Here are two films that deserve our attention, as they will be figuring in most ‘Best of 2023‘ film lists and, potentially, will earn Oscar nods. One is directed by Alexander Payne, while the second comes from Todd Haynes - pedigrees firmly established. 

The Holdovers - Here’s a film that we can exuberantly say finds Alexander Payne back in form. Forget Downsizing; this is closer to the Payne of Sideways and Election, and we can be happy about that. He’s back working with Paul Giamatti, and that’s also a good thing, as the two needed a good project that shows us how much life there still is with these two artists. Giamatti plays Paul Hunham, an ancient history teacher at an exclusive 1970s boys' prep school in New Hampshire. It’s established early on that he’s a curmudgeon, a stickler for standards, and faces hard facts, two qualities not always welcome in a school where the tuition is on the high side and influential parents have to be constantly mollified about how brilliant their sons are - especially when they aren’t.

There’s an African-American kitchen head whose son graduated from Barton but was drafted and killed in Vietnam. Da’Vine Joy Randolph plays Her, and Her Mary Lamb is a quiet but seething revelation. And there’s Angus, a troubled student played by the impressive Dominic Sessa. The premise hinges on how the three are stuck with each other over the Christmas break due to specific circumstances. Valuable lessons on life are learned, character arcs are established, and a lot of deep humor and compassion are created. It’s a comedy-drama that’s shot like we are living in the 1970s, including the soundtrack, the costume design, and hairstyles; you’ll love the added touch of the film rating that comes in the first few frames. I love the warm heart of this one.

May December - It’s Todd Haynes, back with his ongoing examination of women’s egos, their manipulative skills, and the penchant for extracting horror and suspense from the everyday and mundane! In other words, it’s Hayne's world, and he makes no excuses for what this world is like; you either hate it or love it. The two main characters are Gracie Atherton (Julianne Moore), who was in a major tabloid scandal twenty years ago when, as a married 36-year-old woman, she had an affair with a thirteen-year-old seventh grader. She served time in prison and was pregnant with his baby, and the two married when she was released. Their children are now graduating from college when this film transpires. And there’s Elizabeth Berry (Natalie Portman), an indie actress about to play the role of Gracie.

The premise is Elizabeth's visit to the home of Gracie and Joe (Charles Melton) as research for taking on the role. It becomes a fascinating clash of wills, but all played out in a genteel manner as two narcissists meet. And there’s Joe, the collateral damage of all that goes on within the film. Gracie henpecks him and gets ‘seduced’ by Elizabeth as she channels Gracie in preparation for filming. To Haynes’ credit, both women are unsympathetic characters, yet they’re fascinating to watch, and we can’t blink. There’s a scene when Elizabeth visits the acting class of Gracie’s daughter when she reveals more than she should. Gracie is living her life in denial of what she has accomplished. There is a melodramatic musical score and so much ironic humor. Do enjoy this film.