Top 5’s of 2024: A Special Edition, Pt. 2
Welcome to the second part of our Top 5’s of 2024 special edition of the Denver Cinema Club Dispatch!
In Part 1, we explored a variety of member favorites and standout moments from the past year. Today, we’re back with even more of what we watched and loved in 2024, regardless of when the films were originally released. Each list is a reflection of the diverse tastes and passions that make our Club such a great community.
Thank you for joining us on this cinematic journey. Let’s explore the rest of the year 2024 in film with Part 2!
NOTE: Click or tap on the member’s name if you’d like to view their Meetup profile. Click or tap on the film’s title to view it on Letterboxd.
Kriese's Top Five Films from 2024
These are my favorite films from the past year, in no particular order.
Anora (2024, Sean Baker). Anora is a breathtaking masterpiece that seamlessly blends stunning visuals with a deeply emotional narrative. The performances range from the most emotionally poignant to the funniest I saw all year. Furthermore, the story of this film’s creation and rise to popularity is inspiring for an aspiring filmmaker like me.
Nosferatu (2024, Robert Eggers). Nosferatu is a chilling triumph, tapping into eerie and atmospheric horror. The haunting imagery and the grotesque portrayal of Count Orlok make it an unforgettable viewing experience. This film also felt like a first step into the true mainstream for Eggers, one of my favorite directors working today.
The Substance (2024, Coralie Fargeat). The Substance is a striking, thought-provoking film that delves into the complexities of addiction and self-destruction with stunning grace. The performances are raw and captivating, and the film’s subtle yet powerful direction leaves an indelible mark on the viewer. This film is repulsive, and I savor every minute of it.
Wicked (2024, Jon M. Chu). I am not really a musical guy, but Wicked is a spellbinding theatrical experience that dazzles with its imaginative world-building, vibrant performances, and soaring music. The chemistry between its leads, coupled with its inventive retelling of familiar stories, makes it a joyous and emotionally resonant ride. A true Broadway gem, Wicked enchants from start to finish.
Ryuichi Sakamoto | Opus (2023, Neo Sora). Opus is a deeply moving and intimate portrait of one of the greatest composers of our time. The documentary is a mesmerizing exploration of Sakamoto's artistic journey, showcasing his innovative genius and profound emotional depth. It's a compelling and poignant tribute to a true musical visionary, whose influence spans both time and genres.
Chrity’s Top 5 Under-the-Radar Gems of 2024
I found 2024 to be an excellent film year. Of the 68 2024 releases I've seen (so far!) I would say at least 25 of them are great. Many of my favorites are probably pretty unsurprising (did anyone else love Anora?!) so I decided to write about five under-the-radar gems that are now streaming or rentable.
Do Not Expect Too Much From The End Of The World (2023, Radu Jude). A long, bizarre, hilarious, irreverent, and profane claws-out satire of capitalism and the gig economy from Romania. At no point in this entire film did I have any idea what was coming next, and my jaw was on the floor for most of it. From Romania, streaming on Mubi and rentable.
Bird (2024, Andrea Arnold). Director Andrea Arnold, like Sean Baker, has a gift for building deeply humanistic and empathetic stories set on the margins of society. Bird adds a bit of magical realism and, to me, achieved perfection. With the always-great Franz Rogowski, streaming on Mubi and rentable.
Black Box Diaries (2024, Shiori Itō). A searing documentary created by Shiori Itō, a victim of sexual assault who kicked off Japan's "me too" movement with her relentless pursuit of justice. Her background as a journalist makes this one of the clearest and most compelling social justice documents of the modern era. Shortlisted for the Best Documentary Oscar, streaming on Paramount + and Fubo.
Problemista (2023, Julio Torres). A really oddball little film, maybe not for everyone, but I have yet to recall it without feeling a little jolt of joy at the memory. From (and starring) comedian Julio Torres, Problemista presents an off-kilter, almost fantastical immigrant story with Tilda Swinton as a deliciously wicked villain. Streaming on Max and rentable.
Chicken for Linda! (2023, Chiara Malta, Sébastien Laudenbach). My favorite animated film this year is a simple story of a single mom trying to cook a meal for her child during a transit strike. Set in a small, working-class French town, with animation so simple it borders on impressionistic, and even a couple of lovely original songs. Sweet and charming enough for kids, but with layers of profundity for adults. This is animation done right. Streaming on Criterion and rentable.
Bonus: Nickel Boys (2024, RaMell Ross). Nickel Boys can't yet be counted as "a hidden gem" since it just reached theaters, but do make time for this astonishing film. Its point-of-view perspective creates the most immersive viewing experience to be had this year. A heartbreaking story you won't be sorry to experience.
Vahid’s Top 5 of 2024
Here are my top five favorites among the new films I watched in 2024:
The Beast (2023, Bertrand Bonello).
By the Stream (2024, Hong Sang-soo).
Megalopolis (2024, Francis Ford Coppola).
The Kegelstatt Trio (2022, Rita Azevedo Gomes).
All We Imagine as Light (2024, Payal Kapadia).
Carly's 2024 Highlights
These are five films from 2024 that I thoroughly enjoyed (not necessarily my absolute favs but definite highlights). Shout-out to Anora, A Real Pain, and the soundtracks to Challengers and Babygirl (plus Nicole Kidman!). I still need to see Nickel Boys, The Brualist and a few others.
The Substance (2024, Coralie Fargeat). Demi Moore! Dang she was a force to watch and I love every minute of her performance. There were a few scenes where I found myself thinking, "wow they are going for it here!" I leaned in and loved it. I had a great DCC post film discussion about the themes the movie highlighted. I was thinking about it for days after.
Memoir of a Snail (2024, Adam Elliot). I loved everything about this stop-motion claymation film. I had the chance to listen to the director, Adam Elliot, introduce it and he explained that everything you see (props, set, characters) has been made by human hands with actual materials. The tears for example were made from sexual lubricant. It was entirely free of CGI. The story itself conjured up so many emotions. I was laughing out loud in some scenes and holding back tears in others.
All We Imagine as Light (2024, Payal Kapadia). Really engaging story and I got swept into their world. I love a film that takes me on an emotional journey and this one definitely did. It was beautifully shot and I loved the cast.
Babes (2024, Pamela Adlon). Saw this in a crowded theater and there was lots of laughter. I thoroughly enjoyed this story about friendship, change, and the curveballs life throws.
Love Lies Bleeding (2024, Rose Glass). Honestly I went in with mediocre expectations and left feeling super entertained! Critic Matt Negila summarizes it perfectly, "A dark, queer neo-noir that blends romance with violence." Kristen Stewart and Katy O'Brian were amazing and I got sucked in quickly.
Jason’s Top 5 Film Discoveries of 2024
I had an absolute blast watching films in 2024, and sharing many of those experiences with you. As my first year as a co-organizer, it’s been an honor to host and discuss so many incredible movies together. My list highlights films I discovered for the first time in 2024 and that left a deep impression on me. A mix of the new and the classic, each of these films surprised and moved me in profound ways.
Poor Things (2023, Yorgos Lanthimos). From moment to moment, I never knew what to expect from this wild rollercoaster of a film—a twisted steampunk fairy tale that pushes boundaries and defies expectations. It brought to mind Pabst’s Pandora’s Box (a bohemian woman unbound by societal rules, driving the men around her to weakness and despair) and Frankenstein (an innocent yet “monstrous” creation struggling for autonomy). Fascinating. I loved the contrarian spirit of this one.
Dune: Part Two (2024, Denis Villeneuve). The scale of Villeneuve’s vision blew me away. Moments like Paul Atreides riding the ancient sandworm transported me back to a childhood sense of wonder at the vastness of nature and the universe. No film can fully encompass the dense, interconnected themes of Frank Herbert’s novel (environmentalism, politics, religion, philosophy), but Villeneuve captures its essence in a deeply satisfying way. We get so few “epic” films these days that are truly deserving of that title; this is one.
The More the Merrier (1943, George Stevens). A sharp, hysterical, yet largely forgotten screwball comedy. Jean Arthur is pitch-perfect in the central role—her mastery of facial expressions and ability to seamlessly blend comedy, drama, and romance make her, in my opinion, one of the top actresses of her era. It’s witty and heartfelt and satirical–all the great qualities that classic filmgoers look for from movies of this era. I’m truly surprised it isn’t more widely discussed.
Cléo from 5 to 7 (1962, Agnès Varda). 2024 was the year I discovered Agnès Varda. I watched eight of her feature films, mostly with the Club at the Sie—an experience that inspired our ‘Deep Dives.’ Of all her films, Cléo from 5 to 7 impacted me the most. It critiques how women are often reduced to their appearances, yet it also celebrates the transformative power of self-awareness. Cléo’s journey from an object of objectification to a woman of perception, who embraces her vulnerabilities as essential to her identity, was profoundly moving.
The Swimmer (1968, Frank Perry). Another film on my list that peels back social masks to expose reality—in this case, a man clinging to an identity built on status, success, and charm. Over the course of one day, he uncovers the hidden resentments, betrayals, and hollow relationships among his neighbors, previously concealed by suburban politeness. What begins as a bright and optimistic journey descends into a painful meditation on failure, aging, and loneliness. A devastating critique of the American Dream. Peak Burt Lancaster.
Thanks for joining us for this special edition of the Denver Cinema Club Dispatch! If you missed it, be sure to check out Part 1 of our Top 5’s of 2024 here.