The house in question is the one in which Melbourne divorcée Kay (Emily Mortimer) grew up - and to which she returns, with her own daughter in tow, to check on her mother, Edna (Robyn Nevin), who’s been staying alone there for years. Natalie Erika James’s debut is both a haunted-house story and a heartbreaking drama about the dilemma posed by a fiercely independent loved one who’s no longer able to keep living alone. Until then, Vulture’s three film critics are celebrating the greatest hits of our pandemic year, as best they can. These long pandemic months of staying inside, staring at the same virtual window for everything, has just made us understand how much supposed convenience we’d happily trade for the chance to surrender to a viewing experience in the dark, with other people, all of us watching together. And while we saw most of these movies at home, we would have loved even more to see them on a big screen. A “great time” is not a thing one has in 2020.
We can’t say that we had a great time at the movies this year. The other is that movies still, in many ways, need movie theaters, lest they sink into the all-consuming swamp that is content online, failing to raise the attention of its intended audience - or any audience, really. One is that, with just about everything consigned to a streaming or on-demand release, there was an incredible bounty of films this year - smaller films, in some cases, but certainly more diverse in style, tone, subject matter, story, and origin. Then, in 2020, when the theaters shut down and the films came out online, many of those same people wondered, “Hey, what happened to all the movies?” We live in a world of many truths.
“Who needs movie theaters?” they wondered. “Why don’t all movies just come out online?” they asked in those B.C. Photo-Illustration: Vulture and Photos by Courtesy of Netflix Courtesy of Kino Lorber Victor Jucá Amazon Prime Video
From a Spike Lee joint on Netflix to a Steve McQueen anthology on Prime Video and everything in between.
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