The best movies we saw in 2022

film movies
(Photos: IMDB)
Movies shaped the way we saw this year, and since theaters have yet to regain their full attendance, our selection includes some of our favorites on streaming services as well. Our selection consists of some of the most complex cinematography this year, while others are a more minimalist presentation. اضافة اعلان

Here is Jordan News’ list of the best movies we saw this year:

Avatar: The Waterway (James Cameron)Thirteen years after revolutionizing Hollywood blockbuster films with Avatar, James Cameron has finally managed to get the hang of his highly anticipated sequel. With Avatar: The Way of Water, the Canadian filmmaker exceeded our expectations and produced a one-of-a-kind blockbuster. 

It was also highly experimental considering no film this year has come so close to a three-hour, never-before-seen sensation. However, the risk was worth it, considering the film sits at the top of our ranking of the best films of the year.

Albert Serra and Benoît Magimel offered the most delightful collaboration in cinema this year, ranging from a whimsical political chronicle to a paranoid thriller, all through a dreamlike experience. While it left Cannes empty-handed, the film nevertheless remained in our minds for months. 

Licorice Pizza (Paul Thomas Anderson)The years passed, and Paul Thomas Anderson continued to prove that he is the most exciting American director to follow today. Licorice Pizza is an addition to the filmmaker's already vast filmography. It is also his most moving, his most playful, and the one in which he demonstrates a little more of his talents as a director. 

Leila and Her Brothers (Saeed Roustaee)After the surprise success of The Law of Tehran, Saeed Roustaee climbed the ladder at the Cannes Film Festival for the first time with Leila and Her Brothers. Not content with signing his best film to date, the Iranian director also offered an extraordinary family drama, drawing on the events in Iran and The Godfather by Francis Ford Coppola. It is monumental.

Eo (Jerzy Skolimowski)At 84, Jerzy Skolimowski still allows himself to experiment in the cinema. With EO, his 18th feature film, the director imagines a trip to Poland and Italy through the eyes of a solitary donkey. It is far from being a minimalist, and Skolimowski transforms this journey into an impressive presentation of human cruelty against animals and nature. 

Pinocchio (Guillermo Del Toro and Mark Gustafson)The year 2022 started and ended with Guillermo Del Toro. After Nightmare Alley last January, the Mexican filmmaker teamed up with Netflix to rewrite the legend of Pinocchio. Despite it being done many times, the director of Pan's Labyrinth draws a magnificent ode to the tale. He acts as a force resisting the obscurities of the present and falling into unresolved wounds. 

Glass Onion: A Story at Loggerheads (Rian Johnson)It would be a lie to say that Rian Johnson’s move to Netflix did not slightly worry us, especially after having thrilled us with Knives Out in 2019. But it would seem that the director is impossible to keep down. Glass Onion is a lively and brilliant investigative comedy that reminds us how much watching a film can also be a constant pleasure.

Top Gun: Maverick (Joseph Kosinski)Tom Cruise might just be the Hollywood star. With Top Gun: Maverick, the 60-year-old comedian delivered the finest blockbuster of 2022, and despite racing against the passage of time, Cruise proved that he might be immortal and that we probably have to get used to it.

Everything Everywhere All at Once (Daniel Scheinert& Daniel Kwan)Marvel no longer has a monopoly over the multiverse. With their second film, Scheinert and continue to cement their role in American cinema. 

This family drama is filled with cosmic ambitions, overflowing with pop references and absurd gags. Amid this visual outpouring, Michelle Yeoh shines in one of the most moving roles of her career.

Blond (Andrew Dominik)Ten years after Cogan: Killing Them Softly, Andrew Dominik returned to film with Blonde. The Australian filmmaker reveals the horrific influences which traced the way for the Hollywood superstar brutalized from childhood, Marilyn Monroe. With two hours and 45 minutes of cinema constantly on the verge of rupture, it walks a line between stylistic brilliance and narrative overflow. It is definitely worth the watch. 

Athena (Romain Gavras)  It is an opportunist and eye-catching film for some and unprecedentedly technical and an aesthetic tour de force for others. Athena was indeed the most incendiary film subject of the year. Gavras put all his visual power here at the service of a great tragic story about a family torn apart irreconcilably and pushed to the limit, and through this tragic issue, a country is on the verge of fire and bloodshed.

Decision to Leave (Park Chan-Wook)Park Chan-Wook left the last Cannes Film Festival with the Best Director Award, and it is hard to say that it was not deserved. With the splendid Decision to Leave, the Korean filmmaker invites the ghosts of Hitchcock's Vertigo into his cinema and signs a madly romantic film noir, seductive even in its aesthetic tours de force. Tang Wei's fabulous performance will go down as one of the most impressive seen this year in cinema.

Three Thousand Years Waiting For You (George Miller)Between Mad Max Fury Road in 2015 and Furiosa scheduled for 2024, Miller offered a stunning philosophical tale that first shatters time and space. It then changes into a romantic gesture of a sweetness that we had never glimpsed until then. Despite disappointing box office results, Three Thousand Years Awaiting You remains one of the strangest and most thought-provoking films seen in Hollywood in recent years.

Other People's Children (Rebecca Zlotowski)
In 2022, Rebecca Złotowski put out her best film with The Children of Others. A moving and superbly directed melodrama in which the filmmaker brings to the forefront the figure of the mother-in-law, often despised or simply forgotten at the heart of fiction. To embody it, Virginie Efira, puts on one of her most remarkable and nuanced performances.