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If there’s a vibe we’re picking up ahead of awards season, it’s that there doesn’t seem to be one singular frontrunner in the Oscar race. There have been festival favorites and clear box office winners, for sure, but this year, it could be anyone’s game, rather than a guaranteed sweep for one title. In truth, this particular slate of films has transported us to so many places, from the halls of the Vatican to the inside of a teenager’s psyche to the wonderful land of Oz. Even stage-inspired projects alone have differed in form, from an August Wilson play to the spectacle that is Emilia Pérez. These fine offerings served up new perspectives on aging and coming of age; sex work and sex at work; plus, grief, trauma, forgiveness, ambition, and the ever-prickly topic of female friendship. We saw that some sequels didn’t suck, as the follow-ups to Dune and Inside Out have proven; and, better yet, the cream of the crop are originals (a concept!), like The Substance, a feminist body horror, or Challengers, which made us see tennis, trios, and churros in a different light.
Without further ado, here are the best films we saw in 2024, and where to watch them.
With reporting from Kayla Webley Adler, Madison Feller, Samuel Maude, Claire Stern Milch, and Juliana Ukiomogbe.
Anora
“A personal favorite film of the year—and a buzzy Oscars contender—Sean Baker’s Anora not only features one of the breakthrough performances of the year, but also a story that’s both a rollicking ride and a nuanced one. Featuring Mikey Madison as the titular Anora, Baker’s film depicts the young dancer and sex worker as she meets and marries the son of a Russian oligarch, only to realize her struck-it-rich fantasy life can only last for so long.”—Lauren Puckett-Pope, culture writer
Now playing in theaters.
Nickel Boys
“I’ve never seen anything like Nickel Boys. Based on Colson Whitehead’s eponymous book, the film is told from the alternating perspective of two boys, Turner (Brandon Wilson) and Elwood (Ethan Herisse), who cross paths at Nickel Academy, an abusive reform school in Jim Crow south. Though Nickel is fictional, it’s based on the real horrors unearthed at the Dozier School for Boys in Florida. We witness its harsh conditions literally through the eyes of the friends, but it doesn’t feel or gimmicky or overdone. Director RaMell Ross makes sure to infuse the film with heart and humanity, also tapping into his documentary background to insert archival footage and images for historical context. The score is gorgeous and Aunjanue Ellis is unmatched. The film might run for just over two hours, but you’ll be thinking about it for much longer.”—Erica Gonzales, senior culture editor
In theaters December 13.
A Real Pain
“Jesse Eisenberg wrote, directed, and stars in this dramedy about an unlikely pair of cousins who take a historic tour of Poland to honor their grandmother, a Holocaust survivor. While Eisenberg partially based the story on his own life, it’s his co-star Keiran Culkin who helps make it sing as Benji, the slightly chaotic but charismatic cousin to Eisenberg’s uptight David. Their humorous dynamic centers the film, but it’s still devastating in its own ways, somehow without feeling too heavy. It’s a unique exploration of grief and generational trauma.”—EG
Now playing in theaters.
The Substance
“I will never look at a shrimp again after seeing Coralie Fargeat’s The Substance. The body horror film centers on Elizabeth Sparkle (played by Demi Moore), an actress turned television fitness instructor, who, after being fired on her 50th birthday, takes a mysterious neon green substance that turns her into a twentysomething version of herself named Sue (played by Margaret Qualley), eventually to monstrous results. I enjoyed it for all it had to say about aging, beauty standards, and the insecurities that can turn us all into our own worst enemies.”—Kayla Webley Adler, deputy editor
Now playing in theaters.
The Room Next Door
“Pedro Almodóvar’s latest film, his first in the English language, is a lesson in empathy. Two old friends, played by newly-minted IRL besties Julianne Moore and Tilda Swinton, reconnect after several years, just as one of them is diagnosed with a terminal illness. What happens when she makes an outrageous proposal shows the strange and precious ways a friendship can grow. Both leading actresses give fabulous performances and the aesthetics, from the set design to the wardrobe—as they are in all Almodóvar movies—are to die for.”—EG
In theaters December 20.
Conclave
“Gossiping cardinals, jaw-dropping twists, and bombshells? Basically, Conclave was a season of Survivor. Except, instead of deciding who will last the longest on the island, it’s actually about who will nab the papacy—but there’s still plenty of backstabbing, lying, and of course, voting. With stellar performances by Ralph Fiennes, Isabella Rossellini, and Stanley Tucci, this film is sure to be an Oscar contender and divide the Catholic church. They say all good art starts a conversation, right?”—Samuel Maude, associate editor
Now playing in theaters.
We Live in Time
“Billed as a tear-jerker love story (but is arguably so much more), A24’s We Live in Time stars an electric Florence Pugh and Andrew Garfield as young Londoners Almut and Tobias, whose lives are altered forever when the former receives a terminal ovarian cancer diagnosis. Despite the undeniable pain and despair Almut and Tobias must endure, We Live in Time does a remarkable job of skipping back and forth between chapters in their romance, showcasing the breadth, depth, and wonder of their impact on each other—now and forever.”—LPP
Now playing in theaters.
The Piano Lesson
“The Piano Lesson is a Washington family affair. The film is co-produced by Denzel Washington, directed by his son Malcolm, who also co-wrote the screenplay, and stars his other son, John David. Denzel’s wife and daughter also have minor roles. As if that wasn’t enough talent for one film, Samuel L. Jackson and Danielle Deadwyler also star in this powerful adaption of August Wilson’s play that sticks with you long after the credits roll.”—KWA
Now playing in theaters.
Wicked: Part One
“Something has changed within me, something is not the same after watching Jon M. Chu’s adaptation of Wicked. While staying staunchly faithful to the beloved musical, the film version also fleshes out the prequel to The Wizard of Oz, while infusing the massive, feast-for-the-eyes spectacle with some welcome intimate moments. The film already had a strong foundation to stand on, with composer Stephen Schwartz on board to oversee the music and writer Winnie Holzman, who wrote the book of the musical, teaming up on the screenplay with Dana Fox. But the film’s greatest strengths lie in its cast, with a powerful yet vulnerable Cynthia Erivo as Elphaba and an impressively funny Ariana Grande as Glinda. With Jonathan Bailey as Fiyero, Jeff Goldblum as the Wizard, Michelle Yeoh as Madame Morrible, and even Ethan Slater as Boq, the actors fit into their roles so well. I’ll wait with bated breath to see how the second half of the film lands next year, but until then, ‘aaaahAAAAHHHahhhuhhhAAHahhhAAAAAHHHH!’”—EG
Now playing in theaters.
The Fire Inside
“Ryan Destiny is a force to be reckoned with in Rachel Morrison’s Toronto International Film Festival debut, which tells the true story behind professional boxer Claressa ‘T-Rex’ Shields’ Olympics win—and the subsequent fallout. Alongside Destiny is a remarkable Bryan Tyree Henry, who plays Claressa’s boxing coach with a warmth and humanity that reinvigorates the classic sports drama.”—LPP
In theaters December 25.
Babygirl
“From Halina Reijn (Bodies Bodies Bodies), Babygirl follows a high-powered tech CEO (Nicole Kidman) who strikes up an illicit affair with a defiant, much younger an intern (Harris Dickinson), despite her being a married mother of two. While the A24 title is touted as an erotic drama—and boy, it sure is—Babygirl is not just about sex; it’s about power. Really, it’s about how both are intertwined, how they inform one another, and how they impact men and women differently. Consider how Kidman’s character treats other women in her life, whether it be her daughters or her hardworking assistant (Sophie Wilde). And though sensual and daring, the film also explores the embarrassment and loneliness of women who’ve been conditioned to be hide the true nature of their sexual desires. While Dickinson is sure to become Boyfriend of the Month once this film is out, Kidman is its riveting force, simultaneously conveying pleasure, shame, confusion, resentment, dominance, and softness all at once.”—EG
In theaters December 25.
Emilia Pérez
“On paper, Emilia Pérez shouldn’t work. A musical crime comedy film about a cartel leader (Karla Sofía Gascón) who enlists a lawyer (Zoe Saldaña) to help them undergo gender-affirming surgery? It almost seems like a mad lib. However, somehow Jacques Audiard’s film does work, with eye-catching performances by Gascón, Saldaña, and Selena Gomez. It will surely be discussed this awards season.”—SM
Now playing in theaters.
Blitz
“You might not expect this from Steve McQueen: a traditional, sweeping period piece set in World War II-torn Britain. But leave it to McQueen to upend the premise with Blitz—a dark, Dickensian story that throws many of our comfortable assumptions about history into question, exposing the racism and social divisions you rarely see represented in films like these. Eleven-year-old newcomer Elliott Heffernan gives a star-making lead performance, while Saoirse Ronan, as his mother, delivers a layered portrayal of love and grief.”—Veronique Hyland, fashion features director
The Brutalist
“Adrien Brody gives the performance of a lifetime as László Toth, a Bauhaus-educated Hungarian-Jewish architect who flees to the U.S. after the war. After finding refuge with family in Pennsylvania, he finds himself working for a wealthy businessman (a superb and terrifying Guy Pearce) who invests in his talent. While its first half feels cleaner than the second, Brady Corbet’s three-and-a-half-hour film (with an intermission) is nevertheless an epic tale about the American dream, how it can build you up...and destroy you.”—EG
In theaters December 20.
My Old Ass
“Newcomer Maisy Stella joins Aubrey Plaza in this heartwarming coming of age film that is sure to fill your eyes with tears. Stella plays a young Elliott LaBrant, who, while tripping on mushrooms, comes into contact with her older self, played by Plaza. Older Elliott tries to guide her younger self to make better decisions than she did, but the campground flick suggests that maybe our futures are already written in the stars.”—SM
Exhibiting Forgiveness
“If I remember correctly, this was my first ugly-cry-in-a-theater-movie of 2024. Having original premiered at the Sundance Film Festival in January, Exhibiting Forgiveness is the directorial debut of artist Titus Kaphar, and follows a successful painter (played by Andre Holland), whose life and career get disrupted when his absent father reappears. Is Tarrell (Holland) ready to forgive this man? The resulting journey is profoundly moving but also heartwarming, especially in scenes where Tarrell bonds with his wife (Andra Day) and adorable young son, hoping not to repeat his father’s mistakes. It’s partially based on Kaphar’s own experiences, and he even incorporates some of his own works into the film—not just as props, but as pieces that underline the story. The performances are phenomenal, especially from John Earl Jelks, who plays Tarrell’s father, and Aunjanue Ellis, who takes on the role of his mom.”—EG
Now playing in theaters.
All We Imagine as Light
“All We Imagine as Light touts Mumbai as a ‘city of illusions,’ but director Payal Kapadia paints such a rich portrait of the metropolis that you can almost feel the humidity on the screen as commuters pack onto trains or shuffle past each other under umbrellas in the rain. What’s even realer, though, is the sisterhood at the center of the film, between three colleagues at the same hospital, each with her own struggles: Prabha, a nurse whose husband lives abroad; Anu, her younger roommate in a forbidden relationship; and Parvathy, a cook who faces eviction.”—EG
Now playing in theaters.
Martha
“If you thought you knew everything there is to know about Martha Stewart, think again. This refreshingly candid Netflix documentary on the original influencer followers her wild journey from humble beginnings in New Jersey to modeling and eventually becoming the first self-made female billionaire in the U.S. Expect tea on the insider trading scandal and that infamous Justin Bieber roast (which, it turns out, is also how she met her now-longtime friend Snoop Dogg).”—Claire Stern Milch, digital director
A Complete Unknown
“Unlike Bob Dylan’s infamous performance at the 1965 Newport Folk Festival, A Complete Unknown is sure to please rock and folk fans alike. While Timothée Chalamet is likely going to get all the hype around his spot-on impression as the music legend, Monica Barbaro as Joan Baez is the standout for me.”—EG
In theaters December 25.
Challengers
“Thank god for Challengers, the love-triangle-tennis film that became one of the year’s cultural juggernauts. What would we have worn this spring without the influences of tenniscore or Zendaya’s slate of press tour outfits? What would have soundtracked our lives if not the film’s techno-laced score? And who would we have lusted over—and endlessly memed—if not Mike Faist and Josh O’Connor and his churro? I’m so glad we’ll never know.”—Madison Feller, digital deputy editor
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