The best movies of 2022

Little joke: Joel Coen confronts Shakespeare’s work and, with the invaluable collaboration of a Denzel Washington and a Frances McDormand beyond praise, discovers in this twisted and sinister moral fable the ur-text that guided movies like Fargo or Burn after reading .

Three macabre stories in stop-motion animation have a house as the only common link. However, the space itself mutates from proposal to proposal, almost as much as the different formal proposals of one of the most stimulating animated films in years.

Like 1917 , but with a lot more action. Starring Scott Adkinson, this hard-hitting action film makes the most of the possibilities of digital cinema to present us with a siege simulation in a rigorous shot-sequence.

After climbing to the Oscar Olympus with The Shape of Water (2018), Guillermo del Toro takes advantage of his creative letter of marque to bring to life this new version of one of the strangest and most uncomfortable noir classics of all time.

Will Smith is clearly going for his first Oscar in this interesting sports biopic. We’ve all heard stories about the Williams sisters’ father, but now we get to experience them firsthand.

There is something very disturbing and primordial in the raw material that Paco Plaza (director) and Carlos Vermut (screenwriter) handle in this generational horror tale. Something that elevates his proposal to a privileged area within contemporary fantastic cinema.

Murakami’s best film adaptation to date, and an Oscar nominee for Best Foreign Language Film, manages to contain many life lessons in its generous footage. A jewel that talks about pain, passion, forgiveness, loss and how cool vintage cars are.

“Stay with whoever runs after you”, we said in our review. It is evident that PTA needed to shoot a film as luminous, as well as undeniably sad, like this one. Romantic cinema that flees from the obvious to focus on what really matters.

Simply incredible what the debuting director and screenwriter Maggie Gyllenhaal does with the text by Elena Ferrante, who does not lose an iota of ambiguity in a sustained translation, of course, on the shoulders of a handful of excellent actresses.

The Bat Man rises again from the shadows. There’s a lot to admire here: from the cinematography to Matt Reeves’ gloomy formalism, to a truly iconic soundtrack and a Robert Pattinson who really seems to have understood the tortured (but still 100 percent pop) soul of the film. character.

No, it’s not the commercial for that phone company that calls you every day at lunchtime, but one of the best-written and best-acted female characters of recent years. You need to meet this protagonist, in a nutshell.

A film designed to provoke an intense debate on how certain political decisions can end up destroying the life and body of a woman with the whole future ahead of her.

Michael Bay decides that contemporary action cinema lacks excess, madness, improvisation and manic energy, so he calls for an ambulance. But not for him.

Curious romantic-railroad drama that achieves something so, so complicated as introducing us to two credible characters throughout a journey that, in the end, we also feel is ours.

It’s not perfect, but Robert Eggers’ first foray into big-budget cinema retains all his stylistic cues and contains some of the most brutal shots of the year.

The great winner of the last Berlin Festival serves as confirmation of the talent of a director capable of extracting magic, truth and transcendence from everyday life.

Working-class America is once again placed under Sean Baker’s objective humanist, this time focusing on an ex-porn star and his incredible circumstances.

An impressive collection of home movies and archival footage make up the vital collage of this documentary about Val Kilmer, who we can meet here through the eyes of his family.

Kilmer also makes an emotional cameo in the biggest blockbuster of the post-pandemic era, resounding testimony to the levels of entertainment that only Tom Cruise seems to know how to reach today.

Apichatpong Weerasethakul’s cinema is not for everyone, and his first Western feature film is no exception. What it is: a masterpiece of slow cinema and science fiction.

The true multiverse of madness is the one that the owner of a laundromat must face during a particularly stressful day at the Treasury. Pure cinema, pure enjoyment.

One of the most enchanting science fiction epics of recent years. It might have done better at the box office without the Toy Story brand (which raises unhelpful expectations), but its pacing and the amount of insight it packs into a childish fable about trusting others is commendable.

The king returns, thanks to the magic unleashed by a director, Baz Luhrmann, unique when it comes to translating the pop icons of the past into contemporary audiovisual language. Austin Butler and an unrecognizable Tom Hanks shine in this retelling of the American Jesus Christ story as told by the Devil.

Inspired by a short story by Joe Hill, this disturbing chamber piece locks us up for the most part in the same basement as the boy protagonist, as Scott Derrickson is unique when it comes to conveying terror thanks to clever staging.

The ones proposed by Mia Hansen-Love are not typical vacations, since she is more interested in observing the slow decomposition of a marriage than the (astonishing) landscapes of Faro, the real island where Ingmar Bergman lived and worked. His ghost still lives there. And she becomes palpable in this film.

In the hands of Terence Davies, the life of Siegfried Sassoon, a World War I veteran who used poetry as a tool to denounce power, becomes a maze of passions dominated by the inner agony of a soul that, in a certain sense, He was never able to get out of the trenches.

Simply one of the best performances that Nicolas Cage has given us in his entire career. And we say it without an iota of irony.

Probably no one expected Gaspar Noe to have this film in him, but boy did he. His message is as simple as it is terrifying: old age is an island surrounded by death. His staging, of course, is an absolute triumph.

The pinnacle of modern science fiction and the best film to date by a filmmaker, Jordan Peele, who keeps growing and growing with every step he takes. His wildest ideas always end up fitting into a narrative puzzle that he also fulfills, and how, his part of the deal on a visual level. 

Some people think that Albert Serra would have deserved the Palme d’Or for this elusive spy tale (at least, we think that’s what the plot is about) set in a boring paradise. The truth is that it may be his most spectacular film so far.

Spanish cinema does not lavish itself too much on sports dramas based on real events, so we must thank those responsible (above all, the leading actor couple) for this kind of Rush set in the Barcelona ’92 Olympic Games. Its climax leaves you breathless.

The new from George Miller, the visionary behind Mad Max: Fury Road , is a delicate homage to the art of storytelling that vindicates dreams and fiction as complements to a gray reality. Especially thought for young spectators with a curious mind.

Welcome to the land of unnecessary surgery, welcome to the domain of David Cronenberg. His triumphant return is, at the same time, one of his most icy and contemplative works: like a catalog of possible physical and mental mutations that he faces the apocalypse with some hope, since every end also represents a new beginning.

The definitive documentary-journey on David Bowie, the one that an artist like him really deserved. Try to see it on the biggest screen possible, because it’s about letting yourself be carried away by the sounds and words of an alien talent that left its mark on this planet. 

Horror movie of the year. Prepare your soul to suffer for three hours the same ordeal that Ana de Armas goes through in this dark, brutal, nightmarish and merciless twist on the life of Marilyn Monroe. Will not leave you indifferent.

Human relationships are complicated. Under this premise, Claire Denis investigates one of the most intense love triangles in recent cinema, and the result is a melodrama capable of executing double somersaults (and without a net) without fear of not landing on its feet. Live and vibrant cinema.

A truly scary horror movie! If before seeing it we no longer trusted those people who spend the day smiling, now much less.

No one better than Ricardo Darin to lead this excellent historical drama about the correct way to heal national wounds before their effects are perpetuated over time.

One of the most impressive Spanish debuts in a long time. Carlota Pereda knows exactly how to lead us by the nose with a tough and gruesome story, but incredibly well told.

By exploring his childhood memories, James Gray draws a clear parallel between the Reagan era and post-Donald Trump America. Oh, and he also gifts his cast with a memorable collection of characters.

Difficult as it may seem, the sequel to Punales por el back manages to be just as fun and witty as its predecessor. This time, Benoit Blanc faces the New Money.