Where a song comes from, and how it becomes a hit, is more muddled than ever. In 2019, Lil Nas X’s “Old Town Road,” a country-trap novelty built out of a Nine Inch Nails sample by an erstwhile Nicki Minaj stan, became a TikTok meme and then the biggest and most surprising smash of the year.

Or was it so surprising after all? As the world careens in wilder and wilder directions and the music industry’s rules have long since been abandoned, a hip-hop/Nashville crossover No. 1 by a young gay black man in Atlanta boasting about the “Wrangler on my booty” seems somehow natural. And, in its own absurd way, liberating.

Defining what we used to call singles, much less ranking them, doesn’t make much sense now. For the first time ever, Slant has ranked the best songs of the year, from radio darlings and streaming juggernauts to gorgeous deep cuts. So, Lil Nas X and Billie Eilish (the other commercial breakout no one could shut up about) sit comfortably alongside a quieter Taylor Swift, Bat for Lashes’s mind-melting atmospherics, the drifting grief of Nick Cave’s latest work, and the weirdest shit Madonna has ever put out. FKA twigs’s electronic-pop ballads and Lana Del Rey’s revisionist take on ‘70s singer-songwriter material, complete with nods to Sublime and Kanye West, are practically programming categories of their own.

If there’s one unifying theme in this set of tracks, it’s a genre-less sense of exploration. These self-possessed artists have decided to push against old formulas in search of something more transparently reflective of who they are and what’s happening inside their brains during a remarkably chaotic time. The masses, or at least fiendish cult audiences, are listening. Paul Schrodt

50. Bat for Lashes, “Peach Sky”

Natasha Khan’s latest album, Lost Girls, conjures an all-woman biker gang riding around some hazy, menacing version of Los Angeles. Although “Peach Sky” isn’t nearly as blood-thirsty as all that, its warm ‘80s-style synths evoke the magic of driving through darkness with the volume cranked to 10. Bathed in the glow of passing headlights, Khan’s vocals heave with longing: “Oh, you and I know/I know it ain’t right/So, so I/want a long goodnight.” Anna Richmond

49. DJ Shadow featuring De La Soul, “Rocket Fuel”

The first time I heard “Rocket Fuel,” it sounded so warm and familiar that I assumed it had to be sampling something ubiquitous but anonymous. It turns out that the only well-worn sample was taken from Neil Armstrong’s moon landing speech. DJ Shadow and De La Soul have crafted an instant classic, the type of jam that should be central to every summertime block party from now until the apocalypse. “Rocket Fuel” seems destined for pump-up soundtracks and highlight reels, the kind of song that gets you ready for 12 rounds in the ring. Seth Wilson

48. The National, “I Am Easy to Find”

Seemingly standard-issue songs on the National’s I Am Easy to Find are made more rewarding by the guest singers’ eye-opening interpretations. Best of all, they occasionally empower the band to do something completely new, most notably on the stunningly beautiful title track, with its male-female harmonizing and atypically delicate vocal cadences. It’s one of the most uncharacteristic, and finest, songs the National has recorded to date. Jeremy Winograd

47. Carly Rae Jepsen, “Julien”

Carly Rae Jepsen has a knack for casting the pangs of love in a glamorous light, a far cry from mopey, post-breakup ice cream binging. With “Julien,” she goes a step further, making her reminiscences of a fling she can’t shake off seem enjoyable and exhilarating over a fusion of throwback disco and slick synth-pop. “More than just lovers, I/I’m forever haunted by our time,” she breathily coos over heavy-hitting synths that bleed into sun-soaked guitar. Sophia Ordaz

46. Jenny Hval, “Ashes to Ashes”

It’s not every day that a song about a dream about a song about a burial should compel its listener to dance. On “Ashes to Ashes,” abundant synth strings and a hypnotic bassline cohere with singer-songwriter Jenny Hval’s honey-sweet voice into a kind of beautiful Trojan horse for a meditation on innocence and experience, sex and death. Richmond

45. Sofi Tukker and ZHU, “Mi Rumba”

From the epic “Swing” to the quirky “Purple Hat,” there was no shortage of Sofi Tukker bops to choose from this year. But it’s the New York-based jungle-pop duo’s collaboration with EDM artist ZHU, “Mi Rumba,” that ekes out a spot on our list, thanks to the track’s mix of dark funk and unapologetic sexuality. Trading the group’s usual Brazilian influences for a more Cuban flavor, punctuated by distorted horns and a fleet-footed bassline, the track captures the paradoxical nature of sexual freedom in just one sadomasochistic line: “You can put me in a bind ‘cause I’m already free.” Sal Cinquemani

44. Nick Cave & the Bad Seeds, “Ghosteen”

By typical pop music standards, “Ghosteen” is a preposterously structured song. It’s 12 minutes long, and 11 of those minutes are Nick Cave murmuring abstract musings on the nature of love over a quiet synthy drone. But compositionally, “Ghosteen” is much more classical than pop, with a three-part structure that tells a story of its own. The first movement is exotic and tense, as it builds to the second—a spectacular, swirling burst of radiant beauty that seems to come out of nowhere and disappear just as quickly. And it seems to take everything out of Cave: The minimalist final movement sounds like the singer retreating into a long, much-needed sleep. Winograd

43. Mark Ronson featuring Miley Cyrus, “Nothing Breaks Like a Heart”

Beneath sweeping strings, a cyclical acoustic guitar line recalls the looping pattern of “Jolene,” but where the object of Dolly Parton’s pain was singular, Miley Cyrus’s is more universal: “This world can hurt you/It cuts you deep and leaves a scar.” This is producer Mark Ronson at his most lushly cinematic, and Cyrus in the best voice she’s been in for years.
Richmond

42. Broods, “Everytime You Go”

An unassuming deep cut from New Zealand duo Broods’s third album, Don’t Feed the Pop Monster, “Everytime You Go” is a textured synth-pop ballad in the form of a dance song. The track’s 4/4 pulse, electric synth stabs, clattering percussion, and delicate piano flourishes gradually build in service of singer Georgia Josiena Nott’s simmering anxiety. The frenzy in her voice slowly increases as she reaches the bridge, laying out in stark terms the most universal of fears: “Is it good enough to know it’s enough?/’Cause I need to know that you need my love.” Cinquemani

41. Kanye West, “Use This Gospel”

While it’s fair and useful to question Kanye West’s motives in suddenly declaring himself a servant to God, there’s no denying the sincerity of “Use This Gospel,” a maximalist, My Beautiful Dark Twisted Fantasy-worthy swirl that incorporates Clipse and a Kenny G sax solo that, if there is a God, will certainly be admitted into heaven. Schrodt

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Our favorite television shows of 2019 resist easy categorization, and they attest to a medium in transformation. On our list, the old and new sit side by side, as do the challenging and the inspirational, the urgent and the offbeat. These 25 shows speak to the medium’s consistently stimulating sense of variety, and to the fact that as one golden age of television yields to the demands of an era of endless content, resonant voices and bold ideas can still find their audience. While these shows are diverse in subject matter and style, the best offerings of the year were characterized by clear, well-honed perspectives, often engaging the big questions of our present-day human existence.

The year’s best TV programming gave voice to a breadth of ideas and experiences, even those which might not reasonably be considered “issue-driven.” Consider the Netflix sketch show I Think You Should Leave with Tim Robinson, which couched a canny indictment of male egoism and fragile masculinity in fart jokes and absurdist cringe humor. Or Pamela Adlon’s Better Things, which launched an incisive and frank portrayal of menopause in its third season. HBO’s Succession, perhaps the only series on the list that might be classified as a reaction to Trumpism, supplanted Game of Thrones as the network’s crown dramatic jewel by offering viewers the repugnant, terrifyingly cut-throat palace intrigue that the latter series long-ago turned its back to.

The immersive Russian Doll operated as an Escher painting turned dramedy, slowly and thoughtfully eroding the affected abrasiveness of its main character. And while that series was just one of the year’s many surprising breakthroughs, 2019 also found well-established shows in peak form, from BoJack Horseman, newly alive with a deep sense of hope for its eponymous character, to Bob’s Burgers, richer and funnier in what it has to tell us about family life. Whether tackling existential issues or providing a reprieve from them, the year’s best shows comprise a multitude of voices, which flowed forth from the most prestigious platforms to the smallest, strangest niches of the medium—all of them demanding, in one way or another, to be heard. Michael Haigis

25. City on a Hill

When City on a Hill isn’t immersed in pulpy shenanigans, which find Kevin Bacon’s casually racist F.B.I. agent Jackie Rohr doing things like brandishing a fish at an angry old woman who calls him a “white devil,” it aspires to be a Bostonian spin on The Wire. The series, set in the early ‘90s and based on an original idea by creator Chuck MacLean and executive producer Ben Affleck, constantly keeps one eye on the systems that contribute to the city’s rot as it moves through a fictionalized account of the “Boston Miracle” police operation that statistically reduced violence in the city. The series excels in the level of detail it brings to its characters, and proves itself as effective at small, interlocking details as it is at purely hammy thrills. Steven Scaife

24. Years and Years

Perhaps the most significant aspect of Years and Years is the compassion with which it considers its characters. It would be easy for a series filled with so many cataclysms, both global and personal—nuclear weapon launches, deaths, infidelities—to err on the side of sadism in its depiction of that turmoil. But it takes no pleasure in the pain of its central family. Instead, Years and Years recognizes that pain is edifying as well as transient, and it accordingly gives the pain that it inflicts space to evolve: to form, to torment, and to pass, like each year that comes and goes, taking more and more away with it. Niv M. Sultan

23. On Becoming a God in Central Florida

Florida water park employee Krystal Stubbs (Kirsten Dunst) earns the nickname “the alligator widow” after her husband, Travis (Alexander SkarsgĂ„rd), works himself into bleary-eyed exhaustion and, then, gator-inhabited waters. Travis fell victim to a pyramid scheme whose promises of wealth and prosperity prompted him to dump the family’s life savings into the organization’s coffers, leaving Krystal holding both the bag and their baby. As conceived by On Becoming a God in Central Florida, this vision of 1992 America is a morass of hucksters and hollow promises, and the series explores that world with both a sharp eye and a peculiar sense of humor. It keenly captures our dubious relationship with the prospect of wealth; its myriad absurdities are resonant reminders of how tough it is to “get ahead,” and how easy it is to get lost in the labyrinth of capitalism. Scaife

22. Big Mouth

Netflix’s Big Mouth is continued evidence against the dubious argument that P.C. culture has made it impossible for comedians to be edgy. As a subject for an animated sitcom, the sex lives of 13-year-olds constitutes an ethical, political, and cultural minefield—one that the graphic and logorrheic Big Mouth gives the impression of approaching blindfolded and in a headlong rush. But there’s a method to its mania: Even while firing an entire volley of cum jokes at viewers every few seconds, the new season covers topics like female masturbation, slut shaming, incel masculinity, biphobia, social media addiction, and the gay teen experience with a heartening frankness that belies its apparent irreverence. Pat Brown

21. Euphoria

Sam Levinson’s Euphoria depicts teenage hedonism in frank, explicit terms: a high school world awash in pills, sex, and nude photos thrown to the winds of social media. The series finds its character-driven groove by turning an empathetic eye toward the inner lives of its principal teens, observing their listlessness and small moments of solace as much as their outward pain. It tempers some of its heavier material with an often laidback atmosphere, a world of deep shadows drenched in multi-colored hues and dreamy hip-hop beats that belie the darkness in its corners. If the universe is falling apart around the characters’ ears, the result is that Euphoria’s characters see little reason to consider what encroaching adulthood will mean, to ruminate on what will come next when there might as well be no “next.” There’s only the all-encompassing “now.” Scaife

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Although it was released in the doldrums of March, one title on our list of the 25 Best Games of 2019 could serve as the anarchic manifesto of the entire year in gaming. The brainchild of Finnish indie developer Arvi Teikarti, a.k.a. Hempuli, Baba Is You is, ostensibly, a very simple pixel-art puzzle platformer. But it’s also one that doesn’t give players the rules to beat it, telling them that every single one of those rules aren’t just made to be broken, but must be broken in order to persevere.

The spirit of 2019 in gaming was one of disruption, one that took the industry’s standard operating procedure and punted it out the window. Logic says that only a certain level of production can make the games people love, that only by following the rules of what sells can a game find an audience, that only one company can own the ideas behind an IP, and that only by squeezing players dry through additional purchases can a game be made that people will keep coming back to. But that logic was always faulty, and this year, it failed.

This was a year where the best Castlevania game in a decade didn’t have Konami’s name on it, where Bethesda had nothing to do with the best Fallout title to come out in twice as many years, and where the best Star Wars game does the exact opposite of everything its publisher had been doing with the license for five years. And that’s just what was happening in the AAA arena. Indeed, those who ventured into the realm of indie games glimpsed developers taking wild, bold leaps of faith, subverting every genre imaginable, and doing so with great success. This was a year where the fearless side of the industry showed itself, and these 25 games are the greatest victors, the ones that dared the most, and won big. Justin Clark

25. Slay the Spire

Slay the Spire’s deck-building mechanic guarantees that every run will be an entirely new experience. You’re bound not only by the types of cards you gain in each run, but the literal luck of the draw in which you pull them in combat. As a result, even the simplest encounter is bespoke, and every decision is a finely tuned risk-reward gamble. The spire’s branching paths lead to events with their own branching decisions, the results of which determine whether you can, say, afford the merchant or if you can forgo a healing snooze in order to upgrade a card. Slay the Spire, the brainchild of Mega Crit Games, guarantees nothing other than your character’s starting set of attack and defense cards (and perhaps a modicum of fun), so each new run forces you to be maximally clever in wringing bloody synergies out of otherwise rocky randomness. But as brutal as Slay the Spire may be, these runs ultimately come down to smart luck. The game gleefully telegraphs what each foe is going to do in combat, so if you die, it’s because you haven’t prepared enough. Shuffle up and deal with it, because there’s always another—and another, and another—try. Aaron Riccio

24. Sunless Skies

Sunless Sea, from 2015, had players chart a vast and perilous ocean into which London fell. That game’s follow-up, Sunless Skies, delivers yet another intimidating journey into the unknown, only this time with the player slowly combing an airspace littered by the remains of destroyed ships. The sounds of this game vivify the “Britain of the heavens” setting, with the hissing of steam, the ever-creaking machinery, and the distant noise of cannons serving as constant reminders of a dangerous and overindustrialized world. As in Sunless Sea, greed and a thirst for exploration function as a double-edged sword, leading players to the darkest corners of the map or simply death. Developer Failbetter Games has proven itself again a skilled purveyor of Lovecraftian suspense, where our curiosities get the better of us in gradual fashion, as underlined by blunt and wry writing that’s deliciously typical of a traditional British mindset. Jed Pressgrove

23. Void Bastards

A transport spaceship bearing an assortment of freeze-dried prisoners is stranded in a nasty nebula. There, pirates roam, monsters devour ships, and all the unfortunate citizens have been bizarrely mutated into murderous, foul-mouthed horrors. Once rehydrated, prisoners are shooed out into this unforgiving corner of space to scavenge derelict ships for parts until their probable death, after which the next unfortunate soul indicted for a comedically pedantic crime continues the work. And so on. The gears of capitalism turn even in these ruins of bureaucratic failure. As setups go, it’s a cheeky, immaculate framing device for a roguelike, and the amount of forethought that Void Bastards affords you is rare for this genre of game. It imbues the experience with a greater sense of consequence since you’re not at the mercy of randomization so much as your ability to plan and execute, as well as knowing when to retreat or when to avoid a ship entirely. An ideal run of Void Bastards is about planning, going on a run, and then having your plans upended by any of the different variables at work, requiring you to quickly adapt while coming up with a new plan. Steven Scaife

22. Untitled Goose Game

There’s an old Steve Martin quote about how comedy can be art, but anyone who deliberately sets out to make art through comedy has already failed. To that same point, developers House House didn’t set out to make a game with near-universal appeal with Untitled Goose Game—famously, the premise alone was a private joke shared on a Slack channel at work—but they stumbled upon it nonetheless. Untitled Goose Game is one of those rare experiences where it’s hilarious just existing in the world of the game, and in no small part for the way it plays it 100% straight, aside from a playful context-sensitive piano underscoring the player’s chaos. Just giving players the ability to waddle around a neighborhood and honk in people’s faces could’ve been the game by itself, but instead, it’s all about finding new, innovative ways to pull of various annoyance crimes within very basic but innately understood mechanics, and the payoff is almost always worth the effort. This is a game about true banal evil. So many so-called mature artists have attempted to edgelord their way into relevancy and found only a niche audience waiting for them, while House House’s Goose has managed to become the purest agent of chaos of our time, and managed to win the hearts and minds of the world. Clark

21. The Outer Worlds

Obsidian doesn’t stray too far from their roots with The Outer Worlds, an open-world first-person RPG reminiscent of Fallout: New Vegas. The socio-political commentary isn’t subtle, as the player character awakens from cryosleep to a futuristic world on the edge of the galaxy run by megacorporations that own workers as property and will happily let colonies of people die if it benefits their bottom line. But The Outer Worlds deviates from the modern Fallout formula by including a Normandy-style ship that allows you to travel to different planets instead of just one large open area, with a crew who can be taken on missions. Helping the rebellious mercenary Ellie recover from a disastrous attempt to reunite with her disapproving upper-class parents lets the player embrace their humanity by offering her support—or take to darker instincts and just gleefully murder the elitist pricks. As for helping shy mechanic Pavarti, an asexual queer woman of a color, prepare for a date she’s nervous about, the whole enterprise is delightful in no small part for how it taps into our sense of belonging. The Outer Worlds might take players to far-away planets to fight battles that reshape societies, but it’s heart ultimately lies in its more interpersonal moments. Ryan Aston

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“I can’t believe you wrote your dissertation on Les MisĂ©rables,” Eddie Redmayne says in a complete non sequitur midway through our conversation. I had a feeling it might come up at some point, so I had to lead with telling him that he featured prominently in the video essay portion of my senior thesis on how Tom Hooper’s 2012 film adaptation collapsed boundaries between stage and screen. As legend has it, Redmayne made a suggestion in post-production that led to the film’s close-up-heavy editing, a choice which sparked intense discussion around the aesthetics of the musical genre.

The episode captures something about Redmayne that sets him apart from other actors who operate in a similarly demonstrative, showy register. He’s genuinely thoughtful about the full cycle of how a performance gets created and transmitted to audiences, in everything from the rehearsal process to the editing bay. After winning an Academy Award for 2014’s The Theory of Everything and another nomination for 2015’s The Danish Girl, Redmayne took a turn toward blockbuster fare with two outings playing Newt Scamander in the Fantastic Beasts series. But now he’s back to the period dramas that made his name with The Aeronauts, an old-fashioned movie adventure that reunites him with his The Theory of Everything co-star, Felicity Jones. As scientist James Glaisher and pilot Amelia Wren, Redmayne and Jones, respectively, spends the majority of the film confined to the tight space of a gas balloon’s basket as they rise to 37,000 feet in the air in an attempt to make meteorological breakthroughs in 1860s Britain.

Redmayne’s role is a fitting lens to discuss not only The Aeronauts, but also his recent career. His craft is just as much a science as it is an art. Our conversation got into the weeds of technical details as he discussed everything from calibrating his physicality in rehearsals to cultivating his imagination on a barren set. But, first, we had to discuss Les MisĂ©rables, given the pivotal role his behind-the-scenes behavior played in my academic career.

During post-production on Les MisĂ©rables, I read that while in the editing room you encouraged Tom Hooper to hold longer on the close-up of Anne Hathaway during “I Dreamed A Dream,” setting into motion the film relying on them so heavily.

Because of the way that Les Mis was shot with live singing, you couldn’t get between different tracks because of the variation. What Tom did was make sure that you could always have the whole scene cut from one setup: a wide, a mid, [and a close-up]. There were three cameras on at the same time. He was editing the film, and the studio had put out a trailer they edited themselves that was more of the close-up. Tom and I had a discussion, and I think I mentioned that it could hold. What I find so interesting is that everyone has a specific opinion on Les Mis, whether it worked—and, of course, the close-ups are something people bring up a lot. But the live singing process dictated the way it was shot. We couldn’t shoot outside a lot because, when you shoot outside, the voice disappears. So, we had to build the barricades in a studio.

What you did with Les Misérables speaks to just how much a performance gets remade in the editing room. Are you still actively involved in that final step of the process?

What’s weird about making films is you create so much of it in a vacuum. It’s not like theater, where actors get together for months and work things out. Often you meet the person playing your mother or father two hours before [shooting]. Often you don’t know the director, meeting them a day before you start working with them. You have an idea of what the character’s arc is, and, of course, part of the joy of making films is giving over that. You put that down and hope the director observes that. But a director can often observe something different that’s more interesting! What I like to do, and I’ve been lucky enough to do, is make work and, if I’m allowed into the editing process, have a dialogue with that director. Provided you know they see what you intended, whether they use that or not is obviously their choice.

I do find that dynamic really interesting, and I’ve been lucky enough with James Marsh on The Theory of Everything, Tom Hooper, and [director] Tom Harper and [screenwriter] Jack Thorne on this. Felicity and I worked together with Jack and Tom for a couple of months beforehand working through the intricacies of the script, and Tom allowed us that bit because it’s so intimate between the two of us, almost like [working on a play] with the writer and director. He allowed us the intimacy in the process the whole way through. The reason I do it is because, as an actor, you’re never happy with what ends up in the finished product. But while you can still shift and change things, I enjoy being a part of that process.

As someone who came up through theater, where you have so much less mediation between your performance and how an audience receives it, have you found comfort in the editing process?

It was a massive adjustment because I got into acting through theater. For many years, I couldn’t get cast in TV or film because I was playing to the back of the stalls in my audition. When I did start working, it’s all been a massive learning curve.

How do you approach acting out of sequence? In both The Aeronauts and The Theory of Everything, you’re tasked with building a full and continuous character arc, but that seems tough you’re stopping and restarting.

Quite often, directors will try and keep as much in chronology as possible. A lot of the stuff we did in the basket in The Aeronauts was shot chronologically. It’s the other bits that aren’t. What you have to do is see how the director is filming it, what their process is and work out what’s best for you. For example, on The Theory of Everything, all the exteriors we were shooting in the first two days in Cambridge when all the students weren’t there. That meant that any time Stephen was outside in the entire film, we were shooting in the first two days. Which meant we had to do all different physicalities at different moments of his life in the first two days. Which meant [I] had to be able to access those different physicalities very quickly, which in itself dictated the process. I wasn’t going to spend hours getting into the zone, I have to slot into these. For me, I said, I need months to rehearse, and I need to rehearse the movement like a dance so that [I] can access it quite quickly. It’s all about the stuff you do beforehand so you’re ready when you’re working the other actor to be completely free.

You shot some of The Aeronauts outdoors in the gas balloon and then some on a soundstage against a blue screen. How did you all work to keep the authenticity consistent in your performances?

We were lucky that the first thing we shot was the real stuff. We went up in the real balloon—we had this accident, it was really terrifying—and the notion of the stakes were weirdly embedded with us from day one. Ultimately, it always feels horrendously fake when you’re in a giant basket surrounded by blue screens, but they did things like [freezing] the studio for our breath. We were shooting in the summer in the U.K., and then you had cast and crew in jackets because we were in a giant refrigerator. They also gave us freezing buckets with ice to plunge our hands into beforehand. The director really gave us everything he could to make it feel [right]. Because they had gone up in helicopters and shot the skyscapes beforehand, they had very clever technology on an iPad that lets you look at the balloon to see where the sun was and what the weather was. They spent a long time working in pre-production about how to not make it look fake, and one of the things was that it could look real, but if your eyes are totally open, the fact that there’s blinding sunlight
of course, you can look at a big, bright light without it being a stretch. It was to learn to squint a bit [to avoid] the giveaway.

Between The Aeronauts and the Fantastic Beasts series, you’ve been doing quite a bit of acting in synthetic spaces.

[laughs]

That’s not a value judgment! How do you go about using your imagination to bring the surroundings to life in your head while maintaining the same specificity as if you were there?

I try and do a load of research, so even if it’s on Fantastic Beasts, it’s talking to the animators, going and looking at drawings and set designs. Trying to do all of that early so it’s not in your imagination. The other process I tried to learn from Dan Fogler, who’s in Fantastic Beasts and very free. He’ll try lots of different things, and I watched him on the first film and thought he was brilliant. It’s a mixture of doing your research, then throwing it away and trying things.

Has it gotten easier over time? Like a muscle that has to be trained and toned?

Yeah, it definitely does. For example, with Pickett [a small plant creature his character keeps as a pet] on Fantastic Beasts, I was so concerned with talking to something that’s not there and make it feel real. I would over[act]. [Reenacts staring intently at the creature on his hand] You never normally look at people when you talk to them. You can have a conversation with Pinkett on your hand and not really look at him.

You’ve mentioned that the basket became like another character in the film because you and Felicity shared such tight quarters with it. How do you make spaces feel natural for your characters to inhabit?

That is rehearsals. That’s why we did them. What I love about this film, hopefully, is that it’s this thrilling adventure on a big scale. At the same time, it’s also an intimate little drama. That space is the size of a sofa. We had weeks working of thinking how to make things visually interesting for an audience. Each time the camera comes back to it, it needs to have transformed or changed. We rehearsed on it so we could find different ways: whether it was sitting on the floor or one of us up in the hoop, different angles, getting rid of carpets or some of the tools. They add character to this battered, bruised vessel that’s been pummeled.

Does that mean you all were really working out specific shots and angles within the rehearsal process?

When we were rehearsing the scenes over and over again, Tom would have suggestions and ideas from watching with the cinematographer. One of the things he found is that, early on, if the camera was ever outside of the balloon—even centimeters out—it doesn’t feel real. Any moments that are caught inside the balloon, apart from a few moments where drones fly and take close-ups, the cinematographer was always inside the balloon. He was moving with the movement. The camera, similarly, was like another character in the piece. Because just one centimeter outside, since we can’t suspend ourselves in mid-air, felt unreal.

Do you find it liberating to work within such tight confines like the basket? Does it force you to be more precise and conscious of your movement and blocking?

Yeah, it does. Because you’re confined, the freedom is in the minutiae. You can’t be making big, bold gestures. I think the intimacy plays to its favor in some ways.

The Aeronauts has a theme of looking up for inspiration amidst troubling times. The last few films you’ve made generally have some kind of optimistic feeling about them. Is that a conscious running thread running through your filmography?

I never relate my films to each other, but what I think is interesting is that the only way I choose work is by reacting to it. So maybe there’s a sense of that [optimism]. The reason I wanted to do The Aeronauts is because I got to that last passage where Felicity’s character is standing on top of the world, and I just thought I would love to see that. I loved the idea of working with Felicity again. I loved this old-school adventure thrill to it. I felt like you’ve seen space investigated, but I hadn’t seen the sky. Sometimes, on a cold, horrendously miserable day, there’s something ecstatic about a break through the clouds. And whether you can retrain an audience who’s so used to seeing the sky from planes to make it feel like something new, all those things were curious to me. I don’t specifically go looking for optimistic pieces, although there was a period in my career when I was playing incestuous teenagers and schizophrenic psychos, so maybe I need to go talk to a therapist about that!

I know some actors like Meryl Streep or David Oyelowo, just to name two that come to mind, say that they deliberately only put work out into the world that they think can make it a better place.

That’s really interesting. I haven’t read that, but I’m probably not that
selfless. It tends to be something I just react to. There’s a weird moment when you read a script and suddenly feel a bit sick. That’s when you transfer yourself from imagining it to imagine yourself doing it. That’s the reality of the responsibility.

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With Little Joe, director Jessica Hausner reinvigorates an Invasion of the Body Snatchers-type premise by boldly suggesting that modern humans don’t have any identities left to lose. The true body snatcher, rather than the beautiful, manipulative red flower at the film’s center, is a corporate culture that stifles our individual thought with double-speak and other subtly constant threats to personal status.

The challenge of such a premise, then, is to reveal the private individual longings that are suppressed by cultural indoctrination without breaking the film’s restrictive formal spell—a challenge that Hausner says she solved with co-writer GĂ©raldine Bajard during a lengthy writing session. Little Joe is so carefully structured and executed that one is encouraged to become a kind of detective, parsing chilly tracking shots and flamboyant Wes Anderson-style color schemes for signs of a character’s true emotional experience.

Ahead of the film’s theatrical release, Hausner and I discussed her obsession with boiling societies down to singular metaphorical places, a tendency that unites Little Joe with her prior features, including Amour Fou and Lourdes. We also talked about the notion of social coding and pressure, and how the filmmaker was interested in sustaining the tension of the first act of a Body Snatchers production over the course of an entire narrative. For Hausner, such tension is certainly fostered with a rigorous devotion to sound and composition, which her actors found freeing, perhaps in the ironic tradition of her own characters.

Little Joe evinces a strong understanding of that staid, subtly restrictive office culture.

I think in all my films I try to find a closed space. Sometimes it’s a company or, in Amour Fou, it’s bourgeois society. I made a film called Lourdes where it was very clear it was that place in Lourdes. I’m trying to portray the hierarchies of a society, and I think it’s easier to do that if you have one place. Then you can show who are the chefs, the people in the middle, and the ones who just have to follow. Sometimes you can even see these statures on the costumes.

The brightly colored costumes are striking in Little Joe. It seems as if they’re expressing emotions the characters aren’t allowing themselves.

Yes. Well, they don’t allow themselves, or maybe I’d put it slightly differently: No one really shows their true emotions [laughs]. We all play a role in our lives and we’re all a part of some sort of hierarchy. And no matter what kind of life we live, we’re living within a society, and we do have to obey rules most of the time. My films focus on that perspective, rather than saying, “Oh, everyone has a free choice.” My experience is that free choice is very limited even in a free world. We are very much manipulated in terms of how we should think and how we should behave. Social codes are quite strong.

One of the lovely ironies of this film is that it’s difficult to discern which enslavements are caused by the flower and which are already inherently in place via society.

Absolutely. That’s the irony about it. When we worked on the script, it wasn’t so easy to build up a storyline that suggests a change that you never really see. Over the process of scriptwriting, we decided that the validity of feelings was invisible. We also had conversations with scientists, and we considered which part of the brain was responsible for emotions.

I’m curious if any singular story element led you to this premise.

I’m a big fan of science-fiction and horror films, and I do like those Invasion of the Body Snatchers films, but only the beginnings. I like the setups, those scenes where someone says, “Oh, my uncle isn’t my uncle anymore.” I had this idea to prolong this doubt about who people really are over the whole length of a feature film. Because it’s a basic human experience: You can never really understand what another person is thinking or feeling.

I love that there’s no overt monster in Little Joe. There’s no catharsis exactly.

No, there isn’t. The catharsis takes place on a very strange level, which leads to one of the other starting elements of the film. I wanted to portray a single mother who loves her job. So, the catharsis in the end is really very much centered on Alice as she finally allows herself to focus on her work and to let her son live with the father, which is okay.

You’re right that there’s a catharsis, from the fulfillment of the final line of dialogue.

Absolutely.

This is what’s hard to reconcile: Despite the loss of self that debatably takes place over the course of the film, Alice gets exactly what she wants and the flower does exactly what it’s supposed to do.

Yes, I’m glad to hear you say that. I do get a lot of questions about the dark, dystopian perspective, but there’s no such perspective in this film. It’s a very friendly, light ending. If we all change, perhaps it’s for the better.

I’m curious about the visual design of the flower. It seems to me that it’s both male and female at once, which I think is an achievement.

What do you mean male and female? The design?

The shape seems phallic. Yet the color scheme almost has a lingerie quality.

I think the basic idea is that it’s a male plant. I wanted that basic juxtaposition between the boy and the plant. The film suggests that it’s a male plant, but yet, of course, when the plant opens and is exhaling the pollen
well, I would say it’s a very male plant. [both laugh]

The release of the pollen, especially for the first time against the glass of the lab, does feel like an ejaculation.

Yes. That was very much a part of the idea. The plant is trying to survive.

It’s like a revenge of the sex drive.

Yes.

Which parallels how the humans are repressing their sex drives. It’s a lovely reverberation. What was the collaboration with the actors like? Such a careful tone of emotional modulation is maintained throughout the film.

I enjoyed the collaboration very much. the actors understood what the film’s style was about. You do have actors sometimes who are used to the fact that the camera is working around them, but in my films it’s always the other way around. The camera is determining the image and the actor has to fit in. The actors—Emily Beecham, Ben Whishaw, Kerry Fox, and the others—were able to cope with that method very well. I remember especially Ben Whishaw even liked it, because—if you don’t feel suffocated, if you’re strong enough to fight against the style—it can be a joyful way to work. The collaboration with the actors also focused very much on the undertone of what they’re saying. A lot of scenes have a double meaning. I’m always trying to show that people normally lie. So, everything that’s said is also said because it should be said, I don’t know if you know what I mean


Yes, social coding.

I’m trying to make the actors act in a way that makes us feel a character’s position rather than any individuality, so that we know that the characters are a part of something larger and have to say whatever they’re saying now. We try to reveal the typical codes of a society.

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My experience talking with directors leads me to informally sort them into three categories based on what element of their work they can speak most eloquently about: theory, emotion, and technical execution. Few have straddled all aspects of the filmmaking process quite like French writer-director CĂ©line Sciamma, the mind and muscle behind Portrait of a Lady on Fire. She’s able to deftly answer questions that address the end-to-end process of how a moment germinates in her head, how an audience will interpret it, and how theory can explain why they feel the way they do.

Sciamma’s latest directorial outing relegates her minimalism primarily to the screenplay, which revolves around the interactions between a painter, NoĂ©mie Merlant’s Marianne, and the subject, AdĂšle Haenel’s HĂ©loĂŻse, that she’s been commissioned to covertly paint. The deceptively simple contours of Portrait of a Lady on Fire belie the ambition of the film, which sets out to achieve nothing less than a complete deconstruction of the artist-muse relationship. What Sciamma proposes in its place is a love story between the two women rooted in equality and artistry rather than in domination and lust.

I spoke with Sciamma after the film’s premiere at the New York Film Festival in September. Our talk ranged from the personal to the political, her singular work to the cinema at large, our present moment’s liberation to the centuries of patriarchal influence over our shared historical narrative. In short, a full spectrum of conversation that few directors can match.

You’ve placed Portrait of a Lady on Fire in conversation with discourse around the subject of muses. Does the film suggest that we need to dispense with this ideal altogether, or that we just need to update and revise our notions of what it means?

Well, it’s a contemporary conversation, and even though the movie’s set in the past, it definitely could be something that could have been set in 2019. It’s been a long [journey] for me, because it’s been five years from my previous film, and I thought about this for years. Within these five years, a lot happened. [The time] gave me confidence and new tools and ideas—also less loneliness—to be radical and without compromise. It gives you strength and structure to be radical with all the ideas. The movie is full of them.

Women artists have always existed. They’ve had more flourishing moments, like that time in the mid-18th century when there were a lot of women painters. That’s why we set [the film] in that period, of course, but mostly women were in the workshop as models or companions. That was their part in artistry, so that’s how they’re told [in cultural narratives]. The real part they took in creation isn’t told. Something is happening in art history because there are women researchers on the other side. Dora Maar was the muse of Picasso, but actually, she was a part of the Surrealist group. There’s a lot of them we know now. It was a way to tell the story again to reactivate this nature of art history. But I’m sure it’s true; it’s not this anachronistic vision.

You hired an “art sociologist” to help develop Portrait of a Lady on Fire. What did you learn from this person, and how did that affect the film?

It was a woman who [studied] that period when there were a lot of women painters. The fact that she’s a sociologist and not a historian actually was really important for me because, as we were inventing this character, sociology was really important to make her true to all of these women. Whereas if we’d picked [one historical figure], it would be about destiny. She read the script, and [determined that] there were no anachronisms. What I learned is that it gave me confidence to trust this character all the way. It was something I could hand to NoĂ©mie on set.

Is the notion of the “muse” inherently incompatible with equality?

The fact that you could be inspiring just by being there, beautiful and silent, there’s definitely domination. The fact that it’s told as something that always has to do with [being] in a relationship, even the love in creation in the muse—you have to fall in love with your actresses or models—is a fantasy that allows abuse of power. Even the possessive, sometimes I’m asked about my actresses. They’re not asked about their directors; they’re asked about the director.

When I wrote the part for Adùle, she was the model. When I talked about the film, and not much because I’m very secretive, people told me, “So, Adùle’s going to be the painter?” And I said, “No, Adùle is going to be the model!” People were like, “Why? She should be the painter.” And I was like, “Oh, so you find that the model is too narrow for her? You find that this isn’t the dynamic of power she’s entitled to. She should be the painter.” She and I laughed and thought, “Of course, [Adùle] should be the model because I’m the actress.” So, what are they saying? That it’s too small for her? That was also very nourishing, the idea today that she shouldn’t be in that position. It would be a weak position. And it isn’t.

I was surprised to learn that you didn’t write Marianne’s character from the start as someone assigned to paint HĂ©loĂŻse covertly. What did that discovery in the writing process unlock in the story for you?

When I got the idea, I was like, “Now the movie’s got a chance.” The movie is very full of ideas and has some theory of cinema, but that’s why it should be strongly dramatically charged. The fact that we embodied these problematic [ideas] really is important. The journey of the gaze, the fact that it’s stolen at first, then consensual, then mutual, then
we don’t even know who’s looking at who. It makes it really physical and organic. And also, it’s true that all my films are [thematically] bound with a character having a secret. Usually it lasts until the end, but this time it’s only half an hour of being secretive. The secret becomes this reservoir of what’s going to be said and what’s going to unfold, which felt different.

Unlike Tomboy, where schoolyard bullies embody the antagonistic forces of transphobia and heteronormativity, the villain in Portrait of a Lady on Fire seems to be time and the reality of HĂ©loĂŻse’s marriage on the horizon. Was this always your intent to write a story with a more abstract foe?

Yeah, because I really wanted not to go through the same negotiations and conflicts. I wanted it to be a new journey for the audience. Their love dialogue relies on a new ideal that’s equality. There’s no gender domination because they’re two women. That’s practical. But there’s no intellectual domination. We didn’t play with social hierarchy, either. We know their love is impossible, but we aren’t going to play with that. We aren’t going to try and project them into the future. Some people, the old culture, wants you to do that. Show the taboo, the impossibility, the struggle, the conflict with yourself. And we didn’t want to do that.

Because it’s about what you put in the frame. We’re just looking at what’s possible, that suspension of time, and we know very well the frame. We don’t have to tell you the prospects for these women, especially because it’s set in the past. They’re shitty. Lousy. We’re not going to waste time and put you in that position where you will go through this conflict to tell the same thing, that it’s impossible. The real tragedy is that it is possible, but it’s made impossible—by the world of men, mostly. That’s also why there are no men in the film. It would mean portraying a character whose sole purpose is to be the enemy, which isn’t something that interests me at all. I don’t need to take time to portray that. It’s not generous enough.

Are we to take the shot of HĂ©loise on fire literally? That scene seems to enter such a representational, abstract realm, and then we’re jolted back into the reality of her walks with Marianne with that match cut of her extending a hand.

That [says] a lot about the film. It wants to be very embodied in a very simple but kind of brave [way], not just purely theoretical. She’s really going to be on fire! That was one of the key scenes I had in mind as the compass of the film. If you’re really setting her on fire, you’re setting the bar for the other scenes. They have to be in dialogue with this [moment]. It shouldn’t be this unique thing out of the whole language of the film.

I was so struck by the shot toward the end of the film where Marianne sketches herself in a mirror placed over HĂ©loĂŻse’s nether regions. It’s a masterly composition that also feels like a real thematic lynchpin. Can you describe both how the shot developed intellectually and how you executed it on set?

It’s about where you put the focus. In the mirror, she’s blurry. It’s about trust, about being playful, about going all the way with your ideas. But also, it’s fun. It’s a fun thing to do. Even the difficulty of it makes you think about cinema and how we’re going to do this. It’s a way to always be woke about your craft and having new challenges, solving old questions with new ideas. Really trying to harvest most of the situation of people looking at each other. It’s a very simple [way to] access ideas. She’s portraying herself with this mirror, this woman is naked, and her head is where her sex is. It’s really overt, so you don’t have to think about it. But, still, it’s this idea that’s given to you through a sensation. It should always be about this, I think.

I didn’t think it would be possible to top something like the “Diamonds” scene in Girlhood, but here you have a three-minute scene that features Adùle Haenel reacting to music. How do you go about shooting these scenes in a way that allows the audience to understand the impact the music has on the characters?

For Girlhood, I really tried to think of [the scene] as if it were a scene in a musical. When they start to sing in a musical, [they’re] very strong moments within the characters’ relationships. They’re saying things to each other, and, if they’re dancing, their bodies are expressing themselves. It’s about the music not being the commentary, but really thinking about it like, “Okay, if there was a Fred Astaire film, when would this thing happen? What would it say?” It’s always about the intimacy between the characters and what their bodies can express.

But this is kind of different because it’s the final scene. It unveils the fact that it’s cinema. It’s a shot-reverse shot. At first, you’re looking at HĂ©loĂŻse and Marianne looking at HĂ©loĂŻse. But, at some point, it’s about you the audience looking at AdĂšle performing. It’s about cinema. It leaves room for you. It’s the same in the “Diamonds” scene in Girlhood; it doesn’t become a clip if suddenly there’s room for the viewer. When we talk about the female gaze, of course it’s about not objectifying women, it’s also about mostly how you experience the journey of the character. You experience it with your body and mind. You’re fully aware. It’s not about you being fully inside the film; it’s about the film being inside you. I think that’s what we can offer.

You’ve talked about needing to develop a new grammar to tell the story of Portrait of a Lady on Fire. Now that you have developed it, do you think it will be applicable to other films? Or will you have to reinvent the wheel again?

Portrait of a Lady on Fire is my fourth film, and it felt like a departure. But it’s also a growing of a lot of decisions and myself as a 40-year-old woman. So next time, I never know what I’m going to do next. I really feel like I’ve said all I have to say right now. I feel relieved of something also. And now that we are having this discussion around the film, it puts it in the world. It’s something we share. When you craft a film, it’s really your secret for so long. Now I feel like I’m going to have to find a new secret for myself.

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It’s that time of the year again. Black Friday sales. Last-minute treks to the gym to absolve your guilt over that third slice of pecan pie. And Mariah Carey playing on every radio station and in every shopping mall for the next 26 days. Unfortunately, we’ll also have to endure a litany of ill-conceived and poorly executed Christmas songs that are inexplicably resurrected every year, and will likely be until time immemorial. Here are 12 of our least favorites, one for each day that it took for the three wise men to reach the baby Jesus after he was born.

Editor’s Note: This article was originally published on November 28, 2011.

12. Jimmy Boyd, “I Saw Mommy Kissing Santa Claus”

This Saks Fifth Avenue potboiler from 1952 about a child catching his mother being sexually assaulted by an elderly home invader only becomes even creepier when you realize the kid’s mom isn’t cheating on his dad, but that Mommy and Daddy have a Santa fetish.

11. Sia, “Puppies Are Forever”

A track from Sia’s 2017 collection of holiday originals, Everyday Is Christmas, “Puppies Are Forever” is a reggae-vibed public service announcement about, well, how puppies are not forever: “They’re so cute and fluffy with shiny coats/But will you love ‘em when they’re old and slow?” The repetitive wannabe-earworm is, at best, an admirable message about the responsibilities of pet ownership. And it comes complete with the sound of barking dogs. (Earplugs not included.)

10. Lou Monte, “Dominick the Donkey”

Lou Monte’s 1960 holiday jingle about Saint Nicola outsourcing his Christmas present deliveries in the Italian mountainside to a dim-witted donkey feels more prescient than ever. But that doesn’t make it any less irritating.

9. Dan Fogelberg, “Same Old Lang Syne”

The concept is touching enough: Fogelberg runs into an old flame at the grocery store on Christmas Eve and they grab a drink and reminisce. But melodramatic lyrics (“She went to hug me and she spilled her purse/And we laughed until we cried”) and gratuitous details (“We took her groceries to the checkout stand/The food was totalled up and bagged”) make “Same Old Lang Syne” a cloying annual annoyance.

8. Neil Diamond, “Cherry Cherry Christmas”

In this addition to the schmaltzy, nonsensical holiday song canon, Neil Diamond wishes you “a very, merry, cherry, cherry, holly-holy, rockin’-rolly Christmas,” before idiotically exclaiming, “Cherry Christmas, everyone!” at song’s end.

7. Cyndi Lauper, “Christmas Conga”

Holiday cheer has always been all-inclusive. Hell, even the Jewish Neil Diamond has released three Christmas albums. But I’m going to go out on a limb and say a Latin house anthem with lyrics like “Bonga, bonga, bonga, do the Christmas conga!” probably wasn’t necessary. But we still love you, Cyn.

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Martin Scorsese recently sparked controversy by stating in an interview with Empire magazine that Marvel’s superhero movies, which have become indispensable moneymakers in a Hollywood system increasingly beset by pressures to build or renew popular tentpole franchises, are “not cinema.” The conventional wisdom in film marketing terms is that each new contribution to an already recognizable franchise requires such minimal effort at garnering public awareness compared to the type of cinematic ventures that Scorsese would argue, as he wrote in the New York Times in explanation of his interview comments, “enlarg[e] the sense of what was possible in the art form.” These more original offerings require ground-up campaigns for the attention of moviegoing audiences who are increasingly comfortable ignoring altogether the existence of films not actively targeting mass consumption.

The opening-night film of the eighth annual Los Cabos International Film Festival happened to be Scorsese’s highly anticipated epic crime drama The Irishman. The film is only being granted a minimal theatrical release in the U.S. before its arrival on Netflix on November 27, because, according to Scorsese, “most multiplexes are crowded with franchise pictures.” Robert De Niro, who stars in the film, was on hand in Cabo to walk the red carpet and represent a cinematic community founded on principles of “aesthetic, emotional and spiritual revelation,” in Scorsese’s own words. This was the kind of audience primed to appreciate his latest effort.

The audience was primed for greatness, even as oblivious vacationers guzzled tequila just outside on the streets and sidewalks of Cabo. When I told my seatmate on the plane about the screening of Scorsese’s film later that evening, she furrowed her brow in confusion. “I’m staying at the Hard Rock,” she said in explanation. And as I later walked from my own hotel toward the theater, I passed by countless tourists wielding Tecate tallboys and squinting behind cheap sunglasses who were no doubt completely unaware of the film festival taking place inside the giant mall at the north end of the downtown harbor. Many of them even wore T-shirts and tank tops that might easily have been emblazoned with the visages of Marvel characters.

As I drifted between the incessant buzz of the party atmosphere outside and the quiet engagement with contemporary filmmaking taking place within the theater throughout the festival, I couldn’t help but notice that several of the films that screened at Los Cabos seemed similarly concerned with liminal spaces between two very different worlds. The characters in these films learn to navigate the borderlands between class differences and racial divides, fleeting flirtations with freedom dashed by constant threats of persecution. These characters know their place, but even the brutal reality of their circumstances isn’t enough to prevent them from trying to get somewhere else. And nowhere is this more apparent than in Mexican filmmaker David Zonana’s mesmerizing Workforce, a tightly shot and richly layered film documenting the rise and fall of a group of construction workers in Mexico City who dare to dream beyond their otherwise meager means.

The film begins with the sudden death of Claudio, a member of a construction team putting the finishing touches on a swanky new house in a posh district of the city who falls from a rooftop in the opening shot. Workforce then quickly pivots and takes on the perspective of Claudio’s brother, Francisco (Luis Alberti), whose search for justice following his brother’s death becomes all-consuming and destructive. Claudio’s death has been deemed by officials to be caused by irresponsible alcohol consumption while on the job, even though Claudio had been a known teetotaler, and the wife (Jessica Galvez) and unborn child he’s left behind are thus denied compensation following the accident. And after the homeowner (Rodrigo Mendoza) waves him away from inside his fancy car when Francisco makes a plea for compassion, he becomes obsessed with the other man, following him through the streets and monitoring his every move. And after the homeowner’s mysterious death, which we learn about after witnessing Francisco surreptitiously enter his apartment building the night before, Francisco begins occupying the now dormant construction site as if it were his own home.

The shift between Francisco’s life in a tiny, rain-drenched apartment to his fresh start in the sprawling home that lays unclaimed in the wake of its owner’s death—complete with furniture still unwrapped, appliances yet to be installed—will ring familiar to those who’ve seen Parasite. Bong Joon-ho’s film operates in a more satirical and less tragic register than Zonana’s but still narrates the kind of violently enacted class mobility that lays bare the stark differences between the kinds of lives that are lived on either side of the poverty line.

Francisco eventually moves several members of his former construction team into the abandoned house, along with their families, in an effort to lay a more legitimate claim to its ownership. The film briefly soars with the ecstasy and sudden privilege that its characters feel as they inhabit a space representative of those from which they have historically been excluded. But problems quickly mount: the small indignities of overcrowding, persistent struggles over limited resources, cringe-inducing abuses of power on the part of those currently in control. And the final high-angle shot of the house, its inhabitants now expelled and powerless against the forces of the state, is notable for how the film has until then been heavily anchored at ground level, a powerful demonstration of the universal struggles of the Mexican working class.

The Body Remembers When the World Broke Open, a Canadian film written and directed by Kathleen Hepburn and Elle-Maija Tailfeathers, is another story of an invisible divide whose boundaries are nonetheless palpably felt. Two women from differing indigenous backgrounds, and from opposite sides of the class spectrum, are thrown together one late afternoon on the streets of Vancouver. A very pregnant Rosie (Violet Nelson) has fled her abusive lover’s apartment and is barefooted, bruised, and in obvious need of help when the lighter-skinned Aila (Tailfeathers) happens upon her and decides to shelter her. Aila has just had an IUD inserted earlier in the day, and the availability of advanced methods of conception is just one of the many marks of privilege that the film will subtly deploy. And the encounter between the two women is fairly straightforward from the start, but the subtext of their interactions is what gives the film its thematic weight and its staying power.

The differences between the women are played out with racial signifiers as well as those of relative affluence, and Hepburn and Tailfeathers make the bold formal decision to film their story in real time, by and large foregoing traditional scene structures and editing techniques and instead lingering in the quiet, interstitial moments between narrative transitions. The choice of indulging in the long take allows for moments of silence and digression as the audience infiltrates the scene as a third party. This uncomfortable intimacy is felt most acutely in a devastating, mostly silent shot late in the film of the interior of a taxi as Aila accompanies Rosie back to the apartment complex where her abusive lover awaits after Rosie has rejected a place in a women’s shelter, both of their faces in the frame as they quietly contemplate their very different futures.

The impending crisis of motherhood—urgent on Rosie’s part, delayed indefinitely on Aila’s—remains unspoken until that final taxi ride, in which both women tell the other that they believe they will be good mothers. And the city of Vancouver itself—and with it the ghost of Canada’s colonial past, specifically its systematic erasure of First Nations culture—haunts all of The Body Remembers When the World Broke Open, glimpsed mostly through car windows as it passes by unremarked upon while the film’s characters grapple silently with how the present has been irrevocably troubled by the past. The film demonstrates the power of simply inhabiting a tension and absorbing its complications, rather than demanding a resolution.

An image from The Body Remembers When the World Broke Open. © Array

Another Canadian film, and the winner of the festival’s competition award, Matthew Rankin’s The Twentieth Century is an alternate history of the rise to power of Canadian Prime Minister William Lyon Mackenzie King (Dan Beirne). Funny and daringly experimental, the film’s overtly oddball aesthetic, redolent of Guy Maddin’s work, often feels borrowed from the silent era in terms of how particular objects take on greater significance because of their necessity to move along a narrative otherwise hindered by constraints, deliberate or not. And the plot unfolds erratically, difficult to synopsize due to its incredulity, as well as its reliance on a more than cursory knowledge of Canadian history for its most sophisticated jokes and cultural observations to be understood, as explained to me by a Canadian film critic on our way to the airport at the close of the festival. I may not have understood the film as cultural commentary, but I’ll never forget the ejaculating cactus.

Following the trend of delightfully strange films populating the festival slate is Greener Grass, written and directed by Jocelyn DeBoer and Dawn Luebbe, who also star. The film is a color-saturated romp that presents a suburbia recognizable at first but then made bizarre by an accumulation of unexplained oddities that ultimately become understood as an ingenious form of worldbuilding. All of the adults, soccer moms and dads donning bright pastel outfits, wear braces. Everyone inexplicably drives golf carts. Characters make impulsive, culturally inappropriate decisions, such as in the catalyst to the film’s action when Jill (DeBoer) literally gives her baby away to her friend Madison (Luebbe), after Madison acknowledges, while sitting in the bleachers at an outdoor soccer game, how cute the infant happens to be.

Later, Jill’s only remaining child, the nerdy and bespectacled Julian (Julian Hilliard), frequently seen struggling with the traditional expectations of boyhood, falls into a swimming pool and emerges as a golden retriever. Jill’s subsequent psychological decline is mostly tied to her inability to accept her son’s new corporeal form, as well as her insistence that her infant daughter must be returned to her, despite her reluctance to offend Madison with the request. Meanwhile, a serial killer is on the loose. Greener Grass is a mash-up of genres—satire, mystery, dark comedy, horror—that may not ultimately cohere as deliberately as some viewers might have wished, but the feeling of witnessing something truly new and unique is as addictive as the swimming pool water that Jill’s husband, Nick (Nick Bennet), seemingly can’t stop drinking.

The American slate of films at Los Cabos includes Scorsese’s The Irishman among other likely Oscar contenders such as Noah Baumbach’s impeccably written and performed Marriage Story, Rupert Goold’s Judy, and Taika Waititi’s Jojo Rabbit. But Trey Edward Shults’s slick and stylish but ultimately detached Waves is a frustrating contribution. The film tracks the rise and fall of Tyler (Kelvin Harrison Jr.), a black high school athlete pushed toward success by a domineering father (Sterling K. Brown) who, in a scene definitely not written for a black audience, makes plain how the color of his skin predisposes him to a life spent working harder than everybody else for a seat at the same table. But after a series of setbacks, poor choices, and personal failures culminate in a desperate act of terrible violence on Tyler’s part, the second half of Waves investigates the aftermath of his abrupt downfall through the eyes of his family, focusing mostly on his younger sister, Emily (Taylor Russell), and her own journey toward some kind of peace after the family tragedy.

For all its intensely scored set pieces and dramatic camerawork, Shults’s attempt to stylize an interior life through a deliberate connection between form and content—while Tyler’s section is frenetic and loud, Emily’s is almost jarringly languid and muted—isn’t enough to deliver to the audience the kind of realization about family and responsibility to one another that the filmmaker seems at times so close to achieving. The possibility of transcending its aesthetic and arriving at any kind of epiphany is ultimately drowned out by a cinematic style more distracting than illuminating.

A more revelatory film about fathers, sons, and the lasting effects of our emotional wounds is Honey Boy, directed by Alma Har’el and written by Shia LaBeouf, in what’s clearly an autobiographical account of the actor’s childhood in Hollywood with an overbearing father whose profound influence still haunts him today. LaBeouf plays James, the now-sober father of a child actor, Otis (Noah Jupe), who stars in a popular television show while bearing the brunt of the erratic behaviors and sudden violence of a lifelong addict. The film centers in flashback on a period of time in which father and son lived together in a seedy and downtrodden hotel, the close quarters intensifying the seething undercurrent of resentment, jealousy, and yet still ever-present heartbreakingly rendered familial love that perseveres in spite of everything else.

An image from The Twentieth Century. @ Oscilloscope

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James ultimately passes down his own struggles to his son, who we see as an adult (Lucas Hedges, who also stars in Waves) in therapy reckoning with his childhood, his addiction, and his predilection toward other self-destructive behaviors. The film also explores the ways in which his traumas might have also served as reference points for his own obvious skill as an actor, artistic success inextricably linked here to emotional wounds that have clearly never properly healed. The relationship between James and Otis is marked by a tenderness undercut by rage, and Har’el’s careful staging of the power struggle between the two characters—a give and take based alternately on the currencies of masculinity and the literal exchange of money, as Otis’s earnings subsidize his father’s existence—is both compassionate and unflinching.

A film festival is always a hopeful affair, a chance to look into the future and see what awaits us as the contemporary film discourse continues to evolve. Unlike the flashy slate of American films that draws non-industry viewers to the theater, many of the entries at Los Cabos have yet to land wider distribution deals, and a festival like this one is a chance for these films to impress audiences enough to secure a position in a cinematic landscape where the “art house” or non-Marvel film will always struggle to keep up, as long as success continues to be measured by per-screen earnings and the numbers of views on popular streaming sites.

LaBeouf’s career—from his early success in the tentpole Transformers franchise to eventually writing and starring in a film as complex, poignant, and quietly ambitious as Honey Boy—is perhaps a worthwhile microcosm through which to demonstrate the shift in priorities that must take place in order for success to be redefined in terms that align with artistic merit rather than profit, personal connection rather than consensus. And there was plenty of merit to the connections being made at Los Cabos between filmmakers and audiences, a festival that continues to deliver quality international cinema to eager viewers who wander out of the theater each evening to join the throngs of partiers who might in daylight be clamoring for the next Marvel movie. Scorsese may mourn the diminishment of character-driven, risk-taking filmmaking in favor of easily digestible products that are “closer to theme parks than they are to movies,” but it’s still there if you know where to look.

The Los Cabos International Film Festival ran from November 13—17.

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Beck’s breakout hit, “Loser,” represented the sound of the nation’s youth wearing their slackerdom as a badge of honor. It’s a rather dubious fate for the workmanlike track, considering that if Gen X ever “had” a sound, it was the slow, snarling grunge roiling out of the Pacific Northwest, a genre far too self-possessed and clumsily aggressive to match the decidedly goofy appeal of Beck’s patchwork style. If anything, “Loser” was a middle finger to the self-serious headbangers, Beck’s own shrug at the angsty masses before ignoring them altogether and staking his career on offbeat lonerism.

The lonesomeness that results from possessing such an individualist streak is explored rather profoundly on albums like Sea Change and Morning Phase, but regardless of the personal costs, he’s become a folk hero, having built his legacy on championing near-forgotten strains of Americana at every turn. Constructing a list of his best tracks can thus be likened to assembling a mosaic pieced together from several generations of music. The songs themselves aren’t simply attention-starved amalgams strung together randomly though: For all his humor, Beck is consistently thoughtful and earnest in building his checkered monuments, empathetic to the point where his creations often cease to be facsimiles at all, but heartfelt creations born from the same cultural conscious that inspired them. You can’t write if you can’t relate, indeed. Kevin Liedel

Editor’s Note: Listen to our Beck playlist on Spotify.

25. “Debra”

Midnite Vultures exists largely as satire, but it also serves as an opportunity for the usually cryptic Beck to let his freak flag fly. On the epic, cheesy “Debra,” he hoists it way, way up, further establishing the absurdity of the album’s seedy narcissism by attempting to pick up sisters. The greatest moment here, however, is the supreme elasticity of Beck’s voice, sprinting from husky whispers to erotic falsettos with the kind of joie de vivre worthy of Prince. Liedel

24. “Soul Suckin’ Jerk”

Beck’s sense of humor has always been prevalent in his music, but what’s less well-established is how his absurd, juvenile setups often dissolve into black-hearted non sequiturs. “Soul Suckin’ Jerk” is one such reversal, a slacker tale that traces Beck’s working stiff from the food court into the edges of civilization just as its verse descends from quiet basslines into raucous drum stomps. “For 14 days I’ve been sleeping in a barn,” Beck’s suburban drone-cum-backwoods anarchist observes, right before a guttural, bottom-heavy font of distortion hammers home the desperation in his wisecracks. Liedel

23. “Hollywood Freaks”

Beck lays claim to legitimate skills on the mic, and they’ve never been stronger or more precise than on “Hollywood Freaks.” Of course, this being Beck, the rhymes come with a twist, delivered in a lisping, nasal drone that’s part Truman Capote and part Sylvester the Cat. All the better for it, considering the slick, springy track boasts the weirdest combination of allusions Beck’s ever concocted: Ripple, No Doz, Norman Schwarzkopf, tricked-out Hyundais, and the song’s ubiquitous, drunken tagline, “He’s my nun!” Liedel

22. “Forcefield”

Given Beck’s recent lavish productions, it’s easy to forget that in the early- to mid-‘90s he was a lo-fi master. This is nowhere more evident than on 1994’s One Foot in the Grave, a barebones album steeped in folk and blues. Its centerpiece is “Forcefield,” a song built on three simple yet haunting acoustic guitar notes and intertwining vocals by Beck and Sam Jayne of the sadly unheralded post-hardcore band Lync. The lyrics are largely enigmatic, but the chorus poignantly summarizes the necessity of a metaphorical forcefield: “Don’t let it get too near you/Don’t let it get too close/Don’t let it turn you into/The things you hate the most.” Michael Joshua Rowin

21. “Rowboat”

“Rowboat,” from 1994’s Stereopathetic Soulmanure, is a gently strummed, classically constructed ballad of rejection and loneliness that features Beck’s early penchant for lyrics that alternate between deadpan melancholy (“Rowboat, row me to the shore/She don’t wanna be my friend no more”) and humorous non sequitur (“Dog food on the floor/And I’ve been like this before”). Late Nashville legend Leo Blanc’s stunning steel pedal work provides just the right amount of additional sorrow, and, as if to give it the country stamp of approval, Johnny Cash covered the song in 1996. Rowin

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The Up series began in 1964 as a Granada Television International documentary special, entitled Seven Up!, touted as “glimpse of Britain’s future.” Fourteen British seven-year-olds—nine boys and five girls—from different backgrounds and classes were interviewed about their lives. Paul Almond’s film set out to prove a motto usually attributed to a founder of the Jesuit order: “Give me a child until he is seven, and I will give you the man.”

In 1970, director Michael Apted, a researcher on Seven Up!, took over the helming of the series with Seven Plus 7. “The series was an attempt to do a long view of English society,” the filmmaker told me in a recent conversation. “The class system needed a kick up the backside.” Every seven years, Apted dropped in on the lives of his subjects, with the goal of revealing the changing face of a nation through the words, and faces, of a generation of Brits.

The series is a fascinating sociological experimental, about how matters of class, education, and opportunity in Britain have transformed over the decades. After Seven Plus 7 came seven more films, including the latest, 63 Up. Inevitably, this entry in the series is fixated on issues of aging and retirement, given that the subjects are all mostly at the tail end of their careers.

During our conversation, Apted discussed his initial involvement in the Up series, his relationship to his subjects, and his own transformation over the years.

Do the subjects see the previous installments before filming the new episodes? Do you find a theme from past interviews to follow up on in the next installment?

I decide what I want to ask and talk about. If they want to talk about something that changed [in their lives], then they can. If something new or important happened privately…I use bits of history, but I don’t tell them what I want to ask. I see if their opinions or the atmosphere changes. I don’t want to talk about their past or do an update. I start from scratch.

Do you recall the criteria for finding the subjects, and the number of subjects? They’re all likeable, which is so gratifying.

It was accidental. We wanted to look at England in 1963, ‘64. It was loosely done. We were looking at a big picture. I had no idea it would go on as long as it did. We didn’t plan the second [entry] until five years after the first. When we decided to do it again and again, it was [about] what aspect of change in their lives or the country’s life was important.

What about issues of diversity? There’s class diversity, but the series features more men than women, one minority, and no one who’s gay.

We missed the point about the increased [engagement] of women in jobs and politics. Women became central in society. Female leadership—Thatcher, a female prime minister—happened quicker than we thought. Thatcher was unique in a way. We didn’t get enough women [in the series] when we started, so I brought wives in. Women were adjacent to the people we were interviewing, so we were able to put different female voices in the film. We were keen to have the wives and husbands [as co-subjects] and use them as if they had been there since the start.

There’s a question raised about the value of the series, generally from the subjects who find it “emotionally draining” to do the interviews. What observations do you have about the value and impact of the series?

I can’t speak highly enough about the impact of the series. No one had done it, and it was an original idea. It couldn’t be done like this again. We had inspiration and luck to keep going. People copied it. We tracked major events and progress in society. I’m glad we did it when we did it. We couldn’t have chosen a better period.

There are thoughts on aging, marriage, children, opportunity, education, and, now, Brexit. How have the subjects’ opinions dovetailed or differed from yours?

I’m not interested in using the film [as a mirror] for my own views. It’s what they think. I don’t compare how I lived my life to them. I’m quite different from them. I went through different things in life. I spent much of my time in America.

Jackie takes you to task in one of the programs about your questions toward women, suggesting you’re treating the women differently. Peter dropped out for a spell, and Suzy passes on participating because of all the baggage associated with making the program. What are your feelings about the subjects who don’t cooperate?

I’m thrilled that they opened their hearts and souls as much as they did. There were areas not to be discussed. I did not want to alienate them. If things got controversial, fair enough. I pursued the things they pursued in what they said. I didn’t say, “Why not be a doctor?”

Symon lacks ambition in his younger years. Neil struggled with homelessness in his youth. Tony makes a perhaps bad business decision. Some of the subjects—Lynn and Bruce, in particular—make efforts to give back to society. What can you say about the opportunities the subjects had being in the series? Did you ever help them?

I would help them in small ways, but I didn’t change their lives. They had opportunities that came from being on the program. But they couldn’t take advantage of [their participation], like getting a job because they were in the project.

You will primarily be known for this series, but you’ve also made classic films like Coal Miner’s Daughter, a Bond picture, even a Jennifer Lopez vehicle. What observations do you have about your career and how this program shaped your life and work?

I think it helped me a lot. The films I like best are hybrids. Coal Miner’s Daughter was a sociological film and an intimate story. I can get real performances out of people from doing documentaries. I cast well, and hope people trust me having seen these films. There has been no backlash. That was my ambition. The series kept me oriented to do what I wanted to do. Granada kept it ongoing. I convinced [executives] that if I wanted to do Gorillas in the Mist with real gorillas, then I could make that because I was a realistic documentary storyteller.

The theme of the series is “Show me the child when he is seven, and I will show you the man.” Do you think there’s a truth to that, given that you have at least one counterexample in 63 Up? What were you like at seven?

I was shy and didn’t say much at that age. I thought things, though. I went to a good secondary school in London. You would be surprised if you saw me at seven. I had lucky breaks and good luck. I was 21, 22 [when the series started in 1963]. It was a good thing that the program was embraced. I was lucky to be at the right place at the right time—the year after I left Cambridge. I made a good decision even if I wasn’t aware of it at the time.

Will there be a 70 Up? Would this series continue without you?

I don’t know if everyone will be alive, but if they are, yes. You never know. I’d like to go on for as long as I am above ground. I’d like it to continue.

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