While the Guardian’s Top 50 countdown, as voted for by the whole film team, announces its No 1 today, here are our chief critic’s personal choices, in no particular order
, along with the historic Edinburgh Filmhouse cinema and Aberdeen’s Belmont Filmhouse, after the Centre for Moving Image charity which controlled them ceased trading – again, citing energy costs and the Covid effect on box office.
Screen Scotland has been lined up as a potential saviour for the EIFF, which may indeed go ahead as planned next summer, and other bids are being considered, but as things stand these cinemas are still dark. So we have a lingering crisis, or potential crisis, in the movie world, with g. Great figures such as Steven Spielberg are having to passionately evangelise for the big-screen experience – the first time this has been needed since the last great crisis, when cinema feared everyone would stay at home with the new invention of television.
And there has been a knock-on effect on the larger critical response to films that haven’t done well at the box office. With things hanging financially by a thread, financial returns are scrutinised even more neurotically for significance. Nicholas Stoller’s sparky gay comedyunderperformed commercially, which led to a lot of soul-searching about whether LGBTQ+ audiences or allies failed to support the film, and what it all means.
But then everyone can name some really great films that failed at first to find their audiences. There were disappointing box-office returns for Maria Schrader’s excellent, a film about the Weinstein affair. Does that mean society is losing interest in #MeToo issues? Not necessarily – and it certainly doesn’t mean the film isn’t good. I predict that it too will find its feet.
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