse Girl' is fascinating, and discussing it is even more interesting. An ambiguous project that can surprise, repel, and make you think.

2nd place — The Truth (La vérité)

The best French film of the year so far was directed by Japanese Hirokazu Kore-eda, the author of the famous 'Shoplifters'. Backed by an outstanding cast in the person of Catherine Deneuve, Juliette Binoche and Ethan Hawke, the director told not a poignant but a very heartfelt story about family relationships and the value of memory in a person's life.

Fading film star Fabienne has published her memoirs and started preparing for a new role, where she is to act as a supporting actress alongside a rising new star. The actress's daughter arrives from America with her husband and daughter. Upon learning about the memoirs, she decides to read them but finds not a drop of truth about herself, after which she tries to find out why her mother wrote such things about her, her childhood, and her father.

Of course, the main gem of 'The Truth' is the inimitable Catherine Deneuve, who, for once, was given room to expand within a voluminous and complex image of a largely cynical actress. The star of French cinema shines in every frame, every scene of this witty conversational film. A solid script only helps with this, and the French sets add charm and authenticity to everything happening on screen. You should not expect any revelations from the film, but it will guaranteed give you emotions, warmth in your soul, and a long pleasant aftertaste.

1st place — The Gentlemen

Stylish, funny, witty, dynamic, elegant, musical, aristocratic, brutal, unpredictable, ambitious, and memorable cinema was made this year by Guy Ritchie. And unquestionably the best film of the first half of 2020.

And which films released from January to June of this year did you remember the most?