Most Overlooked Films of 2023
The Best Unseen Movies of the Year
Only two weeks left in the year that was 2023 — one of enlightenment, frustration, desperation, and fruitfulness. And I’m referring to both my personal life and the cinema that was released during the year. I have already published the two pieces of my Best Films of 2023 list (links for Pt. I and Pt. II here), where I talked about my favorite twenty films that made this year special and better for me (without counting the ones I watch at film festivals and haven’t formally released — until next year Close Your Eyes, Do Not Expect Too Much From the End of the World, and La Chimera). But what about the sleeper picks? What about those films that were fascinating and/or intriguing, but didn’t get the light of day — their deserved time in the spotlight?
In addition to talking about my favorites, I also wanted to highlight those films that were underseen and overlooked by people, with the hopes that whoever reads this will get the motivation to see them. There are many of them, yet I wanted to focus on those that did something different with their stories, or told them in ways that pierce the viewer’s souls, whether it is by breaking molds or tropes of their respective genre/subgenre canvas or getting onto the serious crisis that the world is undergoing by pursuing a personal lens. From Hitchcokian thrillers about the terrors of Pinochet’s reign in power to a haunting coming-of-age ghost story with both hauntingg and lovey scorching romanticism, here are the most overlooked films of 2023, featuring films like Charlotte Le Bon‘s Falcon Lake, Kitty Green‘s The Royal Hotel, and Paul B. Preciado‘s Orlando, My Political Biography.
Now, without further ado, here are the best overlooked/unseen films of 2023 (note: I’m not counting films that are in my Best of 2023 list):
A Small Still Voice (Dir. by Luke Lorentzen)
The best documentary I saw at Sundance was Luke Lorentzen’s A Still Small Voice. Although the subject of this film had a profession that I didn’t know much about, the final product is captivating. It is a meditation on faith, loss, and professional sustainability during one of the most challenging times in recent memory, the dread-filled and claustrophobic pandemic. Lorentzen’s latest is impactful in its respectful and empathetic portrayal of its two main subjects. There’s beauty and heartbreak in understanding their decisions and struggles to comfort their patients and co-workers. How can they comfort others when they can’t even have someone to do it for them? This question pops up in your mind and stays after you finish watching it. It happens to all of us during our times of frustration, and that’s why I keep thinking about this documentary.
Where to watch? The film is still playing in select theaters across the U.S.
Blue Jean (Dir. by Georgia Oakley)
Georgia Oakley has delivered one of the most emotionally complex films of the year with her debut Blue Jean. She examines the tapestry of social-political collisions and their effects on society as a whole. It’s quite heartbreaking, to be completely honest; an angsty sensation and anger are smearing across the film that helps it express its themes more fluently. But the film also has a ton of heart and delicateness in its topics, where the performances by the excellent Rosy McEwen and Lucy Halliday help elevate them.
Where to watch? The film is now available to stream on Hulu.
Chile ‘76 (Dir. by Manuela Martelli)
Paranoia and fear run through her veins as the rush of inevitability and suspicion intertwines, fueling the main character’s anxiety about government-caused gender oppression. In Chile ‘76, Manuela Martelli offers a fresh and vastly rich perspective on the torments and terrors of Pinochet’s reign in power. By combining Hitchcockian and 1970s thriller elements in the vein of Francis Ford Coppola’s The Conversation (with each dialogue set-piece containing pressure-cooker suspense) and Michelangelo Antonioni’s The Passenger, Martelli captures that pulsating adrenaline rush of uncertainty and dread-tainted serendipity. The hesitation of every characters’ decisions (and their outcomes) keeps the audience guessing until the very end, fascinated by the various upcoming twists and turns.
Where to watch? The film is available to buy/rent on VOD.
The Disappearance of Shere Hite (Dir. by Nicole Newnham)
Nicole Newham’s follow-up of her critically acclaimed and award-winning documentary Crimp Camp, The Disappearance of Shere Hite is an effective and poignant work that explores the titular subject’s groundbreaking 1976 report on female sexuality, what led to her erasure, and whether modern reinvigoration is near. Do you know who Shere Hite is? Most of us will probably say no. We wouldn’t have a clue. And that’s the exact answer that Newhman is looking for in the audience watching. Not knowing about her and her work in the ’70s and ’80s paves the way for the “vanishing” aspect. Newham wants to showcase her censoring so that the viewer can research her methods afterward, coincidentally (hopefully) creating a reinvigoration of her work — breathing new life onto her observations and investigations.
Where to watch? The film is still playing in select theaters across the U.S.
Earth Mama (Dir. by Savanah Leaf)
Tackling the themes of parenthood and adoption, Earth Mama often finds itself stuck between cliches and humanistic portrayals of a life in complete shambles — trying to pick your life back up after a series of events has cursed it. However, when the latter is fully present, Savanah Leaf crafts some touching and beautiful moments that intertwine with the harshness of its theme without ever feeling like poverty porn or some other similar narrative tone. The film is demanding, as the story takes a lot of sharp, realistic swings. Yet, it contains an equal proportion of empathy and compassion in its mixture to help the viewer connect with the characters and the actor’s respective performances (particularly Tia Nomore, who’s terrific in the film) and deliver the final elegant brush to a fascinating picture. If I could single out one specific aspect of Leaf’s directorial skills, it is how she transmits excellent emotional depth in both small snapshots of life and its moments of higher dramatic exercises. It isn’t the strongest (or most surprising) debut of the year, but there’s still a lot to admire about Savanah Leaf and her storytelling prowess.
Where to watch? The film is now streaming on Showtime.
Falcon Lake (Dir. by Charlotte Le Bon)
Falcon Lake’s ghost story haunts the scorching romanticism; like most stories, once the tragedy arrives, it will never leave. This is due to Le Bon’s craft at the helm of this tale – her skills seem mature as if it wasn’t her cinematic commencement. The sly misdirection causes a more significant pull towards what may happen to these kids we have grown attached to. It isn’t foreshadowed, but that easy-breezy haze feels too good to be true as the narrative transgresses. This is a tricky material to land, so props to the crew for crafting it in a fascinating yet savvy manner. Le Bon misdirects the audience while still delivering signals of forthcoming tragedy, yet we, the audience, ignore them because we’re entranced with the relationship forged. What was once alluringly heartwarming ends in sheer sorrow. It isn’t doomed love but an ethereal reflection of love at first sight. It’s a symbiotic daydream botched by intangible nightmares. Is it all a reflection of the growing pains of young love? Is it a depiction of the distance caused by loneliness as one wants to fit in with a crowd and finally finds a person who will give them attention? Well, it’s both and much more.
Where to watch? The film now available to buy/rent on VOD.
The Five Devils (Les Cinq Diables’) (Dir. by Léa Mysius)
Mysius implements those minor fantasy elements to further elaborate on the current cinematic pet topic of parents’ past lives. In these past few years, we have seen the likes of Aftersun, Petite Maman, and The Lost Daughter, all of which brilliantly and uniquely explore that theme. And although The Five Devils is not as good or thematically hefty as those three films, the amalgamation of genre blends and stylistic choices that Mysius delivers in her latest work amuses the viewer to a high degree. The Five Devils presents this idea about understanding our guardians even though, at one point, we were too young to comprehend their feelings. It is a fascinating topic that can be explored in various ways. Still, Mysius chooses a haunting and ambitious route to discuss the importance and emotions of the people we care for most.
Where to watch? The film is now streaming on MUBI.
Fremont (Dir. by Babak Jalali)
With Fremont, Balik Jalali crafts a Jarmusch-esque, yet distinctive in its own nature, film anchored not only by the hilarious performances (primarily Anaita Wali Zada, a real-life Afghan refugee) but its sharp screenplay, which is far more thoughtful than one would initially think. One of the keys to success in Balik Jalali’s latest work lies in the reliance on non-exagerated or elevated expressions. The actors don’t depend much on facial expressions to showcase the characters’ emotions. Nevertheless, there are moments where they showcase warm countenances — like a bright ray of sunlight shining onto the film. Moreover, since its comedy is based on wry wit and deadpan line delivery, they don’t do much with their faces. Hence, the screenplay must stand out to a high degree. Thankfully, Jalili and co-writer Carolina Cavalli deliver the acute punchlines and much-needed confidence to pull this narrative out.
Where to watch? The film is available to buy/rent on VOD.
Give Me Pity! (Dir. by Amanda Kramer)
Why aren’t enough people talking about Amanda Kramer’s 2020’s surge into kitschy and playful ‘70s/‘80s campy directing? It is so good to see her revive her career after her misstep in Ladyworld (2018). Her latest release, Give Me Pity!, is a great companion piece to last year’s Please Baby Please (which had a fantastic performance by Andrea Riseborough). This time around, it is Sophie von Haselberg’s show, and she eats the scenery as if nobody will stop her. Kramer’s recent work is on one-half tacky (in a way-too-theatrical way). Still, on the other, it is charmingly nightmare-inducing — using throwback television aesthetics to create manic gags and meta bits. I hope people start noticing her work. And she’d be able to develop projects without nobody interfering with her vision.
Where to watch? The film is currently not available in the U.S.
Huesera: The Bone Woman (Dir. by Michelle Garza Cervera)
Through beautifully and haunting cinematography by Nur Rubio Sherwell, Michelle Garza Cervera portrays the horrors of the side of motherhood that isn’t captured on screen quite often. Huesera depicts the cost of being a mother, giving up your dreams and aspirations to start a family, and leaving everything behind to start anew. Every pressure of the dilemmas she has been going through since postpartum converges into an amalgamation of horror thrills. Michelle Garza Cervera manages to craft a distinctive horror picture that speaks about a rarely commented topic in cinema. It’s a brilliant directorial debut that should bring attention to her future work and make Natalia Solián an international star.
Where to watch? The film is now streaming on Shudder.
Los Reyes del Mundo (The Kings of the World) (Dir. by Laura Mora)
The film might contain some of the trappings of a teen coming-of-age story, where a group of hot-headed teenagers thinks that the world owes them a gift because of all their suffering. Still, The Kings of the World separates itself quickly because of Laura Mora Ortega’s narrative approach. Mora Ortega tackles her film with a sense of magical realism, adjoining dream-like sequences that make their journey an even more tragic one. Nevertheless, she remains grounded when talking about the sad presence of the dark streets of Medellín. Beauty and cruelty are intertwined without ever feeling melodramatic or far from reality. Because of this blend within two different realms, Mora Ortega’s latest tends to feel like a ghost of some sort, where five lost souls wander around Colombia to get to a land that might set them free at last – long gone from the violence that plagues their daily living.
Where to watch? The film is now streaming on Netflix.
My Animal (Dir. by Jacqueline Castel)
Jacqueline Castel plays with what we know about werewolves and the tropes that come with them. Instead of being a “conventional monster movie” that focuses on the gory aspects of the inner beast (and the monstrosity that comes with it), My Animal explores sexuality and individuality. The film links lycanthropy and sexuality as they relate to the exploration through Heather’s human side. Castel focuses on mood and emotion to uplift the horror and dramatic sensibilities rather than using practical effects like in An American Werewolf in London. For those seeking insane werewolf action or graphic violence, this isn’t it. This is quite the opposite of that. Castel draws you into the frosty settings and warms you with a lovely story of self-discovery, which later slowly transitions into heartbreak through the main character’s evolution as the classic monster.
Where to watch? The film is available to buy/rent on VOD.
Orlando, My Political Biography (Dir. by Paul B. Preciado)
During an interview, theorist, critic, and curator Paul B. Preciado was asked the question: “Why haven’t you written your biography?” And he answered by saying that Virginia Woolf already wrote it for him back in 1928, with the novel ‘Orlando: A Biography’. There have been a few cinematic reiterations of the book, the most famous one being the Tilda Swinton-led picture from 1992, which captured the essence of the source material to perfection. Inspired by his experiences and the aforementioned book and novel, Preciado has decided that it is his time to construct his version of the story, recontextualizing the words for a documentary that’s captivating, mesmerizing, and ultimately personal. With both style and grace, the documentary focuses on the struggles of trans and non-binary people via the imagery contained within Woolf’s literature, shining a light on these people’s life stories and the anti-LBGTQ+ ideologies smothered within today’s cruel society.
Where to watch? The film is still playing in select theaters across the U.S.
Our Body (Dir. by Claire Simon)
Claire Simon presents one of the best (and most impactful) documentaries of the year with Our Body, in which she tells a universal story about women (and trans) healthcare. It almost feels like a Frederick Wiseman documentary, where its subject is tackled with extreme precision and honesty in a lengthy canvas (clocking in at almost two-and-a-half hours) that makes us see these issues full frontal. It contains an empathetic heart that ties with its subjective vision; you can sense Simon’s passion and urgency for this topic. She wants the viewer to see where the government is failing women across the world.
Where to watch? The film is available to buy/rent on VOD.
The Royal Hotel (Dir. by Kitty Green)
After delivering her critically acclaimed sophomore with The Assistant, Kitty Green does something different genre-wise yet thematically similar with her third feature, The Royal Hotel — an unsettling thriller with not only great performances by its leading duo Julia Garner and Jessica Henwick but also a chilling atmosphere that relies on its themes of toxic masculinity and male aggression that challengers audiences in a way that other pictures tackling said idea released this year haven’t done. Slowly but surely, Green is becoming one of the most lowkey prominent directors in the business. She catches you off guard even with familiar scenarios due to the acute construction of the surroundings and setting.
Where to watch? The film is available to buy/rent on VOD.
Scarlett (L’Envol) (Dir. by Pietro Marcello)
This isn’t the first time Marcello has desired to adapt a scripture. His last solo feature, the critically acclaimed Martin Eden, was based on a 1909 novel of the same name by Jack London. However, Scarlet has a greater sense of freedom or room to grow for a couple of reasons. The first is because this is his first film not in his native language, Italian; the second revolves around his style of adapting the novel, which feels more like a reimagining. It implements a fairytale-esque atmosphere and appearance along the way, even if it doesn’t contain supernatural elements. Scarlet (L’Envol) is Marcello’s version of providing magical realism onto the screen – slowly evoking feelings of transcendence and cinematic ecstasy. This is thanks to the beautiful work of cinematographer Marco Graziaplena, which include beautiful shots with the gleaming sunlight on the actors’ faces, and composer Gabriel Yared (the Jacques Demy-esque short-but-sweet musical cues).
Where to watch? The film is available to buy/rent on VOD.
The Starling Girl (Dir. by Laurel Parmet)
Eliza Scanlen keeps on demonstrating that she’s one of the best young actresses working today in the independent cinema scene with her new role in The Starling Girl — the story about a young girl experiencing her sexual awakening while living in a fundamentalist Christian community. It is a quiet and nuanced depiction of how religion sometimes puts its head down regarding people’s sexual experiences. Lovely and heartbreaking, albeit not so memorable. At the very least, you get a strong showing of Scanlen’s talents.
Where to watch? The film is available to stream on Showtime.
Unicorn Wars (Dir. by Alberto Vázquez)
Alberto Vazquez is a name everybody should know by now, as his films are distinctive regarding his directorial vision, and the animation is also top-notch. And his latest film, Unicorn Wars, is yet another example that he is one of the best animation directors out there — his works have a more profound sense of importance and theme than all of the recent Pixar or Disney Animation releases. It reminded me of the old YouTube animated shorts called ‘Happy Tree Friends’, but with a brain, even when its plot revolves around teddy bears fighting against unicorns. This anti-war picture, ala Apocalypse Now or Full Metal Jacket, deserves more eyes on it than it currently has.
Where to watch? The film is available to buy/rent on VOD.