100 Best Movies of 2023 (Regularly Updated)
The Space Race (2023)
Like many American narratives, the history of space exploration is rife with long-buried secrets that are finally coming to the surface. The Space Race is an attempt to collect those secrets and weave a fresh new history that finally celebrates the heroes we should’ve learned about years ago. There are interviews with the likes of space pioneer Ed Dwight (who is responsible for unforgettable lines like “I’m not part of history, but a mystery” and “I had the capability, but not the opportunity) and the first Black man to fly into space, Guion Bluford, as well as surprising information about confidential test pilots, political involvement, and the undeniable influence of Afrofuturistic art and media in the field. But education aside, what gives the documentary an edge is that it’s not afraid to question and at times attack NASA and the government for their racist past. We see celebrated astronaut Victor Glover reconcile his loyalty to his nation with his anger over the murder of George Floyd, for instance. At the same time, others like Dwight wanted to “just talk about space, not the struggle” but were tokenized both by the government and the opposition for their gains. Despite its compact run time, The Space Race covers all these nuances and more to provide a richly detailed and lovingly told new history of space exploration in America.
The Peasants (2023)
After Loving Vincent, DK and Hugh Welchman’s iconic oil paint animation initially seems like old hat, but this time the style is actually more fitting for their second feature. As an adaptation of the iconic Polish novel, The Peasants had to live up to the book’s reputation as the Nobel-winning depiction of the Polish countryside, one of the first to take an intimate look into the lives of the commonfolk, their customs, beliefs, and traditions. The Welchmans’ naturalist, impressionist art style lines up with the way the original Chłopi was inspired by these movements, as does L.U.C’s selection of mesmerizing, haunting Polish folk songs. While the plot is a tad cliché, it only does so in the way folklore tends to weave the same threads. It just so happens that the threads in The Peasants lead to violent ends.
The Taste of Things (2023)
If it’s true that to cook is to love, then Dodin and Eugenie must be enraptured by one another. They use the exquisite language of food to express their feelings for one another, and watching their exchange, you can’t help but feel honored, if not embarrassed, to witness such an intimate and love-filled act. Food is everywhere here, delicately prepared and sumptuously consumed, but the film is more than just a glorified Food Network program. It’s a painting come to life, a love letter to craft, and a beautiful example of a life fully lived.
Simón (2023)
While we would like to think that we would do all we can to fight against a tyrannical regime, it’s not as easy as we think, and there are plenty of consequences that we wouldn’t foresee, living in relative peace. Diego Vicentini’s debut feature is a portrait of Venezuelan dissidents forced to flee the country, expanding on the short he made five years previously to flesh out the double lives most exiles go through– the angry yet hopeful protests they left behind in their homeland, and the peaceful, yet guilt-ridden, traumatized lives they now lead in another country. While it’s easy to expect certain moments, especially for people familiar with the country’s situation, Simón nevertheless was a film that needed to be made in order to shed light on this issue.
My Love Affair with Marriage (2023)
It’s not often you get a female perspective on the USSR, much less a female artist with little means. Signe Baumane’s autobiographical My Love Affair With Marriage is one of the few ones, and not only is her story raw and refreshing, it’s also told through lovely animation and musical numbers. The result is something truly novel. Baumane analyzes ideas like love, marriage, gender, and society through an unapologetically feminist lens. But she’s careful not to be patronizing too. Instead of condemning her circumstances, she gives it context and shows empathy. Some parts are delightful, others distressing, but Baumane’s character (voiced by Succession’s Dagmara Dominczyk) is compelling throughout.
Blue Jean (2023)
Led by Rosy McEwen's commanding performance brimming with fear and self-loathing, Blue Jean pours all of the anguish and defiance felt by the LGBTQ+ community under Margaret Thatcher's administration into a single character. Writer-director Georgia Oakley keeps her plot light, but through conversations with other beautifully portrayed queer women (especially those played by Kerrie Hayes and Lucy Halliday), she piles on one conflicted emotion after another about what this lesbian woman's responsibility is toward herself and her community when they find themselves threatened. But even as the film takes a definite stance, it validates every response as authentic—borne out of a need to protect the people whom one loves.
Linoleum (2023)
Strange things are happening in the sleepy cul-de-sac where Cameron Edwin (comic Jim Gaffigan) lives: cars are falling from the sky, space rockets are crash-landing in his backyard, and his doppelgänger has just moved in next door and stolen his job. Unnerved by all these weird occurrences and feeling like a failure in light of his looming divorce, Cameron goes full midlife crisis and decides to rebuild the damaged rocket as a last-ditch attempt to fulfill his lifelong dream of being an astronaut. It’d be giving too much away to say anything more about the plot, but suffice it to say that the uncanniness lurking under Linoleum’s surface comes to mind-bending fruition as the rational and the fantastic meld into one. Though it’s already deeply affecting on first watch, this is the kind of movie you’ll immediately want to rewind to absorb the full weight of.
Wham! (2023)
For a short while in the ‘80s, the pop scene benefited from the sheer musical joy created by George Michael and Andrew Ridgeley, known together as Wham! With confectionary hits like “Wake Me Up Before You Go-Go” and “Last Christmas,” the British duo sang about the escapism that a generation desperately sought out. Their songs were dismissed by pundits as shallow (“How can the country be in love with these two idiots?”), but as young people flocked to their concerts in droves, it was clear that Wham! struck a chord with the worn-out youth.
They were no Beatles or Bowie, not heavyweight enough to make a lasting impression in our collective pop culture memory, but theirs is a story rich with meaningful lessons. Wham!, the film, is as much about the personal lives of the duo as it is about the difficulty of making it as independent artists; about the saving grace of music; and about the importance of authenticity.
Asteroid City (2023)
After experimenting with multiple storylines in The French Dispatch, the inimitable Wes Anderson goes one step further with the mind-bendingly meta Asteroid City. Framed as a TV documentary about the making of a play, Asteroid City’s Russian doll setup reflects the neurosis of its period (the Cold War-struck ‘50s), art-making, and the intimidating vastness of outer space. The play takes place in a tiny desert town where atom bomb tests routinely rattle the doorframes and where a convention for young geniuses is being held, attended by a host of typically idiosyncratic characters (played by Jeffrey Wright, Tilda Swinton, Tom Hanks, and many, many more). Still, it retains a central focus: the grief of new widower Augie (Jason Schwartzman) and his kids, and the connections he and his son (Jake Ryan) forge with a visiting actress (Scarlett Johansson) and her daughter (Dinah Campbell). Asteroid City draws much of its poignancy from this story (and its behind-the-scenes goings-on), as these people stare into the cosmic wilderness and a future without their loved one. Shot in gorgeous bleached postcard tones and full of the imaginative flourishes we’ve come to expect from Anderson, this is a profound rumination on existential angst that miraculously finds hope amidst all its characters’ nihilism.
Once Upon a Time in Uganda (2023)
If you were on the Internet around 2015, you might be familiar with the viral phenomenon that is Wakaliwood, a “slum” neighborhood of Kampala, Uganda from where self-taught director Isaac Nabwana churns out bombastic DIY action comedies. Though they rack up online views in the millions, Isaac’s low-budget films weren’t money-makers due to a lack of proper distribution — something Alan Hofmanis, a Wakaliwood superfan and well-meaning New York-based publicist, wanted to help change.
Once Upon a Time chronicles the ups and somewhat perplexing downs of Isaac and Alan’s partnership, but their murky beef doesn’t detract too much from the documentary’s greatest strength, which is its showcasing of the scrappy spirit shared by Isaac and his volunteer collaborators: the actors who gleefully throw themselves in the mud for him, the “voice jokers” who provide riotous live narration at his screenings, and the props man who can jerry-rig just about anything his scripts call for. As Isaac points out, filmmaking is a business in the rest of the world — in Wakaliwood, it’s a passion. If Once Upon a Time does one thing, it’s faithfully transmit Isaac’s pure love for the craft — and, in doing so, reinvigorate us with the infectious joy that animates all of his movies.
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