Michael McNeely's 5 favorite films of 2020
-
Authored on 18 décembre 2020
Five of My Favourite Films of 2020
Lists are both a gift and a curse, especially when you are writing one about the “best of the year.” This is why I am being a stick in the mud and simply refusing to give any numbers or hierarchy for this list: plus, there are more movies that 2020 has gifted us that I haven’t seen, and knowing my luck, I am missing a few masterpieces out there still (Wonder Woman 1984 and Promising Young Woman are released on December 25, for example).
However, these five are well worth watching in a year that has been less than kind to the movies. My appreciation for these films has a lot to do with the times we find ourselves in: the films give me hope for a better future, but also indicate there are many challenges that lie ahead.
The films, in no particular order:
Working Man (dir. Robert Jury)
Available on: iTunes
Peter Gerety plays Allery Parkes, a recently laid-off factory worker who insists on returning to work after his factory has closed for good. Within a seemingly stereotypical overcoming-the-odds tale, the film takes a left turn with a character that has a mental health disability. To say more would ruin some of the surprises the film has in store, but it is not what it first appears, and it does a great job of examining attitudes towards mental health with sensitivity and compassion.
I believe that this film represents the alienation that unemployment can bring and sheds light at the lack of resources for those who are suffering in our society. The factory provides routine, stability, and structure to many of the characters in the film – and that consistency (as well as the consistency of many workplaces in 2020) is shattered, leaving us to rely on each other, as opposed to corporate entities.
Crip Camp (dirs. James LeBrecht and Nicole Newnham)
Available on: Netflix
Produced by Michelle and Barack Obama, this film has left a long-lasting impression on me from when I attempted to see it at Sundance 2020 last January (it was not captioned for me then, which was ironic given the subject matter). The story of disability activists who found inspiration from attending summer camp at Camp Jened in New York in the 1970s, and who went on to make waves in implementing anti-discrimination legislation, Crip Camp allows the viewer to witness history in the making. Not only does the film shed a light on stories we do not normally hear a lot about, the success of this film bodes well for the future of disability-led arts and cinema, as we take inspiration from the film itself.
Attending Sundance, I surreptitiously embedded myself with many of the subjects of this documentary, and I will never forget their kindness and compassion as well as their never-ending quest for accessibility in our world. From the freedom campers experienced to finally talk about issues that affected their every day lives to the solidarity they found later on the streets and doing sit-ins (and sleep-ins), this film has it all, and should be a revolutionary’s manifesto for social justice.
Dick Johnson is Dead (dir. Kirsten Johnson)
Available on: Netflix
Dementia and death are scary topics – why not add some levity to them? That is the approach Kirsten takes by documenting the experiences she has with her father as they role-play the different ways he could die. One of those methods involves an air conditioner unit falling on Dick’s head. Attempting to understand and perhaps, cope with, the grieving process, Kirsten and Dick, who is a former psychiatrist, work with movie magic (including stunt doubles) to recreate scenarios where Kirsten loses her dad.
Oddly enough, this is not a sad film – well, it is, but it isn’t, because they at least shine some light on the grim reaper and remind us that each moment in life is priceless. This film has a good message on how we should openly discuss issues involving our mortality so that those who survive us do not feel so alone.
Boys State (dirs. Amanda McBaine and Jesse Moss)
Available on: Apple TV+
Boys State leads us through a week of the American Legion’s program for teenage boys to learn about politics in Texas. What might appear to be a dry subject becomes quickly exciting and timely, as these young men learn first-hand the weaknesses of a two-party electoral system. The boys are divided into two groups – the Nationalists and the Federalists, and are given positions that they must be elected to, including the coveted position of Governor. We are told from the outset that the positions are generally symbolic ones, and the electing is what really matters. The power struggles, backbiting, gossiping, lying, and, incredibly, genuine friendships, that arise from the week-long experience make us realize – that if there is so much competition for an honorary title – then real politics does not stand a chance.
The parties are arbitrary as they were randomly generated. The division between the parties arises as a result of party loyalty, even when both parties agree on the same issues. Participants Steven Garza and René Otero are heroes of mine because they attempt to rise above the dick-measuring contests and ego trips the others seem lost in.
Perhaps this film can help explain what just happened in Texas with the mass Republican denial of Biden’s presidential win.
With remarkable performances by Lucas Jaye and Brian Dennehy (his last film), Driveways shows the power of friendship that spans generations, cultures, and even disability. Lucas Jaye plays Cody, who is a socially anxious eight-year old boy, who arrives with his mother to his deceased aunt’s house and finds it filled to the brim with stuff. As Cody’s mom busies herself with getting the house ready for sale, Cody is left to his own devices and meets the grumpy old man next door, Del (Brian Dennehy).
You may know the story already, but the performances are excellent, and the kindnesses displayed by both friends are what this world needs more of. We need people that seek to understand others that are different from them by using empathy and compassion. If an eight-year-old can master it to talk to a world-weary veteran, then so can we. In this case, driveways, not fences, make good neighbours.
