My Top 20 of 2022, #’s 16 & 15

I love when indie films explore genre. Good horror and science fiction films can be incredibly thought-provoking and thoughtful. The problem (for me) is big budget Hollywood films tend to take everything to extremes and we end up with jump scares, buckets of blood, and special effects. My #’s 16 & 15 films of 2022 have a different, far more subtle take on these genres.

You Won’t Be Alone

#16) You Won’t Be Alone, directed by Goran Stolevski – Framed by a story steeped in folk horror, about a woman who was deeply wronged and transformed in to a vengeful spirit, YOU WON’T BE ALONE manages to delve into the mysteries of what makes life the hardship and the glory that it is by showing it through the eyes of ‘the other.’ The plot is twisty and complicated, but involves that afore-mentioned vengeful spirit, who creates an heir of sorts using the body of a girl given to her in an unholy bargain., This heir, lacking the drive for vengeance steeped in her creator, sets out to experience just what makes humanity what it is. Through a series of varied experiences, depending on the form se has taken on, she experiences helplessness, fear, power, arrogance… and eventually belonging, yet there’s still the fact that her creator is a vengeful spirit, and isn’t going to just let her spawn in peace. This Australian/UK/Serbian co-production is an astounding blend of genres and storytelling, with some incredible visuals, and great performances. A little gruesome at times, but I’m a wimp, and I didn’t have trouble getting through it, and it’s definitely worth it.

The Dog Who Wouldn’t Be Quiet

#15) The Dog Who Wouldn’t Be Quiet, directed by Ana Katz – I really loved this film. I was quite taken by Daniel Katz’s performance, how he managed to be so passive, yet so compelling at the same time. I also found the twist of the global pandemic fascinating, and how it played into issues of class, which actually threaded through the entire film. There’s a deadpan, absurdity to the humor that reminded me of some of Almodóvar’s early work. In a scene where Sebastian’s boss is telling him he can no longer bring his dog to work, she says something to the effect of, that behavior ultimately leading to ‘an office full of hens and everyone pole-dancing.’ That kind of absurd remark is prevalent.