My Letterboxd account confidently provided a detailed thematic breakdown of the 225 films viewed this year: Quite what to make of this is somewhat less clear. Either I broke the algorithm or my ideal film is a low key, droll, genre hopping, weird, relationship drama with philosophical pretensions. Which might actually stand as a description of my favourite film of the year. Certainly, on review, 2024 turns out, slightly surprisingly, to have been a strong year. So even before reaching the top 10 there are another ten films very worthy of note: On Becoming A Guinea Fowl The Dead Don't Hurt Green Border The Outrun Good One Showing Up The Holdovers Femme The Settlers Blackbird, Blackbird, Blackberry Then the top ten in traditional reverse order: 10. Janet Planet Wonderfully understated, subtle examination of our perception of connection to others seen most profoundly in the determination of a teen...
Orbital by Samantha Harvey is a short book about which the only complaint is perhaps that it should be even shorter, so that the lapidary sheen on this multifaceted jewel might be yet more polished for even greater effulgence; a confit for which even slower cooking might have reduced the constituents into a yet deeper and more refined reflection of their parts. As a piece of fully immersive metaphysics, Orbital probes away at our perspective on ourselves and our planet, on our simultaneous insignificance and grandeur, and on the need for a true sense of awe rather than the gimcrack variety applied in a ludicrous diminished form to the flashy and superficial attention grabbing detritus of modern existence. So why would a short piece about six people orbiting the earth in a space module open with a reproduction of Velasquez's 'Las Meninas'? In short, because it is a 17th century painting (more on the baroque sensibility later) profoundly concerned with perspective, in w...