A lot of films are released every year. There’s always something to write about. However, as some films occupy more attention than others, there’s always a lot of great movies that are overlooked. Here’s 20 of the Best Movies of 2019 that you might have missed and why you might have missed them.
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Los Angeles has a lot of film festivals. Most have a focus: PAFF focuses on Pan African films, Outfest focuses on LGBTQ+ films, and LA Shorts Fest focuses on short films. AFI Fest stands out as the city’s biggest general film festival. Like a TIFF, Berlinale, or London Film Festival, AFI Fest screens exemplary movies from around the world in addition to showcase galas and premieres. AFI Fest 2020 was no exception.
However, 2020 has not been a normal year and because of it, AFI Fest’s 2020 edition was not a normal festival. Instead of taking place in Hollywood, AFI Fest 2020, like many other 2020 film festivals, took place virtually online with the TV and computer screens replacing the big screen. So whilst we can’t give you an overview of the audiences and location like we’ve previously done for the Santa Barbara International Film Festival and Pan African Film Festival, we can give you an overview of the experience and the films from AFI Fest 2020.
One immediate plus of the virtual film festival format was that there was no waiting. Instead of queuing up before each screening and running between theaters to cram in as much as possible, all you had to do was click a few buttons from your couch. You could have watched 5 films a day and still have had enough time to make breakfast, lunch, and dinner, before an early night. The only gripe I had was that the staggered release of the movies over the course of the festival, which meant you still had to create a film schedule to make sure you didn’t miss anything. AFI Fest 2020 could have fully embraced the virtual format by making everything available throughout the festival to fully cater to the audience. That being said, although it was shame these films couldn’t be seen on the big screen, the overall transition to virtual worked perfectly.
AFI Fest 2020 championed its diversity from the first press release. Of the 124 films included in the festval, 53% were directed by women, 39% by BIPOC, and 17% by LGBTQ+. There was a decent representation of most of the world too. The Americas and Europe were strongly represented, and there was also a good representation from Asia. However, like SBIFF 2020, AFI Fest 2020 contained little from Africa and Australasia, with just 2 feature films and 1 short from Sub-Saharan Africa, and none from Australasia outside of Australia and New Zealand. It’s not that these parts of the world aren’t making films, as the Pan African Film Festival demonstrated. It’s that they’re often overlooked.
The quality of the films at AFI Fest 2020 was high. There weren’t too many premieres, but there were a lot of great films picked from the year’s biggest festivals. I can happily say that all of the 17 films I saw were worth a watch. Here’s how they stacked up.
After seeing Mohammad Rasoulof’s A Man of Integrity for the first time earlier this year and seeing him win the Golden Bear, I had high expectations for There is No Evil. Safe to say my expectations weren’t disappointed.
In a very close second is the immaculate Nasir. It’s a humble day in the life story that is beautifully written, shot, and acted.
All of these films are very good. 5 out of the 6 follow multiple protagonists to give the movies a more rounded perspective. The only one that doesn’t is The Intruder and it’s much more intriguing and uncertain as a result. I Carry You With Me, Farewell Amor, and Eyimofe are all relationship dramas that center on visa and immigration issues. My Little Sister and Downstream to Kinshasa both focus on grief and trauma – the former a family drama, the latter a protest documentary.
Both these films are framed around unique concepts which provide a lot of room for analysis. Tragic Jungle uses a Mayan myth whilst Apples uses an epidemic of memory loss.
Should the Wind Drop and Luxor are two warm films that I really liked. Whilst the foreigner’s transformation isn’t my favorite topic, they both worked very well. They both create location well too with one representing Nagorno-Karabakh and the other the ancient Egyptian city of Luxor.
Notturno and Piedra Sola are amazingly shot. Between them they probably contain the best images of all the films I saw. The only problem was that these incredible images didn’t necessarily translate into a complete story.
Rival and She Paradise were both good movies. Rival was just a bit too bleak for me, and She Paradise didn’t hit the expectations I had from the short. New Order also opened well before descending into nihilistic chaos. I’m sure it will have it’s fans just like Todd Phillip’s Joker.
As Los Angeles’ premiere film festival, AFI Fest is unmissable if you’re a film fan living in the city. Whilst other festivals in the city choose a focus, AFI fest screens everything. This means you’ll get to see the best films from around the world, hand selected from the festival circuit. Every film offers something that makes it worth taking the time to watch.
Whilst we weren’t able to catch any films in-person at the 30th edition of the Pan African Film Festival, the virtual screenings were almost enough to compensate. Like previous years, the international film slate at PAFF 2022 featured films from countries that other festivals in the U.S. rarely represent. Inspired by Burkina Faso and Africa’s world leading FESPACO film festival, PAFF is the best place to see films from the African diaspora in the U.S. So if you’re looking for films from sub-Saharan Africa, the Caribbean, and Black directors around the world, you need to add the Pan African Film Festival to your list.
As per previous years, we focused our coverage on the International films screening at PAFF. The Pan African Film Festival typically offers one of the most diverse film festival slates in the U.S., and this year was no different. 55 countries were featured along with 18 languages, including Papiamento, Swahili, Wolof, and Yoruba. The festival also does it part to foster new talent from around the world with 61 of the feature films coming from first time directors. The only improvement we’d love to see in future editions is equal gender parity in the director’s screened, especially within the international categories. Whilst 40% of the films featured were directed by women, it felt like this was boosted by the U.S. and short films.
Quality-wise, most of the films we saw this year beat the worst films from the 2019 and 2020 editions. Here’s how they ranked.
Bantu Mama was the most polished movie we saw at this year’s edition. It has art-house production quality, memorable acting and characters, and it tells its story incredibly efficiently (clocking at just 77 minutes long). Plus the soundtrack was on point – sonically representing the meshing cultures in a tribute to their shared African heritage.
Read the full review here.
Like Bantu Mama, Tug of War‘s high production quality and art-house film language has helped it to screen at a few international film festivals already. It sets an anti-colonial romance within the picturesque island of Zanzibar and gives it a lot of Wong Kar-Wai style. World Cinema fans will find plenty to appreciate here.
Read the full review here.
We loved the relaxed pacing of The Crossing. There’s rarely a moment where it feels preachy or designed to provoke. Instead, the light comedy and hang-out vibes turn the often traumatic topic of Africa to Europe immigration into an easy and humorous watch.
Read the full review here.
Africa & I is the perfect viewing experience for anyone who wants (or wanted) to travel across the African continent. Othmane Zolati’s journey from Morocco to South Africa is unique and inspirational even if the narrative structure is fairly unoriginal. He shows you how to travel on a budget whilst deconstructing the tourist misconceptions of Africa.
Like Bantu Mama, Doutor Gama features another great soundtrack, this time courtesy of Tigana Santana. His voice gives a melancholy calmness to Dr. Gama’s traumatic life. Whilst the biopic is good, it feels a bit short. It jumps from slavery to an established civil rights lawyer in just a flash, when it could have done with covering more of his life in between.
Ayinla‘s plot is a bit undercooked; hitting beats in Ayinla Omowura’s life without piecing them together. However, the music makes up for it, even if the lyrics aren’t always subtitled. For anyone into Nigerian music, or biopic style movies on making it in the music industry, Ayinla is worth a watch. It’s a decent tribute to both Ayinla Omowura and Abeokuta, the colorful city that both the director and the music star share.
Read the full review here.
If you’re looking for a well made film from Martinique that gives a sample of Martinican culture, watch Zepon. Whilst it falls into some tired World Cinema tropes, there are some brilliant moments in the film that are supported by light humor that carries the film from start to finish.
Read the full review here.
The Zoom call format of Tales of the Accidental City is a bit limiting, and already feels dated as quarantine restrictions have largely disappeared. However, if you’re simply looking for a quick Kenyan comedy, this film is worth a watch. It playfully makes fun of a few stereotypes of the city, giving the audience a few laughs and a small understanding of Nairobi society.
Read the full review here.
Israeli history is complicated, as any documentary on its formation and relationship with Palestine and the West can confirm. However, With No Land focuses on an overlooked prejudice – the rejection of the Black Ethiopian Jews into the Israel state despite the Israeli Citizenship Law that grants every Jew in the world the unrestricted right to become an Israeli citizen. However, whilst the topic is interesting and eye-opening, the abundance of talking heads interviewees makes it very dry.
Whilst there are some nice shots of the rural/desert landscape, Hairareb failed to live up to the blurb. It’s not about the drought that brought the two main characters together, and it’s not about the newlyweds past lives, or living in rural Namibia. All of the narrative development is sacrificed for the sake of creating domestic melodrama, leaving the film feeling pretty hollow.
Read the full review here.
Juwaa is a well produced movie from the African diaspora. However, it’s incredibly bleak. It hits all the genre tropes of misery porn, starting with a traumatic childhood event which destroys the characters later happiness. Whilst there is some sort of resolution at the end, it’s not enough to make up for the depressing time spent watching the rest of the movie.
Visit the Pan African Film Festival 2022 page for all our full reviews from the 30th edition of the festival. Reviews from past editions of PAFF can also be found here: 2020, 2021.
Last weekend, the 5th edition of the Nollywood in Hollywood film festival returned to Los Angeles for another brief showcase of the best Nigerian films from the past year. This year, the festival ran for two nights, screening Gone at the USC School of Cinematic Arts on Friday, before heading over to the West Side for Juju Stories at The Aero. Whilst we were only able to attend Saturday’s screening, we encourage all film fans to look out for Nollywood in Hollywood next year. Not only are the screening’s a brilliant showcase of new Nollywood films in a city that often overlooks the African film industries, but these screenings are free and very well hosted.
In many years of attending film festivals, Nollywood in Hollywood’s screening of Juju Stories was only the second which actually provided regional food to the entire audience ahead of the film. The other was a screening of Mohamed Al Daradji’s The Journey for the BFI Fest for which the Iraqi Embassy supplied Baklava to everyone attending. Whilst free food isn’t necessary to enjoy movies, it does add a memorable touch that will probably make you more open to whatever film you are about to see. From what we saw, the free meat pies, spring rolls, and puff puff excited a few attendants familiar with the foods, and made others more open to socializing to discover what the food was and to learn more about the event in the cinema lobby ahead of the film. It’s a great way to get an unfamiliar audience open to experiencing unfamiliar films.
Whilst ‘Nollywood’ has come to stand for all film production from Nigeria, Nollywood boomed in the late 1980’s/early 1990s with the arrival of the VHS system. VHS made filmmaking cheaper and therefore more accessible, allowing anyone (filmmaker or not) to have a go at making their own films. It also made it easier to distribute films, as VHS opened the home video market, meaning filmmakers didn’t have to have to make deals with theaters to get their films seen. Because VHS made it easier and cheaper to shoot films and get them seen, filmmaking in Nigeria exploded. At certain points in the 2000’s the Nollywood film industry was making an estimated 4 films a day! However, alongside the boom in production, the new face of Nigerian cinema faced a lot of criticism. Opening up the film industry to everyone loosened the standards of filmmaking as well as the themes. Many of the new Nollywood productions focused on witchcraft and juju, giving viewers a skewed view of Nigerian (and African) culture.
Juju Stories is an example of the current state of Nollywood film. As the focus of Nigerian film production has switched back to theatrical releases supported by larger budgets, the production standards have improved. Many Nollywood productions are now screened in cinemas at home or abroad, as well as reaching international film festivals and streaming platforms. Whilst the themes made popular in the Nollywood home-video era remain (such as witchcraft), the films look a lot better. Juju Stories is a great example of this. It includes three different stories shot by three different filmmakers from a Nigerian film collective that all touch on Juju. Each short is very well made, and the comedy fit the big screen environment perfectly. It reminded me of a screening of Argentina’s Wild Tales that I saw a while back in which one man, probably Argentinian, was cracking up throughout the film. Similarly, the audience at the Juju Stories screening was cracking up and shouting out at the characters on screen.
Unlike the Nollywood movies of the home-video era, today’s Nollywood films are at home on the big screen. So do yourself a favor and acquaint yourself with Nollywood at the Nollywood in Hollywood film festival next year to see Modern Nigerian film where it should be seen: on the big screen.
Keep an eye on the Nollywood in Hollywood website for details for next year’s festival.
If you’re looking for a film festival that’s just as likely to screen a cult horror film as a classic John Woo action alongside a bunch of film premiere’s from Hollywood and abroad, you should check out Beyond Fest. It claims to be the highest attended genre film festival in the U.S. – which we can definitely believe as both premieres we saw were sold out. Plus, the slate catered brilliantly to the genre community in Los Angeles with screenings from a diverse range of films that spanned from Tollywood and Indian Cinema legend S.S. Rajamouli to premieres of the latest Park Chan-wook and Hollywood horror films.
We only saw two film premieres at the 2022 edition of the festival. Holy Spider, Ali Abbasi’s long anticipated return following his amazingly weird fantasy-romance-thriller Border, as well as Park Chan-wook’s latest (no introduction needed) Decision to Leave.
As expected, Holy Spider was a very well made true crime thriller set in the holy city of Mashhad. It follows the killer violently taking out his victims simultaneously as a rogue journalist reporting the story. The violence is a little exploitative, and the killer’s perspective in these moments comes across a bit distasteful situated within the current popularity of the true crime genre in which serial killers have been turned into celebrities. The focus on his perspective also diminishes the impact of the anti-patriarchal quest of the female journalist, which generates the film’s political message. The violence is more shocking than the anti-patriarchal society, and the film leans into this by showing both sides. Following the originality of Border, it was also surprising to find a very ‘by the book’ true crime thriller. Apart from one speaking corpse, there was nothing to identify this film as something from the same director. It’s a well-made film, but not as original or biting (politically) as desired.
Our film viewing history also affected expectations for Decision to Leave. Having only seen Oldboy and Handmaiden, we expected Park Chan-wook’s latest to be defined by some weird sexual scenes too. Instead, Decision to Leave proved to be one of the best modern noirs we’ve seen, complete with a very normal romance, at least in comparison to the films mentioned above. It follows a bored in marriage detective that falls in love with the suspect of a murder case. The brilliance in the film comes from the little things, such as the humorous clues of a brewing romance (including expensive sushi), and a hilarious way to take part in a knife fight. Park Chan-wook also uniquely meshes two shots into one to more efficiently convey the detective process. One example of this is when he merges the detective on stakeout with shots of the suspect by placing the detective ‘in’ her apartment talking through the detective process with the suspect. Another is when Chan-wook edits the detective into the reconstruction of the murder. These innovative scenes along with the injections of humor make Decision to Leave immensely engaging to watch.
Following the success of the Netflix release of RRR, S.S. Rajamouli’s latest was re-released in a broader range of cinemas nationwide (notably those that don’t regularly show new Indian releases, outside of areas targeting large Indian communities). Without the Netflix buzz, we may not have received a Rajamouli tribute at Beyond Fest as not many people turned out to watch it in the U.S. in its initial release. We wrote about Rajamouli’s films deserving to be seen on the big screen a few months ago, so we were thrilled to see that 7 of his films were programmed across Los Angeles as part of Beyond Fest- most hosted at The Aero. As expected, it was a great experience, with audiences cheering throughout the film for all the iconic moments, and even getting up to dance for the big musical numbers. Whilst it probably doesn’t compare to screenings in India, it was amazing to watch immensely fun films with an audience that was equally up for it. Despite the premieres from Park Chan-wook and Ali Abbasi, these Rajamouli screenings were the highlight of our Beyond Fest 2022 experience.
Refer back to the Beyond Fest website for updates on future editions of the festival.
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