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For more information on each entry, follow the links to full reviews. Want to gripe about our choices or suggest others from 2019 in independent film? Let us know in the comments, but remember the rules: Just because a big festival hit isn’t on the list doesn’t mean it won’t show up once it hits theaters. You can also look back on some of our other best-of picks from last year.
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You’ll never see a $100 million superhero movie on here, but a singular vision with some studio backing is fair game. Additionally, we reserve the right to include some films that were produced at studios if they encapsulate an independent sensibility. Note: While some films on this list were released by studios, they were initially developed as independent projects.
Jordan Peele's Next Film After 'Get Out' and 'Us' Set for July 2022 from Universal PicturesĤ1 Great Films That Failed at the Box Officeįrom 'Nymphomaniac' to 'Shortbus,' a History of Unsimulated Sex Scenes in 32 Films
'Us' Review: Tom Hollander Stars in a Crumbling Family Drama That Forgets Most of the Family The one exception applies to films that received awards-qualifying runs in 2018 but proper theatrical releases in 2019. It must have received a theatrical release of one week or longer in New York or Los Angeles, or become available on a digital platform, within the 2019 calendar year. The format for this developing resource is simple: Any movie reviewed by IndieWire that has received a B+ or higher makes the cut. Other indies benefit from savvy marketing strategies, a cavalcade of rave reviews, or awards season buzz, but all of them deserve singling out as the best independent movies of the year so far. For those of us tracking a range of quality movies released throughout the year, the hunt often begins much earlier, when many of these titles first surface on the festival circuit. While the quality of studio movies tends to peak in the summer and fall seasons, they represent just one small piece of the much larger equation. But why wait that long when first-rate cinema is opening every month? This ongoing list is proof that there’s plenty worth celebrating all year long.
It raises questions about why men presume sex is their right, and the ways in which marginalized groups navigate safety in intimacy.At the end of every calendar year, critics rank the best movies of the past 12 months. These quiet scenes show Sofia’s progression from flushed excitement to concerns over self-agency. Mau’s film is expertly marked by three moments of privacy where Sofia steps out and checks in with herself. A second reveal is too rich and nuanced to spoil, but it leads to an adrenaline-fueled fever dream that is quiet and catastrophic. He, it turns out, is “not cool with that.”
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You get the sense this isn’t the first time Sofia has had to navigate how to reveal her identity and risk rejection-which she experiences during their Uber ride. Sofia is confidant, sexy, and clear-headed, and after meeting Isaac (Rafael Cabrera) at a party, the seductive stranger wants to take her home. It’s difficult to discuss the film without sharing at least the first reveal, which is that Sofia (also played by Mau) is a trans woman.
Packed with two reveals in 12 minutes, the film is a slow-burn nightmare, one that is both enlightening and terrifying. The terrain Nava Mau’s short explores is far richer and more sociologically complex than what, on the surface, could be misconstrued as a film about a bad hookup. Puccini captures what simmers beneath the surface of beautiful brownstones, where some gay men have found comfort and home. And yet: The three of them share meals, sing together around a piano, and rinse, wash, and dry dishes as a trio.ĭoes Andy want Arthur and his husband’s life, or does he just want to be a part of it? Either way, the prospect of a child-the paint, the spare room, the new toys that dot the handsome townhouse-is pushing him away.
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Instead, it captures the little details that illuminate the fissures of an ambiguous relationship: the husbands wear their wedding rings during sex with Andy at Arthur’s birthday party, Andy stands in the back, separated from the husbands and their friends one morning, Andy finds a suspicious patch of lavender paint on a spare bedroom wall. Refreshingly, Matthew Puccini’s film never dissolves into a screaming match over who in the thrupple holds the most power. The film navigates the shifting dynamics of a New York thrupple: Arthur (Urie), his husband (Barnett), and their younger lover Andy (Rosen).
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Perhaps the most well-known of the three films, Lavender made a splash at Sundance earlier this year and stars renowned theater and TV actors Ken Barnett, Michael Hsu Rosen, and Michael Urie.