Jonathan Mackris

Student, ciné-fils

The greatest discoveries of my year came out of an unplanned emphasis on the cinemas of Italy (Camerini, De Sica, Fellini, Matarazzo, Mangini, Lattuada, Antonioni, De Seta) and Brazil (Mauro, Bressane, Peixoto, Burle, Rocha). Of these names, the two most original filmmakers proved to be Mario Camerini and Humberto Mauro, with whom I was previously unfamiliar. Between them, there is much in common: both got their start in the late 1920s and made their most significant work within a year of each other, Gli uomini, che mascalzoni (What Scoundrels Men Are!) in 1932 and Ganga Bruta in 1933; both, moreover, would later be claimed as foundational figures for the national cinema to come. Camerini’s film, novel for its use of location and notable especially as De Sica’s debut as a romantic lead, was later recognised by theoreticians of Italian neorealism, including Bazin, as a predecessor to the more famous postwar work. Glauber Rocha would say the same of Mauro, identifying Ganga Bruta as the “initial link” toward Cinema Novo. Though nothing else I’ve seen of their work stands out as strongly as these two features, the rarity of these achievements is enough to make them deserving of greater canonical significance. 

Additionally, a good amount of my year was spent getting better acquainted with directors from the classical canon who, for one reason or another, I had seen too few films by (Ford, Ozu, Renoir, Mizoguchi, Ophüls). Out of this, below are 20 of the most notable of the films I saw for the first time this year, listed chronologically.

Enoch Arden (D.W. Griffith, 1911)
Sono yo no tsuma (That Night’s Wife, Ozu Yasujiro, 1930)
Gli uomini, che mascalzoni… (What Scoundrels Men Are!, Mario Camerini, 1932)
Ganga Bruta (Humberto Mauro, 1933)
Pilgrimage (John Ford, 1933)
Steamboat Round the Bend (John Ford, 1935)
Paisà (Roberto Rossellini, 1946)
Germania anno zero (Germany Year Zero, Roberto Rossellini, 1948)
Le carrosse d’or (The Golden Coach, Jean Renoir, 1952)
The Quiet Man (John Ford, 1952)
Le Plaisir (Max Ophüls, 1952)
Madame De…. (Max Ophüls, 1953)
Chikamatsu monogatari (A Story of Chikamatsu, Mizoguchi Kenji, 1954)
La Spiaggia (The Beach, Alberto Lattuada, 1954)
Akasen chitai (Street of Shame, Mizoguchi Kenji, 1956)
Malinconico autunno (Melancholy Autumn, Raffaello Matarazzo, 1958)
Lettre d’un temps d’exil (Letter From a Time of Exile, Borhane Alaouié, 1988)
Regards de mémoire (Sarah Maldoror, 2003)
La nuit sans étoiles (Starless Night, Jean-Claude Rousseau, 2006)
Chamissos Schatten (Chamisso’s Shadow, Ulrike Ottinger, 2016)

Le Plaisir

I would like to note as well the passing of Lebanese filmmaker Borhane Alaouié – a hero of ‘70s cinema deserving of greater attention than he has so far received.

Every year ends with a certain amount of regret over the films that could not be seen before deadlines are due. By my count, I have seen 72 films that premiered in 2021. The three most notable omissions are the new feature by Georgian filmmaker Alexandre Koberidze, whose previous feature Lass den Sommer nie wieder kommen (Let The Summer Never Come Again, 2017) I very much admire; Lav Diaz’s Historya ni Ha (History of Ha, 2021); and, most unacceptably, the new feature by Dalit filmmaker Pa. Ranjith, Sarpatta Parambarai (2021). This aside, below are my favourite films to premiere in 2021 presented in alphabetical order.

Xuan ya zhi shang (Cliff Walkers, Zhang Yimou, 2021)
The French Dispatch (Wes Anderson, 2021
Garage, des moteurs et des hommes (Garage, Engines, Men, Claire Simon, 2021)
June July (Kevin Jerome Everson, 2021)
West Side Story (Steven Spielberg, 2021)
Zeros and Ones (Abel Ferrara, 2021)

There is a likeness to my two favourites of the year, Simon’s Garage, Engines, Men and, to my surprise, Spielberg’s West Side Story. Both are elegiac portraits of society in transition, though the temporalities of the two point us in different directions. Simon’s feature, a documentary about the decay of a provincial French town, faces the past. Though so much of it is filmed with a gripping immediacy inside of a small car garage, the narrative frame bookending this footage places it into dilapidated past tense, with the knowledge that such a community as Simon remembers it will not survive the present. If, by contrast, West Side Story seems to be looking into the future, it does so recalling the oft-quoted adage by the Italian Marxist Antonio Gramsci, “the old is dying and the new cannot be born.” It is from inside Gramsci’s interregnum between the old and the new that Spielberg places his adaptation. I find myself urged to make a comparison to Rossellini’s Germany Year Zero (1948), with which Spielberg’s film shares not simply a similarity in style but likewise in subject. In each, it is a question of what it means to the children born to the greatest evils of the 20th century – Nazism and white supremacy – to inherit this rubble. It is the scared confusion of what it means to be part of the generation after, the one charged with the responsibility to make the world their parents failed to deliver – more than that, to discover in your parents (or in their absence) the capacity for that very evil, and to dare to not repeat them. Though few of the numbers in Spielberg’s version out-do the originals in Wise’s film, the most outstanding is surely his restaging of “Cool” as a delicate fight between the two leaders of the white supremacist Jets over the group’s future at the site of a battered dock. Like Simon’s film, West Side Story is at its most interesting when it finds these ruins. 

Bob Manning

Cinephile and Adelaide Cinémathèque member

In a year that saw major releases rescheduled as a result of covid, this is my selection of the best films released in Adelaide in 2021. 

  1. Dune (Denis Villeneuve, 2021)
  2. Nomadland (Chloe Zhao, 2020)
  3. Promising Young Woman (Emerald Fennell, 2020)
  4. Minari (Lee Isaac Chung, 2020)
  5. My Salinger Year (Philippe Felardeau, 2020)
  6. Seules les bêtes (Only the Animals, Dominik Moll, 2019)
  7. The Man in the Hat (John-Paul Davidson and Stephen Warbeck, 2020)
  8. First Cow (Kelly Reichardt, 2019)
  9. Marjorie Lawrence: The World at Her Feet (Wayne Groom, 2021)
  10. The Dry (Robert Connolly, 2020)
  11. Pig (Michael Sarnoski, 2021)
  12. Adieu les cons (Bye Bye Morons, Albert Dupontel, 2020)

The best film for me was easily Dune, directed by one of my favourite directors Denis Villeneuve. I had a great build up to its release with Wallis Mitcham screening Jodorowsky’s Dune (Frank Pavich, 2013) and Dune (David Lynch, 1984) the previous two weekends. I’ve only seen it twice so far and will definitely buy the Blu-ray. A great sci-fi. It’s only part one. Can’t wait for the second instalment!


One of the best documentaries I have seen this year is Marjorie Lawrence: The World at Her Feet, an Australian production directed by Wayne Groom. It covers the life of the great Australian Soprano Marjorie Lawrence, a farm girl from Winchelsea in country Victoria who went to Paris to study and became one of the greatest Wagnerian Sopranos there, as well as New York and the world. At the age of 33, at the height of her career, she was tragically cut down by polio. Remarkably she partially recovered from polio and continued to sing in a wheelchair until she passed at age 71. A great humanitarian, she visited other polio victims and entertained the allied troops during WW2 at home and abroad, in the US and England. A great doco narrated by Kiri Te Kanawa.

Łukasz Mańkowski

film critic, Japanese translator, academic, festival consultant based in Warsaw, Poland


A Night of Knowing Nothing (Payal Kapadia, 2021)
Doraibu mai kâ (Drive My Car, Ryūsuke Hamaguchi, 2021)
Gūzen to Sōzō (Wheel of Fortune and Fantasy, Ryūsuke Hamaguchi, 2021)
Haruhara-san no uta (Haruhara-san’s Recorder, Kyoshi Sugita, 2021)
Jai Jumlong (Come Here, Anocha Suwichakornpong, 2021)
Memoria (Apichatpong Weerasethakul, 2021)
Petite Maman (Celine Sciamma, 2021)
Pig (Michael Sarnoski, 2021)
Spencer (Pablo Larrain, 2021)
Yong an Zhen Gu Shi Ji (Ripples of Life, Wei Shujun, 2021)


Dao Khanong (By the Time It Gets Dark, Anocha Suwichakornpong, 2016)
D’Est (From the East, Chantal Akerman, 1993)
Dona Flor e Seus Dois Maridos (Dona Flor and Her Two Husbands, Bruno Barreto, 1976)
Fah talai jone (Tears of the Black Tiger, Wasit Sasanatieng, 2000)
Happy Hour (Ryūsuke Hamaguchi, 2015)
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Jeanne Dielman, Chantal Akerman, 1975)
Nihon Kaiho sensen: Sanrizuka no natsu (Summer in Narita, Shinsuke Ogawa, 1968)
Mirch Masala (Ketan Mehta, 1985)
Pagdating sa Dulo (At the Top, Ishmael Bernal, 1971)
Shinjū: Ten no Amijima (Double Suicide, Masahiro Shinoda, 1969)


Many of the end-year essays revolve around how the year 2021 was supposed to be the experience of coming back to normal: the cinemas meant to be filled again with crowds and the festivals were supposed to embrace audiences from the whole globe. I remember coming to Wrocław, Poland, for New Horizons after one year of a break during which the festival went on a digital route (a successful edition nonetheless). Although people had to wear the masks and part of the festival was accessible online, it was still an experience of vivid encounters; one that lingered on anticipation. My highlights included watching Chantal Akerman’s retrospective on the big screen, as well as participating in the retrospective of Apichatpong Weerasethakul, with whom I had a chance to run a masterclass– a delightful meeting, even if only remotely– and conduct introductions to the films, screened from the film tapes. To see the graininess of the images in the cinema again was to feel the body of cinema– its textures, shapes, and wonderful imperfections.

Slightly different was this year’s Berlinale. I had my first dose of AstraZeneca precisely the day the festival had started. I barely remember finishing the day with Hong Sang-soo’s Introduction, when my head would start to feel the heat of almost 40 degrees of fever. The loops present in the film, its repetitions and the whole universe of reiterations of many sorts, would blend into one infinite cycle of images in my head; it felt as the film would never end. It introduced me to something entirely organic, in a way, I felt I became a part of the film, and so did my vaccine-rendered convulsions. To be in the world of Hong Sang-soo for such an extended time– meant both tragic and sacred. But so it lasted; with me being in the bed for almost the whole week, occasionally changing poses so that the body wouldn’t scream with the sore. To be or not to be, seemed to be the question.

Miguel Marías

Former Director of the Spanish Film Archive (1986-88); author of books on Manuel Mur Oti and Leo McCarey; Teacher.

A) Great films made after 2016 seen for the first time in 2021:

Mo er dao ga (Anima; Cao Jinling, 2020)
Cry Macho (Clint Eastwood, 2021)
Les choses qu’on dit, les choses qu’on fait (The Things We Say, the Things We Do, Emmanuel Mouret, 2020)
À l’abordage (All Hands on Deck, Guillaume Brac, 2020)
Still Life of Memories (Yazaki Hitoshi, 2018)
Doraibu mai kā (Drive My Car, Ryūsuke Hamaguchi, 2021)
Dorogie tovarishchi (Dear Comrades!, Andreí Konchalovsky, 2020)
Il n’y aura plus de nuit (There Will Be No More Night, Éléonore Weber, 2020)
Marx può aspettare (Marx Can Wait, Marco Bellocchio, 2021)
The Marriage Project (Hesam Eslami & Atieh Attarzadeh, 2019)
Gūzen to sōzō (Wheel of Fortune and Fantasy, Hamaguchi Ryūsuke, 2021)
Suzanna Andler (Benoît Jacquot [based on play by Marguerite Duras], 2020/1)
Maixabel (Iciar Bollain, 2021)
News of the World (Paul Greengrass, 2020)
Country Music (Ken Burns, 2019)

B) Great films made before 2016 seen only in 2021:

Serdtse materi (The Heart of a Mother, Mark Donskoí, 1966)
Yumechiyo Nikki (Yumechiyo’s Diary, Urayama Kirio/Kiriro, 1985)
Petit à petit (4 hour version) (Jean Rouch, 1971)
The Whistle at Eaton Falls (A Drama of Real Life) (Robert Siodmak, 1951)
Taking Sides (Der Fall Furtwängler, István Szabó, 2001)
Losing Ground (Kathleen Collins, 1982)
Dream Girl (Mitchell Leisen, 1947/8)
Valley of the Sun (George Marshall, 1942)
The Silent Partner (S1, Ep.12 de Screen Directors Playhouse) (George Marshall, 1955)
Life Begins at 40 (George Marshall, 1935)
Peesua lae dokmai (Butterflies and Flowers, Euthana Mukdasanit, 1985)
Hellfire (R.G. Springsteen, 1949)
Shin Heike Monogatari: Yoshinaka o megoru sannin no onna (Kinugasa Teinosukē, 1955/6)
Texas (George Marshall, 1941)
Vremia zhelanií (Time of Desire, Iulii Raízman, 1984)
Nigorie (Imai Tadashi, 1953)
Die Rebellion (Wolfgang Staudte, 1962)
Kirmes (Wolfgang Staudte, 1960)
Joi no Kiroku (Shimizu Hiroshi, 1941)
Stories We Tell (Sarah Polley, 2012)
Días de otoño (Roberto Gavaldón, 1963)
Man’s Calling (Almost a Friar, Allan Dwan, 1912)
Das Lamm (The Lamb, Wolfgang Staudte, 1964)
Bokuseki (Goshō Heinosukē, 1940)
Hashi no nai kawa (The River with No Bridge, Higashi Yōichi, 1992)
Taiyō no suwaru basho (The Place Where the Sun Sits, Yakazi Hitoshi, 2012)
Suîto ritoru raizu (Sweet Little Lies, Yazaki Hitoshi, 2009/10)
Fuon (The Crying Wind, Higashi Yōichi, 2004)
Ainsi soit-il (Gérard Blain, 1999/2000)
The Rose of Kentucky (D.W. Griffith, 1911)
The Romantic Story of Margaret Catchpole (Raymond Longford, 1911)
Odoriko (Shimizu Hiroshi, 1957)
Escape (Mervyn LeRoy, 1940)
Raí/Paradies (Paradise, Andreí Konchalovsky, 2016)
Never a Dull Moment (George Marshall, 1950)
A Millionaire for Christy (George Marshall, 1951)
Friendly Enemies (Allan Dwan, 1942)
Maging Akin Ka Lamang (Lino Brocka, 1987)
Bulaklak Sa City Jail (Mario O’Hara, 1984)
Kawanakajima kassen (he Battle of Kawanakajima, Kinugasa Teinosukē, 1941)
The Girl Said No (Sam Wood, 1930)
Eno nakane bokuno mura (Village of Dreams, Higashi Yōichi, 1996)
Atlantis the Lost Continent (Siren of Atlantis/Atlantide, Gregory G. Tallas, coll. John Brahm, Arthur Ripley, 1947//9)
Koiya koi nasuna koi (Love, Thy Name Be Sorrow/The Mad Fox, Uchida Tomu, 1962)
Destry Rides Again (George Marshall, 1939)
A Message to Garcia (George Marshall, 1936)
Chicago-Weltstadt in Flegelsjahren (Heinrich Hauser, 1931)
Die Stadt der Millionen. Ein Lebensbild Berlins (Adolf Trotz, 1925)
Wandering Papas (Stan Laurel, 1926)

Tre Piani

C) Very good recent films:

Dereka no mokkin (Somebody’s Xylophone, Higashi Yōichi, 2016)
Hostiles (Scott Cooper, 2017)
Ray Meets Helen (Alan Rudolph, 2017)
Tre Piani (Three floors, Nanni Moretti, 2021)
Des Hommes (Lucas Belvaux, 2020)
Petite Maman (Céline Sciamma, 2021)
Running Wild (Alex Ranarivelo, 2016/7)
Eskape (Neary Adeline Hay, 2021)
Dangsin-eolgul-apeseo (In Front of Your Face, Hong Sang-soo, 2021)
The Marksman (Robert Lorenz, 2021)
Un soupçon d’amour (Paul Vecchiali, 2019/20)
The Miniaturist of Junagadh (Kaushal Oza, 2021)
L’equilibrio (Vincenzo Marra, 2017)
Felkészülés meghatározatlan ideig tartó együttlétre (Preparations to be together for an unknown period of time, Horvát Lili, 2020)
Longe (Far, José Oliveira, 2016)
Seize printemps (Suzanne Lindon, 2020)
Onoda, 10.000 nuits dans la jungle (Onoda: 10,000 Nights in the Jungle, Arthur Harari, 2021)
Huda’s Salon (Hany Abu-Assad, 2021)
The Sea Ahead (Albahr’amamakum, Ely Dagher, 2021)
Les Apparences (Marc Fitoussi, 2020)
Pray for Rain (Alex Ranarivelo, 2017)
Quién lo impide (Jonás Trueba, 2016-21)
A Quiet Place Part II (John Krasinski, 2020/1)
A Quiet Place (John Krasinski, 2018)
Antlers (Scott Cooper, 2019//21)
Zeros and Ones (Abel Ferrara, 2021)
Supai no tsuma (Kurosawa Kiyoshi, 2020)
A todo tren. Destino Asturias (Santiago Segura, 2021)
The Great Indian Kitchen (Jeo Baby, 2021)
What Is Life Worth (Worth, Sara Colangelo, 2020)
Errementari (El herrero y el diablo, Paul Urkijo Alijo, 2017/8)
Sylvie’s Love (Eugene Ashe, 2020)
La Telenovela Errante (Raúl Ruiz, Valeria Sarmiento, 1990/2017)
Irradiés (Rithy Panh, 2020/1)
Traidores (Jon Viar, 2021)
Impuros (Alberto Utrera, 2021)
Wild Mountain Thyme (John Patrick Shanley, 2020)
Explota Explota (Nacho Álvarez, 2020)

D) Very good older films:

You Never Know Women (William A. Wellman, 1926)
Out of the Furnace (Scott Cooper, 2013)
Watashi no Guranpa (My Grandpa, Higashi Yōichi, 2003)
Mubansō (A Cappella, Yazaki Hitoshi, 2015/6)
Panic in Year Zero! (Ray Milland, 1962)
The Man I Married (Irving Pichel, 1940)
Show Them No Mercy (George Marshall, 1935)
Badlands of Dakota (Alfred E. Green, 1941)
The Treasure of Lost Canyon (Ted Tetzlaff, 1951/2)
Nie wieder Liebe! (Anatole Litvak, 1931)
Mukashi no uta (Old Sweet Song/Old Song, Ishida Tamizo, 1939)
Keshin (Metamorphosis, Higashi Yōichi, 1986)
Sekando rabu (Second Love, Higashi Yōichi, 1983)
Slave Ship (Tay Garnett, 1937)
Evelyn Prentice (William K. Howard, 1934)
Zwischengleis (Wolfgang Staudte, 1978)
Heimlichkeit (Wolfgang Staudte, 1968)
The Moon’s Our Home (William A. Seiter, 1936)
All Our Yesterdays (of 77 Sunset Strip) (Richard L. Bare, 1958)
I Live My Life (W.S. Van Dyke II; scr. Joseph L. Mankiewicz, 1935)
Una Romantica Avventura (Mario Camerini, 1940)
Le Grand Jeu (Nicolas Pariser, 2015)
Erótica (Emilio ‘Indio’ Fernández, 1978)
Oatsurae Jirôkichi goshi (Jirokichi the Rat, Itô Daisuke, 1931)
Desert People (Ian Dunlop, 1965-7)
Tap Roots (George Marshall, 1948)
When the Daltons Rode (George Marshall, 1940)
Scared Stiff (George Marshall, 1952/3)
The Blue Dahlia (George Marshall, 1945/6)
Flowing Gold (Alfred E. Green, 1940)
This Side of the Law (Richard L. Bare, 1949/50)
Gränsfolken (Mauritz Stiller, 1913)
Rendezvous (William K. Howard; uncredited Sam Wood, 1935)
High, Wide and Handsome (Rouben Mamoulian, 1937)
Heat Lightning (Mervyn LeRoy, 1934)
Black Jack (Julien Duvivier, 1950)
Nancy Steele is Missing! (George Marshall; uncredited Otto Preminger, 1937)
The Woman Between (Victor Schertzinger, 1931)
The Woman I Love (The Woman Between, Anatole Litvak, 1937)
Want Ad Wedding (William A. Seiter, 1955)
El agua en el suelo (Eusebio Fernández Ardavín, 1925)
De sueur et de sang (Wonderboy, Paul Vecchiali; coll. Pierre Sénélas, 1994)
The Ghost Breakers (George Marshall, 1940)
State Secret (The Great Manhunt, Sidney Gilliat, 1950)
The Spieler (Tay Garnett, 1928)
Culpables (Arturo Ruiz-Castillo, 1958)
Phenomenon (John Turteltaub, 1996)
Shack Out On 101 (Edward Dein, 1955)
The Dog Lover (Alex Ranarivelo, 2015/6)
Il Fauno (Febo Mari, 1917)
Satánico Pandemonium (La Sexorcista, Gilberto Martínez Solares, 1975)
Parisian Love (Louis J. Gasnier, 1925)
Hollywood on Trial (David Halpern,Jr., 1976)
Beyond Mombasa (George Marshall, 1956)
Money from Home (George Marshall, 1953)
Hook, Line and Sinker (George Marshall; p.,w. Jerry Lewis, 1968/9)
Variety (Bette Gordon, 1983)
Séraphin ou Les Jambes Nues (Louis Feuillade, 1921)
Effraction (Daniel Duval, 1983)
Jalaler Golpo (Jalal’s Story, Abu Shahed Emon, 2014)
Cover Up (Alfred E. Green, 1948/9)
Manchas de sangre en la Luna (Come Die My Love, Luis Marquina & Edward Dein, 1952)
Le 7ème Juré (Georges Lautner, 1962)
La Route de Salina (Georges Lautner, 1969/70)
The Squall (Alexander Korda, 1929)
L’Emigrante (Febo Mari, 1915)
Cenere (Febo Mari & Arturo Ambrosio, 1916/7)
Sādo (Third Base, Higashi Yōichi, 1978)
Universal Citizen (Peter Thompson, 1987)
Where Lights Are Low (Colin Campbell, 1921)
De cierta manera (Sara Gómez, 1974//8)


Jack McCulloch

Location Sound Recordist

Top Films of 2021

  1. The Matrix Resurrections (Lana Wachowski, 2021)
  2. Titane (Julia Ducournau, 2021)
  3. Last Night in Soho (Edgar Wright, 2021)
  4. Droste no hate de bokura (Beyond the Infinite Two Minutes, Junta Yamaguchi, 2020)
  5. Licorice Pizza (Paul Thomas Anderson, 2021)

Top Retrospective Screenings 2021

  1. Chung Hing sam lam (Chungking Express, Wong Kar-wai, 1994) – ACMI, 4K restoration
  2. Orphée (Orpheus, Jean Cocteau, 1950) – Melbourne Cinémathèque, ACMI
  3. Inland Empire (David Lynch, 2006) – Astor Theatre, 35mm
  4. On Her Majesty’s Secret Service (Peter R. Hunt, 1969) – Cameo Cinemas
  5. Scream (Wes Craven, 1996) – Astor Theatre

Tim McQueen

Brisbane-based video editor and cinephile
  1. West Side Story (Steven Spielberg, 2021)
  2. Cry Macho (Clint Eastwood, 2021)
  3. The Beatles: Get Back (Peter Jackson, 2021)
  4. Memoria (Apichatpong Weerasethakul, 2021)
  5. Barb and Star Go To Vista Del Mar (Josh Greenbaum, 2021)
  6. Ferny & Luca (Andrew Infante, 2021)
  7. Annette (Léos Carax, 2021)
  8. Zeros and Ones (Abel Ferrara, 2021)
  9. The French Dispatch (Wes Anderson, 2021)
  10. Old (M. Night Shyamalan, 2021)

I also want to give a big almighty honourable mention to two shorts: Friends of Mine (Andréas Giannopoulos, 2021) and Delta of Venus (Nancy Cao, 2021) which both challenge our preconceptions of what Australian cinema is allowed to be, and both in different ways display something of the spirit of Jacques Rivette, showing incredible promise for the future. 

There’s still so much I have to catch up on from this year, and I’m a little disappointed in myself that every filmmaker here is male, with many being representatives of ‘the old guard’. 

Ultimately none of these films were as affecting to me as the ninth series of John Finnemore’s Souvenir Programme (John Finnemore, 2021) which took advantage of the pandemic to reinvent itself from a radio sketch show to an epic reverse narrative of a family over five generations. The resulting work is exactingly delicate and poignant, and it arguably has more ‘cinematic’ power than most movies, in spite of its lack of visuals. 

Drive My Car

Adrian Mendizabal

University Research Associate II, University of the Philippines Film Institute (UPFI)
  1. Seperti Dendam, Rindu Harus Dibayar Tuntas (Vengeance is Mine, All Others Pay Cash, Edwin, 2021)
  2. Doraibu mai kā (Drive My Car, Ryūsuke Hamaguchi, 2021)
  3. Gekijō-ban “Kimetsu no Yaiba” Mugen Ressha-hen (Demon Slayer – The Movie: Mugen Train, Haruo Sotozaki , 2020)
  4. Kingdom: Ashin of the North (Kim Seong-hun, 2021)
  5. Kinō Nani Tabeta? (What Did You Eat Yesterday?, Kazuhito Nakae, Katsumi Nojiri, Kenji Katagiri, 2019-2021)
  6. Dune (Denis Villaneuve, 2021)
  7. Titane (Julia Ducournau, 2021)
  8. L’événement (Happening, Audrey Diwan, 2021)
  9. Memoria (Apichatpong Weerasethakul, 2021)
  10. Historya ni Ha (History of Ha, Lav Diaz 2021)

I watched most of these films from the recently reinstated QCinema International Film Festival, which ran from November 26 to December 5, 2021. Some titles were seen via Netflix and other online streaming platforms. This list is only provisional as I am yet to access other films shown locally in the Philippines and abroad. I am yet to release an expanded list with citations via my blog OMNITUDO: Interventions in Cinema & Philosophy (https://omnitudo.wordpress.com/) this coming January. Happy Pandemic Holidays everyone!

Jamie Mendonça

Theatrical Sales Executive, Curzon Artificial Eye

A selection of films based on instinct rather than rational thought, in no order.

Na srebrnym globie (On the Silver Globe, Andrzej Żuławski, 1988)

During my first ever trip to Poland for a film festival in Gdynia I wasn’t expecting to be blown away by a film to this extent. A miracle. Billed as Polish legend, this is other-level filmmaking; the kind that makes you wonder, from shot to shot, how in god’s name they did it. Indeed, the film was never finished (although Andrzej ‘completed’ it in an ingenious way) and it remains unreleased – at least in the UK.

È stata la mano di Dio (The Hand of God, Paolo Sorrentino, 2021)

I know of no other filmmaker who is able to capture so purely not only the joy of life but the thrill of filmmaking itself. I get the same feeling from sequences in Fellini films, which is of course no coincidence. The first half in particular is without doubt the best time I’ve had in a cinema this year.

Soliloquy (Shirin Neshat, 1999)

I happened upon this piece during an unplanned visit to Tate Modern, described as a “double-screen colour video projection” which on paper sounds like my kind of nightmare. But no, this fascinating work from an Iranian artist based in the US caught my attention and didn’t let go. 

To my shock/delight, I’ve just realised we released her debut feature Women Without Men in 2010.

Nightmare Of The Vanities (Steven Santa Cruz Booth, date unknown)

COVID-19 took the life of my friend and colleague Steven and as part of the process I indulged in his work. This rough and ready short film captures his essence; below is how he introduces it on Vimeo:

Made this 16mm film in Sheffield, with the help of my friends, on a Bolex and Aaton camera, and using a Nagra tape recorder for sound, I was mostly acting as a one man crew, at least when we didn’t have a small skeleton team for a couple of scenes, my friends Robin and Dierdre were the stars on this student Art movie. I edited it on an old Steinbeck machine. Real film, is physical!

Historya ni Ha (Lav Diaz, 2021)

None of this ‘90 minutes or less’ talk thank you; long-form all the way…but in good hands and under the right circumstances. Personal record in a cinema for this one: 275 minutes right though with no interval nor visit to the facilities. Talking of film length, I saw a handful of titles this year that were simply too short; no time to develop – all over before they’d started.

Dangsin-eolgul-apeseo (In Front of Your Face, Hong Sang-soo, 2021)

By far my favourite filmmaker who hails from South Korea and as far as I’m concerned any new work of his will always have a place here.

Le Sorelle Macaluso (The Macaluso Sisters, Emma Dante, 2020)

This tragedy really haunted me. Based on her own play, Emma Dante managed to capture that mysterious ‘something’ that can’t be explained. Some films have it, most don’t.

Doraibu mai kā (Drive My Car, Ryūsuke Hamaguchi, 2021) 

Worthy of its hype, which is rare. Reminded me of all my time driving actors in the past; I was the stubborn one who refused to use satellite navigation, taking pride in memorising all my journeys beforehand. In one of my final jobs, they called me Gosling, which somehow didn’t make me cringe then nor now. Like Tôko Miura in the film, I too was acutely aware of each and every bump in the road, every turn, always trying to ensure my passenger felt the minimum.

I drove to the cinema to watch Drive My Car (not to be cute; to avoid the tube) and upon exiting the venue – our own Curzon Bloomsbury, née Renoir – I simply couldn’t wait to get in my car and just drive. 

Spencer (Pablo Larraín, 2021)

Not so cool to appreciate this one? A bit…mainstream? Couldn’t care less; this film is extraordinary. As a lifelong admirer of The Shining, it was mind-blowing to encounter a brand new work that could sit alongside it quite comfortably. Long lost siblings? Big screen only please for this majestic ghost story; with respect to the princess and her sons.

Benediction (Terence Davies, 2021)

A class act; my highlight of the London Film Festival. Both Terence’s intro and post-film Q&A actually enhanced the experience, which almost never happens – at least for me.

The Beatles: Get Back

The Beatles: Get Back (Peter Jackson, 2021)

I’ve long missed the frantic, messy, slightly experimental energy of Mr Jackson’s early films but he’s gone and made his master work here and he didn’t need to shoot a thing. Credit should also be given to the original filmmaker Michael Lindsay-Hogg. This film captures so much; personal highlights being the devotion and respectful silence of Yoko Ono whom I admire greatly, the matter-of-fact reactions of passers-by in Mayfair during the rooftop performance, the outstanding work ethic of the ever pleasant Ringo, the grace/skill/smile of Billy Preston, and simply the chance to witness three geniuses collaborate. I have a newfound deep admiration for Paul and have simultaneously developed an almost unbearable sadness for the losses of George and John. But George – at least – was perfectly content with the idea of death thanks to his unshakeable faith, which is somewhat comforting. Please refer to his words below regarding John’s killing, from the TV show Aspel & Company in 1988:

I feel not so bad about it…I believe what it says in the scriptures, and in the Bhagavad Gita it says there was never a time when you didn’t exist, and there’ll never be a time when you cease to exist. The only thing that changes is our bodily condition.

Online festivals

  • Essay Film Festival (BIMI) – highlight: Yugantar, India’s first feminist film collective, 1980-83
  • Prismatic Ground (inaugural edition) – highlight: Cane Fire dir. Anthony Banua-Simon, 2020

Douglas Messerli

Publisher of and writer at World Cinema Review

This year I have been working on a multi-volume study of My Queer Cinema: LGBTQ Films Coded and Explicit 1887-2021, so many of the films are LGBTQ-oriented.

 Most Interesting Films: (no order)

 Ammonite (Francis Lee, 2020)
Doraibu mai kā (Drive My Car, Ryūsuke Hamaguchi, 2021)
Firebird (Peeter Rebane, 2021)
Flee (Jonas Pher Raasmussen, 2021)
Azor (Andreas Fontana, 2021)
Madres Paralelas (Parallel Mothers, Pedro Almodóvar, 2021)
Memoria (Apichatpong Weerasethakul, 2021)
tick, tick…BOOM! (Lin-Manuel Miranda, 2021)
The Tragedy of Macbeth (Joel Coen, 2021)
Licorice Pizza (Paul Thomas Anderson, 2021)
I Carry You with Me (Heidi Ewing, 2020)
Days (Tsai Ming-liang, 2020)
The Velvet Underground (Todd Haynes, 2021)
Supernova (Harry Macqueen, 2020)

Stefano Miraglia

Artist and curator; founder of Movimcat


Festina Lente (Baya Medhaffar, 2021)
Tetuan, Tetuán, Tetwan (Primera parte) (Adrian Schindler, 2021)
The Velvet Underground (Todd Haynes, 2021)
Bodies in Dissent (Ufuoma Essi, 2021)
Letter from Sapporo (Morgan Quaintance, 2021)
Sol de Campinas (Jessica Sarah Rinland, 2021)
End of the Season (Jason Evans, 2021)
Tugging Diary (Yan Wai Yin, 2021)
The Night (Tsai Ming-liang, 2021)
Puchuncaví: fragmento de 2021 (Jeannette Muñoz, 2021)
Estuary (Ross Meckfessel, 2021)
Lucina Annulata (Charlotte Clermont, 2021)
Interspecies Architecture (Mauricio Freyre, 2021)
Insulana (Patricia Dauder, 2021)
Encore No.1 Paradise Omeros (Isaac Julien, 2021)
Messages 1-5 (Pat O’Neill with Martha Colburn, 2020-21)
Haruhara-san’s Recorder (Kyoshi Sugita, 2021)
I Can Only Dance To One Song (Arash Fayez, 2021)
Doraibu mai kā (Drive My Car, Ryūsuke Hamaguchi, 2021)
Kindertotenlieder (Virgil Vernier, 2021)
Gaurav Chale Gaya (Anuj Malhotra, 2021)
69 (Ignazio Fabio Mazzola, 2021)
Spinoza/Ongodist (Bruno Delgado Ramo, 2021)

Older films encountered for the first time in 2021:

Figure Minus Fact (Mary Helena Clark, 2020)
Zero Length Spring (Ross Meckfessel, 2020)
Another Horizon (Stephanie Barber, 2020)
Gutai (Wenhua Shi, 2020)
No Archive Can Restore You (Onyeka Igwe, 2020)
A Lack of Clarity (Stefan Kruse Jørgensen, 2020)
One Thousand and One Attempts to Be an Ocean (Wang Yuyan, 2020)
Yeh Woh (Turmoil, Anuj Malhotra, 2020)
Inside the Red Brick Wall (Hong Kong Documentary Filmmakers, 2020)
The Rupture of Promised Land (Or We Can Never Get There) (Edwin Lo Yun Ting, 2020)
Pino (Walter Fasano, 2020)
Reckless Eyeballing (Christopher Harris, 2004)
Blissfully Yours (Apichatpong Weerasethakul, 2002)
Image + Sound: Countdown (Akram Zaatari, 1995)
The Life of Ants (Yuko Asano, 1994)
Seated Figures (Michael Snow, 1988)
Loose Corner (Anita Thacher, 1986)
Sun Song (Joseph Bernard, 1979)
Ursprung der Nacht (Amazonas Kosmos) (Origin of the Night (Amazon Cosmos), Lothar Baumgarten, 1973-77)
Les Lamentations (Pierre Bressan, 1977)
About Some Meaningless Events (Mostafa Derkaoui, 1974)
Le Chant des signes (Yves-André Delubac, 1972)
Europa (Franciszka & Stefan Themerson, 1931-32)

Favourite online programs of 2021:

EMAF: Show Us the Money and We Will Resist – curated by Nour Ouayda
Media City Film Festival: THOUSANDSUNS CINEMA – curated by Oona Mosna
Prismatic Ground – curated by Inney Prakash


Olaf Möller

Writes about and shows films. Cologne/Helsinki

Olaf Möller’s Eleven Friends 2021

Team Manager Team (Films of the Year):

Fabian oder Der Gang vor die Hunde (Fabian – Going to the Dogs, Dominik Graf, 2021)
Illusions perdues (Lost Illusions, Xavier Giannoli, 2021)

First Team (Line-up in strictly alphabetical order):

Amrus Natalsya Yang Membuat Kembali Keluarga Tandus Di Senja (Amrus Natalsya Who Recreates the Dispossessed in Twilight, Mahardika Yudha, 2022)
Benedetta (Paul Verhoeven, 2021)
Caviṭṭ (Stomp, Sajās & Șinōs Ṟah‌mān‍, 2021)
Gunpowder Milkshake (Nabôt Papûšadô, 2021)
Inuō (Yuasa Masa’aki, 2021)
Kimi ga shinda ato de (Whiplash of the Dead, Daishima Haruhiko, 2021)
Medea (Aleksandr Zel’dovič, 2021)
Rocky (Aruṇ Mātēsvaraṉ, 2021)
The Spine of Night (Philip Gelatt & Morgan Galen King, 2021)
The Story of My Wife. The Flounderings of Jakob Störr in Seven Lessons (Enyedi Ildikó, 2021)
Wesele (Wedding Day, Wojciech Smarzowski, 2021)

+ Exterminate All the Brutes [Miniseries] (Raoul Peck, 2021)

+ New York Ninja (John Liú Zhōngliáng [director of 1984 shooting], Kurtis Spieler [artistically responsible for project’s finalisation], 2021)

+ Zack Snyder’s Justice League: Justice is Gray (Zack Snyder, 2021)


100 minut iz žizni Ivana Denisoviča (100 Minutes, Gleb Panfilov, 2021) // Cinema no kamisama (It’s a Flickering Life, Yamada Yōji, 2021) // Hell Hath no Fury (Jesse V. Johnson, 2021) // Historya Ni Ha (History of Ha, Lav Diaz, 2021) // Jiāo má táng huì (The New Old Play, Qiū Jiǒngjiǒng, 2021) // The Last Duel (Ridley Scott, 2021) // Maḥbarôt Šḥôrôt (Black Notebooks, Šlômi ʾlqabeṣ, 2021) // Mr. Landsbergis. Sugriauti blogio imperiją (Mr. Landsbergis, Sergej Loznica, 2021) // One Shot (James Nunn, 2021) // Pathos Ethos Logos (Joaquim Pinto & Nuno Leonel, 2021) // Rocky IV: Rocky vs Drago – The Ultimate Director’s Cut (Sylvester Stallone, 1985-2021) // Shin Evangelion gekijōban:𝄂 (Evangelion: 3.0+1.0 Thrice Upon a Time, Anno Hideaki (Supervising Director) & Maeda Mahiro & Nakayama Katsuichi & Tsurumaki Kazuya, 2021) // Viaggio nel crepuscolo (Journey into the Twilight, Augusto Contento, 2021)

+ Polizeiruf 110: Vor Mitternacht (Dominik Graf, 2021) 

+ Batman: Soul of the Dragon (Sam Liu, 2021)

+ Mandār [Miniseries] (Anirvāṇ Bhaṭṭācārya, 2021) 

Extended Team:

A bili smo vam dobri (Once We Were Good for You, Branko Schmidt, 2021) // Castle Falls (Dolph Lundgren, 2021) // The Cathedral (Ricky D’Ambrose, 2021) // CE2 (Jacques Doillon, 2021) // Cry Macho (Clint Eastwood, 2021) // Cryptozoo (Jane Samborski & Dash Shaw, 2021) // Eiga Kakegurui: Zettai zetsumei Russian Roulette (Kakegurui Part 2: Desperate Russian Roulette, Hanabusa Tsutomu, 2021) // Eiga Sumikkogurashi: Aoi tsukiyo no mahō no ko (Sumikkogurashi: The Movie 2, Ōmori Takahiro, 2021) // House of Gucci (Ridley Scott, 2021) // Liborio (Fernando Martínez Sosa, 2021) // Lyun6 sai3 bei6 mong4 (Blue Island, Can4 Zi2 Wun4, 2021) // Malignant (James Wan, 2021) // Marx può aspettare (Marx Can Wait, Marco Bellocchio, 2021) // Miň Kyýal (1000 Dreams, Marat Sarulu, 2021) // Le Mont Fuji vu d’un train en marche (Mount Fuji Seen from a Moving Train, Pierre Hébert, 2021) // Namatsuba bijin tsuma: Mōsō de netorarete (Takehora Tetsuya, 2021) // On the Job – The Missing 8 (Erik Matti, 2021) // OSS 117: Alerte rouge en Afrique noire (From Africa With Love, Nicolas Bedos, 2021) // P’oġoc’ayin nkarči erek’ gerezmannerë (Three Graves of the Painter, Harowt’yown & Ṙowben Xačatryan, 2022) // Puṣpa – Part 1: The Rise (Sukumār Baṇḍreḍḍi, 2021) // Republic of Silence (Diyānā al-Ğīrūdī, 2021) // Shànghǎi xiānshēng Zhāng Ēnlì (Mr. Shanghai Zhang Enlì, Zhāng Yuán, 2022) // Snake Eyes: G.I. Joe Origins (Robert Schwentke, 2021) // Una película sobre parejas (A Film About Couples, Natalia Cabral & Oriol Estrada, 2021) // Začem snjatsja sny? (Why Dreams, Tihon Pendjurin [& Daniil Zinčenko?], 2021) // Zi3 ci2 (Limbo, Zeng6 Bou2 Seoi6, 2021)

+ Black Lightning Season 4 (Episode Directors: Salim Akil, Mary Lou Belli, Benny Boom, Keesha Sharp, Bille Woodruff, 2021) // The Crime of the Century [Miniseries] (Alex Gibney, 2021)

+ Escape Room: Tournament of Champions – Extended Cut (Adam Robitel, 2021) // Mashin Sentai Kira Major VS Ryusoulger (Sakamoto Kōichi, 2021)

+ The Art of Action. Episode 26: Joey Ansah (Scott Adkins, 2021) // Braqueurs: la série [Miniseries] (Gangland, Julien Leclercq, 2021)

Eleven Friends 2021 Medical Staff:

(Film/video-based/related installations, film/video art projects, films seen in exhibitions, and various other film related works in radio, literature etc.)

“The Liberated Film Club Collector’s Edition” [Boxset] (purge.xxx Release, 2021) // Picasso in Vallauris (Peter Nestler, 2021) // „Ī Pólī kai ī Pólī“ [Multiscreen Installation] (The City and The City, Chrī́stos Passalī́s & Sýllas Tzoumérkas, 2021) // “Das Radl der Zeit” [Installation incl. eponymous film] (Pia Wilma Wurzer, 2021) // Red Impasto Jar (Jonna Kina, 2021) // “A Reflection of Fear” [Kinetic installation based on appropriated film stills] (Mika Taanila, 2021) // “sound of sirens” [Internet portal] (Sylvia Eckermann & Edgar Honetschläger [& Kudō Yukika], 2021) // Tuntematon tekijänoikeus (The Unknown Copyright, Jarkko Räsänen, 2021)

Olaf Möller’s Eleven Veterans 2021

Part One: Helsinki Sanctuary, January – June

Team Manager Team (Revelation of the Year):

Embrujo (Carlos Serrano de Osma, 1948)
Duende y misterio del flamenco (Flamenco, Edgar Neville, 1952)
El duende de Jerez (Daniel Mangrané, 1954)
Susana y yo (Susana and Me, Enrique Cahen Salaberry, 1957)
Café de Chinitas (Chinitas’s Cafe, Gonzalo Delgrás, 1960)
Feria en Sevilla (Ana Mariscal, 1962)
Diferente (Luis María Delgado [& Alfredo Alaria?], 1962)
La verbena de la paloma (The Fair of the Dove, José Luis Sáenz de Heredia, 1963)
¡Dame un poco de amooor…! (Bring a Little Loving, José María Forqué, 1968)
Al diablo, con amor (Gonzalo Suárez, 1973)
Rafael en Raphael (Antonio Isasi-Isasmendi, 1975)

Independence Day

First Team (Line-Up in strictly alphabetical order):

51 Hào bīngzhàn (Military Depot No.51, Liú Qióng, 1961)
Angola, Vitória da Esperança (Angola, Victory of Hope, José Massip [& Santiago Álvarez], 1978)
Bermuda Affair (Albert Edward Sutherland, 1956)
Emiliano Zapata (Felipe Cazals, 1970)
Independence Day (Robert Mandel, 1983)
Kak myši kota horonili (Mixeil Čiaureli, 1969)
No, My Darling Daughter (Ralph Thomas, 1961)
Prince Philip: A Biography in Film of His Royal Highness The Duke of Edinburgh (Howard Thomas?, 1953)
Schüler-Report – Junge! Junge! Was die Mädchen alles von uns wollen! (Fresh, Young and Sexy, Eberhard Schröder, 1971)
Slʺnceto i sjankata (Sun and Shadow, Rangel Vʺlčanov, 1962)
Yomigaere majo / Putʹ k medaljam (The Resurrected Witches, Satō Jun’ya & Nikita Orlov, 1980)

Part Two: Gallivanting Again, July – December

Team Manager Team (Revelation of the Year):

Utopia (Īraj ʻaẓīmī, 1978)
Les Îles (Īraj ʻaẓīmī, 1983)
Le Radeau de La Méduse (The Raft of the Medusa, Īraj ʻaẓīmī, 1991/98) 

First Team (Line-Up in strictly alphabetical order):

Berlin-Totale. Ein Filmdokument der Staatlichen Filmdokumentation. XIV. Stadtgeschichte, Denkmale und Denkmalspflege. 2. Historische Straßen und Plätze. d. Almstadtstr. (Karl-Heinz Wegner, 1979)
Cita en las estrellas (Carlos Schlieper, 1949)
Eroica (Hugo Niebeling, 1972/2009)
Hennes meget kongelige høyhet (Arnljot Berg, 1968)
Kodai no bi (Beauty of the Ancients, Haneda Sumiko, 1958)
Million Dollar Legs (Edward Francis Cline, 1932)
[N. 9535 Komiya Tomijirō Collection]
Odyssee monogatari [Reworking of L’odissea, 1911, Francesco Bertolini & Giuseppe De Liguoro & Adolfo Padovan] (Komada Kōyō, 1929)
Pisangguga ŏpta (No Emergency Exit, Kim Yŏngbin, 1993)
Più forte che Sherlock Holmes (Giovanni Pastrone [& Segundo de Chomón], 1913)
Rad (Hal Needham, 1986)         

+ Blick auf unsere Jugend. Teil 1: Hitler und Ulbricht: Fehlanzeige – Die große Lücke im Wissen unserer Schüler (Jürgen Neven-du Mont, 1959)

+ The Art of Dying (Wings Hauser, 1991)

+ Street Fighter: Assassin’s Fist [Web series] (Joey Ansah, 2014)

Eleven Veterans 2021 Medical Staff:

(film/video-based/related installations, film/video art projects, films/videos seen in exhibitions, and other creations and happenings such as these)

Annie Sprinkle (Michel Auder, 1984) // “Nova 2” [Kinetic light piece] (Eino Ruutsalo, 1970) // “purrrrrj 000: In What’s Missing, Is Where Love Has Gone” [Vinyl] (Chris Petit & Mordant Music, 2019) 

Marcel Müller

Film Consultant and Program Curator at Swiss Films

No order, just what I loved back in 2021

Hytti nro 6 (Compartment No 6, Juho Kuosmanen, Finland, 2021)
Playlist (Nine Antico, France, 2021)
Noche De Fuego (Prayers for the Stolen, Tatiana Huezo, Mexico, 2021)
Nuevo Orden (New Order, Michel Franco, Mexico, 2020)
The Power of The Dog (Jane Campion, New Zealand, 2021)

Parallel Mothers

Madres Paralelas (Parallel Mothers, Pedro Almodóvar, Spain, 2021)
Hit the Road (Panah Panahi, Iran, 2021)
Felkészülés meghatározatlan ideig tartó együttlétre (Preparations to be Together for an Unknown Period of Time, Lili Horvát, Hungary, 2021)
L’événement (Happening, Audrey Diwan, France, 2021)
Quo Vadis, Aida? (Jasmila Zbanic, Bosnia, 2020)
La Nuit Des Rois (Night of the Kings, Philippe Lacôte, France, 2021)
Tides (Tim Fehlbaum, Germany/Switzerland, 2021)
Das Mädchen Und Die Spinne (The Girl and the Spider, Ramon & Silvan Zürcher, Switzerland, 2021)
Ali & Ava (Clio Barnard, UK, 2021)
Les Magnétiques (Magnetic Beats, Vincent Cardona, France, 2021)
Petrovy v grippe (Petrov’s Flu, Kirill Serebrennikov, Russia, 2021)
Minari (Lee Isaac Chung, USA, 2021)
Nomadland (Chloé Zhao, USA, 2020)
First Cow (Kelly Reichardt, USA, 2020)
Kød & blod (Wildland, Jeanette Nordahl, Denmark, 2020)
Josep (Aurel, France, 2020)
Druk (Another Round, Thomas Vinterberg, Denmark, 2020)
Sheytan vojud nadarad (There Is No Evil, Mohammad Rasoulof, Iran, 2020)
Flee (Jonas Poher Rasmussen, Denmark, 2021)
Le Sorelle Macaluso (The Macaluso Sisters, Emma Dante, Italy, 2020)
Pieces of A Woman (Kornél Mundruczó, Hungary, 2020)
Sentimental (The People Upstairs, Cesc Gay, Spain, 2020)
ADN (DNA, Maïwenn, France, 2020)
É Stato La Mano Di Dio (The Hand of God, Paolo Sorretino, Italy, 2021)
Doraibu mai kā (Drive My Car, Ryūsuke Hamaguchi, Japan, 2021)

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